Abstract

In the last ten years, Cultural Economics as an academic discipline has experienced an unpredictable expansion, both at the undergraduate and postgraduate levels. Its flexibility and adaptability to heterogeneous needs can be questioned, but its potential weakness can be transformed into strength. It must prove its ability in matching different paradigms and analytical languages, providing the students with multidisciplinary tools in order for them to consider the cultural sector as a pivotal branch of the economy. Despite its success, Cultural Economics is still taught to students the majority of whom is indifferent to the cultural experience, and the number of courses seems to overcome the availability of teachers. Furthermore, the «state of the art» research still ignores the most recent developments in cultural production, and does not tale into account the specificities of the Italian cultural sector.