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Though prior research has addressed customer engagement (CE) with a focal object (e.g. a brand), the dynamics characterizing customers' engagement with different objects and the potential spillover from a customer's engagement with one object to that with another remains tenuous, exposing an important literature-based gap. The authors, therefore, develop a model proposing the existence of a spillover effect from customers' brand engagement to their engagement with brand-related content and suggest customers' personality trait of conscientiousness to moderate this effect.

An online survey-based experiment using 380 Danish Facebook users was conducted to test the model.

The results suggest customers' brand engagement as a significant predictor of their engagement with brand-related content, corroborating the proposed spillover effect. A weaker spillover effect is observed for highly (vs less) conscientious customers, substantiating the moderating role of customer conscientiousness. Moreover, customer conscientiousness is found to interact with brand content-related (i.e. commenting/content creation) task type and brand type (i.e. utilitarian/hedonic) (e.g. more conscientious customers are less likely to engage in brand-related content creation vs. commenting tasks), weakening the spillover effect.

This study extends prior research by quantitatively corroborating an intra-individual CE-based spillover effect from customers' brand engagement to their engagement with brand-related content. The authors also unearth a moderating role of customer conscientiousness, which interacts with brand- and brand content-related task type, on the spillover effect, informing the development of digital marketing strategies.

The present article aims to examine the development of the theoretical framework surrounding collaborative consumption (CC) standards in recent years regarding European short-stay accommodation booking platforms. The sharing economy has significantly impacted the tourist accommodation market in recent years. Starting with the use of experimental data on CCs published on Eurostat in 2019, this article analyzes the correlation between choices of CCs for short-stay accommodation, employment and the economic crisis.

A vector autoregressive panel approach was applied to investigate the correlation between CC short-stay accommodation choices using panel organization data from 561 EU regions between 2018 and 2021.

Analyzing the connection between the main data panel variables, a positive correlation was found, followed by an increasing trend in CC use. A self-multiplying effect is generated; that is, the more people use CC, the more electronic captures occur. Consequently, the improvement of CC use and knowledge-intensive activities in short-stay accommodation is strongly linked with employment and GDP.

The originality of the investigation is to examine with a cross-sectional panel data overview the reasons that can push stakeholders to adopt CC and to clearly define a new perimeter of research in terms of the endpoint of CC in short-stay accommodation. Furthermore, the study seeks to assess the end-point congruence to utilize CC as a new gamble to accelerate digital knowledge in the hospitality sector.

This chapter seeks to elucidate specific behavioral patterns that occur when people travel and consume luxury items using concepts drawn from sociocultural and economic theories. These concepts are Walter Benjamin's “aura,” Karl Marx's “commodity fetishism,” and Arnold Van Gennep's “liminality.” These concepts are deployed within the spheres of tourism and luxury in order to analyze how tourists on a shopping spree search for forms of authenticity, how this type of travel is similar in many respects to a religious quest, and, finally, how the design of luxury outlets in European capitals convey religious overtones.

This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.