Download Gifts Of The Muse: Reframing The Debate About The Benefits by Kevin F. McCarthy, Elizabeth Heneghan Ondaatje, Laura PDF

By Kevin F. McCarthy, Elizabeth Heneghan Ondaatje, Laura Zakaras, Arthur Brooks

This research bargains a brand new framework for realizing how the humanities create inner most and public worth, highlights the significance of the humanities intrinsic advantages and indentifies how either instrumental and instrinsic merits are created.

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Extra resources for Gifts Of The Muse: Reframing The Debate About The Benefits Of The Arts

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For children of this age, historical and critical perspectives on the arts should be linked to hands-on instruction, since a young child can best absorb these concepts when they are linked to the problems the child is working through (Gardner, 1989). Creation of Art. As already noted, training in creating, or “doing,” art appears to be the most fruitful way of producing both educational and behavioral types of instrumental benefits. Part of the reason for this may be, as Gardner (1989) suggests, that the learning process involved in such training differs from the learning process more generally.

DiMaggio’s third problem, the fallacy of the linearity of effects, is the assumption that benefits are generated in direct proportion to the level of arts participation—that is, that benefits increase as a linear function of participation in the arts. This assumption may be valid in some circumstances—for example, the level of economic benefits may increase as a direct function of the amount spent on the arts in a local economy—but it is unlikely to be valid in all circumstances. For example, to the extent that community-level social benefits require the accumulation of a critical mass of local residents to become involved in the arts before social capital is formed within the community, the relationship between arts involvement and the generation of social capital will assume the form of increasing returns to scale.

Stewardship can include volunteers, board members, patrons, public officials, and even audience members. Indeed, supporting the organization or its members may be an audience member’s primary reason for attending. Volunteers in the arts, working together toward a shared objective—whether the task is constructing sets, raising funds, giving tours, or stuffing envelopes—have the opportunity to develop ties and bonds and a commitment to the organization. Volunteering might also mean board membership.

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