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I thank the Arts and Entertainment Management Program at Deakin University (Melbourne, Australia) and especially Ruth Rentschler for the George Fairfax Fellowship in Arts and Entertainment Management (in October and November 1998). Among many other things, this fellowship enabled me to present this paper as the inaugural Kenneth Myer Lecture at Deakin University and at the Australia Council for the Arts in Sydney. Thanks also to Professor Annette Zimmer (University of Münster) for her detailed comments on a former version and to Dr. Jörg Blasius (University at Cologne) for his advice about time series analysis
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I thank the Arts and Entertainment Management Program at Deakin University (Melbourne, Australia) and especially Ruth Rentschler for the George Fairfax Fellowship in Arts and Entertainment Management (in October and November 1998). Among many other things, this fellowship enabled me to present this paper as the inaugural Kenneth Myer Lecture at Deakin University and at the Australia Council for the Arts in Sydney. Thanks also to Professor Annette Zimmer (University of Münster) for her detailed comments on a former version and to Dr. Jörg Blasius (University at Cologne) for his advice about time series analysis.
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