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We use consumer price data for 81 European cities (in Germany, Austria, Finland, Italy, Spain, Portugal and Switzerland) to study the impact of the introduction of the euro on goods market integration. Employing both aggregated and disaggregated consumer price index (CPI) data we confirm previous results which showed that the distance between European cities explains a significant amount of the variation in the prices of similar goods in different locations. We also find that the variation of relative prices is much higher for two cities located in different countries than for two equidistant cities in the same country. Under the EMU, the elimination of nominal exchange rate volatility has largely reduced these border effects, but distance and border still matter for intra-European relative price volatility.
We use consumer price data for 81 European cities (in Germany, Austria, Switzerland, Italy, Spain and Portugal) to study deviations from the law-of-one-price before and during the European Economic and Monetary Union (EMU) by analysing both aggregate and disaggregate CPI data for 7 categories of goods we find that the distance between cities explains a significant amount of the variation in the prices of similar goods in different locations. We also find that the variation of the relative price is much higher for two cities located in different countries than for two equidistant cities in the same country. Under EMU, the elimination of nominal exchange rate volatility has largely reduced these border effects, but distance and border still matter for intra-European relative price volatility. JEL classification: F40, F41
On July 10, 1798, the German ensemble at the Vienna court theater presented the premiere performance of 'Die Hochzeit des Figaro', the first production of Mozart and Da Ponte's 'Le nozze di Figaro' – and indeed of any Mozart-Da Ponte work – at the court theater since Mozart's death and Da Ponte's departure from the imperial capital. A few months later, on December 11, 1798, a new production of Don Giovanni, titled Don Juan, arrived at the court theater stage. On September 19, 1804, a production of Così fan tutte followed, under the title 'Mädchentreue'. Although the productions were not extraordinarily successful in terms of performance numbers, they represented important trends in the Viennese reception of Mozart's operas that were to continue throughout the early nineteenth century. In particular, these productions left behind numerous records about the convoluted processes through which theatrical works were approved, re-approved, and revised before reaching the stage in Vienna around 1800. Particularly prominent among these processes was censorship. Yet, as this article shows, Viennese censors worked in tandem with numerous private and public agents who likewise contributed to the final shape of pre-existing works' adaptations. An examination of the censorial approaches to Mozart's Don Giovanni and Così fan tutte in Vienna around 1800 shows that late Enlightenment censorship was contradictory and multidirectional and should be considered not as a force of restriction but as an element that affected artworks in ways similar to other social, political, and cultural factors, such as patronage, audience structure, and various social and political ideologies.