Department of Economy and Management

There has been growing recognition of the links between success in manufactured exports and rapid economic growth and industrial transformation, which the Ethiopian industrial zone development program is trying to follow at the moment. The country aspires to be the hub of manufacturing industries in Africa by attracting investors, mainly foreigners. To this end, the government has been engaged in building industrial parks in various growth corridors with the aim of providing the necessary services and facilities for industries as a means to encourage more Foreign Direct Investment (FDI) and domestic investment. It is also expected to scale up the capacity and productivity of strategic light manufacturing industries like textile, leather, agro-processing, food and beverage, chemical and pharmaceuticals through transfer of technology and skill upgrading. If implemented effectively, these economic zones would serve as a fuel for spurring industrialization by attracting FDI, stimulating...

The topic of cultural and creative industries has been strongly debated by economics and business scholars over the last two decades. At the same time, the Business Model tool was developed. Assuming that both of the topics have created enormous debates among scholars and practitioners, the definition of cultural industries is shifting to the wider definition of creative industries. Such extension is meant to comprehend all of those industries and all of those sectors that are including dynamics of generation and exploitation of intellectual property. Such approach led to the embracing of a wide range of industries that were rarely associated to the cultural and creative domains in the past. Furthermore, the Business model has shifted from being an architecture specifically designed to serve the e-business, to a flexible yet hard to define “good-for-all” method to better understand and/or improve any kind of business. Surprisingly, studies on the Business model specifically applied to the Creative industries appeared to be fragmented. The present study aimed to briefly review the Business Models literature applied to the Creative industries, in order to measure how much the tool has been studied within the CCIs and through which lens and objectives. Additional goals have been the analysis of the subsectors within the creative industries that had already been treated from scholars prior, highlighting the ones that should be analyzed further in the future.

The theme of diversity has been debated in the era of globalization in response to affirmations of human and gender rights, and many studies have analysed board diversity within for-profit organizations. However, there is a paucity of studies investigating the role of demographic and non-demographic characteristics (such as educational and occupational background) among cultural organizations and the non-profit sector. Italian cultural institutions have been grouped together in a website by a private association called the Italian Association of Cultural Institutes (AICI). This website was used to collect information about these cultural organizations and to map their boards in terms of visible (demographic) and invisible (non-demographic) variables of diversity. Thus, diversity was explored among the board members of 111 private foundations and associations, studying age, gender, nationality, and educational and professional backgrounds. This article will highlight how Italian cultural organizations have low degrees of diversity within their boards of directors.

La scultura alla Biennale di Venezia del 1950. Note di mercato e di critica dai registri di vendita e dalla coeva rassegna stampa Abstract: The contribution aims to consider the dimension of sculpture at the Venice Biennial in 1950. It is an emblematic case study aiming to analyze sculptural research dynamics immediately after World War II in relation to its critical reception and, specifically, to this segment of the art market. The essay describes the literature about sculpture in the post war Biennials and previous studies which investigate the problem of the sales, analyzing original sources and documents. Along with the catalogue, many other materials kept by Archivio Storico delle Arti Contemporanee (ASAC) were considered, including copies of the sales registers compiled by head of Ufficio vendite Ettore Gian Ferrari, minutes of the commission for the visual arts chaired by Rodolfo Pallucchini and coeval press review. The study is a first analysis about the logic behind the market of contemporary sculpture, in a decade that saw the rising of a new concept of sculpture that overcome the traditional meaning of sculpture which still had its roots in the 19th Century.