January 25, 2023
(H)OM(E)NIBUS CULTURE AT A TIME OF LOCKDOWN
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
January 4, 2022
LET’S DANCE ! MEASURING EFFICIENCY IN THE DANCE SECTOR
June 22, 2021
BEYOND THE REALM OF CASH: STREET PERFORMERS AND DONATIONS IN THE ONLINE WORLD
May 25, 2021
DO MUSEUMS FOSTER INNOVATION THROUGH ENGAGEMENT WITH THE CULTURAL AND CREATIVE INDUSTRIES?
May 11, 2021
BARGAINING OVER THE BALLET
March 16, 2021
WHAT DRIVES CULTURAL PARTICIPATION OF IMMIGRANTS IN THE HOST COUNTRY?
September 1, 2020
TESTING THE CULTURAL CAPITAL REPRODUCTION THEORY IN COLOMBIA
July 7, 2020
DOES MUSIC SOOTHE THE SOUL?
December 18, 2018
MACHINE LEARNING TO UNCOVER DIFFERENCES IN WILLINGNESS-TO-PAY FOR THEATRE TICKETS
May 9, 2018
DOUBLE JEOPARDY – MORE FLEXIBLE SUBSCRIPTION TICKETS AND HIGHER TICKET PRICES
October 24, 2017
DOMINANT AND DOMINATED POSITIONS IN THE CO-PRODUCTION NETWORK OF THEATRE COMPANIES IN ITALY’S CAMPANIA REGION
January 24, 2017
PERFORMANCE EVALUATION IN THE ARTS? NO TECHNIQUE CAN SUBSTITUTE A SUBSTANTIVE DISCUSSION OF THE MEANING OF ARTS, CULTURE AND HERITAGE FOR INDIVIDUALS, ORGANIZATIONS AND SOCIETY