January 25, 2023
(H)OM(E)NIBUS CULTURE AT A TIME OF LOCKDOWN
January 10, 2023
COUNTERACTING HATE BY ENCOURAGING PARTICIPATION IN CULTURAL ACTIVITIES
December 13, 2022
CULTURAL EXPENDITURE OF THOSE WHO ENTER (OR EXIT) UNEMPLOYMENT
November 29, 2022
MUSIC PREFERENCES AS AN INSTRUMENT OF EMOTIONAL SELF-REGULATION ALONG THE BUSINESS CYCLE
October 4, 2022
URBAN CULTURAL VIBRANCY AS A CONTRIBUTOR TO LOCAL DEVELOPMENT AND THE FUNDAMENTAL ROLE OF TERRITORIAL CONTEXT CONDITIONS
September 20, 2022
10th EWACE 2022: CELEBRATING GROWTH AND DIVERSITY
June 14, 2022
UNDERSTANDING URBAN ALTERNATIVE CULTURAL PRODUCTION
March 15, 2022
HOW TICKET PRICES TO SWEDISH OPERA HOUSES AND SYMPHONY ORCHESTRAS HAVE BECOME INCREASINGLY EXCLUSIVE
February 15, 2022
GLOBALIZATION AND THE RISE OF ACTION MOVIES IN HOLLYWOOD
January 4, 2022
LET’S DANCE ! MEASURING EFFICIENCY IN THE DANCE SECTOR
October 12, 2021
STUDIOS VS. STREAMING: WHICH ‘LOGIC’ WILL PREVAIL IN HOLLYWOOD?
June 8, 2021
UNDERSTANDING DIFFERENCES IN DONATIONS TO CULTURAL HERITAGE
May 11, 2021
BARGAINING OVER THE BALLET
September 1, 2020
TESTING THE CULTURAL CAPITAL REPRODUCTION THEORY IN COLOMBIA
July 7, 2020
DOES MUSIC SOOTHE THE SOUL?
June 23, 2020
THE USE OF IRONIC HUMOR IN FESTIVAL BRANDING