壹、中文部分
尹章義（1989）。《臺灣開發史研究》。臺北：聯經出版。
文建會•公民美學文化論壇（2004）。〈在公民環境中的「視覺藝術活動」策展人〉，《典藏今藝術》，第144期，頁114-116。
方至民、鍾憲瑞（2006）。《策略管理－建立企業永續競爭力》。新北市：前程文化事業。
毛小雨（2018）。《東南亞戲劇概觀》。北京：時代華文書局。
王永偉（2003）。《蘆洲遶境活動對街道空間影響之研究》。臺北：國立臺北大學地政學系碩士班碩士論文。
王玉麟（2004）。〈研究倫理的相關議題〉，《教師之友》，第45卷第3期，頁85-93。
王京剛（2012）。《一看就懂的麥可波特競爭策略全圖解》。高雄：雅各文創。
王詩琅（1995）。《臺灣社會運動史－文化運動》。臺北：稻香版。
王嘉驥（2001a）。〈臺灣的位置 從策展現象的興起看臺灣當代藝術〉，《典藏今藝術》，第101期，頁126-129。
王嘉驥（2001b）。〈何謂「策展人」〉，《藝術家》，第310期，頁224-225。
王嘉驥（2004）。〈獨立策展路迢迢〉，《藝術家》，第352期，頁239-241。
丘昌泰（2013a）。〈開創臺灣地方特色產業的藍海策略：公共造產的 困境與突破〉，《研習論壇》，第149期，頁1-11。
丘昌泰（2013b）。《公共管理》，第三版。臺北：智勝。
丘昌泰（2014）。〈打造幸福城市的願景形塑與目標管理〉，《研習論壇》，第161期，頁11-23。
丘昌泰（2018）。〈打造“創意臺北”的城市品牌戰略〉，范周主編，《海峽兩岸文化創意產業研究報告》，北京：知識產權出版社，頁120-128。
丘昌泰（2020）。《文化行政與政策》。高雄：巨流。
石婉舜（2010）。《搬演「臺灣」：日據時期臺灣的劇場、現代化與主題形構》。臺北市：國立臺北藝術大學戲劇學系博士學位論文。
朱庭逸（2009）。〈策展人是國力的象徵 專訪國藝會董事長黃明川談「視覺藝術策展專案」〉，《重回策展(下)--公務策展．環境與生產．策展人培力》，典藏今藝術，第204期，頁143-144。
池宗憲（2002）。《臺灣茶街》。臺北：宇河文化出版社。
何康國（2012）。（誰的藝術節?〉，中國時報，11月04日，第A13版。
何康國、方瑞瑜、吳家禎等（2016）。《國際藝術展攻略－愛丁堡藝穗節》。臺北：臺灣師大出版社。
吳鄭重、王伯仁（2011）。〈節慶之島的現代奇觀：臺灣新興節慶活動的現象淺描與理論初探〉，《地理研究》，第54卷第5期，頁69-95。
呂佩怡（2004）。〈策展學？怎麼來的〉，《藝術家》，第352期，頁234-238。
呂佩怡（2005）。〈藝術家與策展人的金剛合體〉，《典藏今藝術》，第148期，頁174。
呂佩怡（2013）。〈策展 (Curating) / 策展 (Curation) ?〉，《國家文化藝術基金會藝》，第1期，頁22-24。
呂佩怡（2015）。《臺灣當代藝術策展二十年》。臺北：典藏藝術家庭。
呂宜玲（2000）。〈如何規劃辦理「藝術節」〉，《活動美育雙月刊》，第115期，頁81-95。
呂建鋒（2008）。《臺北市大稻埕霞海城隍廟繞境之研究》。臺北市：臺北大學民俗藝術研究所碩士學位論文。
宋光宇（2002）。《宋光宇宗教文化論文集》。宜蘭：佛光人文社會學院出版。
李令儀（2014）。〈文化中介者的中介與介入：文出版產業創意生產的內在矛盾〉，《臺灣社會學》，第28期，頁97-147。
李明輝（1995）。〈李春生的思想與時代〉，《中國文哲研究通訊》，第5卷第4期，頁125-12。
李欽賢（2009）。《追尋臺灣的風景圖像》。臺北：臺灣書房。
李毓嵐（2003）。〈蔡培火與臺灣白話字運動〉，《近代中國》，第52卷第1期，頁539-564。
李慧珍（2020）。《當代劇場的社會實踐：以大稻埕國際藝術節為例》。臺北市：國立臺灣藝術大學藝術管理與文化政策研究所碩士班碩士學位論文。
辛榕芝（2005）。《老人社區照顧支持網絡之探討─以臺南縣佳里鎮嘉福村里關懷中心為例》。嘉義縣：國立中正大學社會福利學系碩士學位論文。
典藏今藝術編輯（2009a）。〈重回策展（上）：國際策展趨勢與觀察座談會─策展機制的形成與未來走向〉，《典藏今藝術》，第203期，頁120-127。
典藏今藝術編輯（2009b）。〈重回策展（下）：環境與生產 臺灣的策展現狀與想像．座談會〉，《典藏今藝術》，第204期，頁136-141。
卓克華（2003）。《從寺廟發現歷史：臺灣寺廟文獻之解讀與意涵》。臺北：揚智文化。
周佩璇（2014）。《九〇年代以來臺灣視覺藝術機構與獨立策展人興起之研究》臺北市：臺北藝術大學藝術行政與管理研究所碩士學位論文。
周憲文（1985）。《日據時代臺灣經濟史》。臺北：臺灣銀行經濟研究室。
林月雲、張朝清、劉鳳娟、林智偉（2014）。《魅力城市：七大世界創意之都的智慧與人文力量》。臺北：時報。
林平（2004）。〈臺灣策展人「光環」的漫漫長路〉，《藝術家》，第352期，頁228-233。
林平（2005a）。〈策展人光環—臺灣策展事業的漫漫長路〉，《美術論叢》，第82期，頁213-236。
林平（2005b）。〈一個「好」展覽與策展人的關係〉，《典藏今藝術》，第148期，頁90-93。
林平（2012）。〈策展人的誕生－臺灣策展教育的建構和異象〉，《典藏今藝術》，第241期，頁30-35。
林宏璋（2009）。〈策展主體〉，《典藏今藝術》，第203期，頁107-109。
林宏璋（2013）。《策展主體：當代展演實踐》。臺北：漢世紀數位。
林宏璋（2018）。《策展詩學 : 教育、諸眾與民主之後》。臺北：典藏藝術家庭。
林曉雯（2014）。《在歷史街區合作創業--以大稻埕為場景的大藝埕實踐計畫》。臺北市：國立臺北藝術大學藝術行政與管理研究所碩士學位論文。
邱坤良（1964）。（舊劇與新劇：日據時期臺灣係劇之研究(1895-1945) 〉，自立晚報。
邱坤良（2012）。〈紅塵鬧熱白雲冷—臺灣現代藝術節慶的本末與虛實〉，《戲劇學刊》，第15期，頁49-78。
俞龍通（2006）。〈文化創意產業永續發展模型之初探〉。發表於「節慶與觀光國際學術研討會」學術研討會，育達商業技術學院休閒管理系，5月12日-13日。
俞龍通（2009）。〈藝文政策與區域發展之研究-以苗栗2009年國際音樂節為例〉。發表於「2009海峽兩岸應用中文學術研討會」學術研討會，育達商業科技大學，12月4日。
洪進東（2005）。《歷史街區活化之研究-以大稻埕迪化街為例》。臺北市：臺北科技大學建築與都市設計研究所碩士學位論文。
郁永河（2015）。《裨海紀遊》。臺北：臺灣銀行。
孫智綺（2003）。《布赫迪厄社會學的第一課》。臺北：麥田。
徐升潔（2008）。〈體現策展人的位置與價值－策展人看當下藝術生態與未來策展可能性〉，《藝術家》，第394期，頁174-177。
殷寶寧（2016）。〈創意街區、飲食文化與都市再生：臺北市大稻埕迪化街美食地景與文創轉向〉，《文資學報》，第10期，頁29-66。
翁于晴（2018a）。〈大稻埕文化產業中的文化品味初探〉，丘昌泰、劉冝君主編，《地景文化、永續觀光與文創產業》，新北市：千華，頁213-230。
翁于晴（2018b）。〈微文創在文化場域發展的崛起、困局與再生--以臺北大稻埕歷史街區為例〉。發表於「2018海峽兩岸文化創意產業白馬湖論壇」學術研討會，杭州白馬湖論壇，10月1日。
翁于晴（2018c）。〈節慶文化治理與地方創生：以愛丁堡藝穗節與大稻埕國際藝術節為例〉，范周主編。《2017海峽兩岸文化創意產業研究報告》，北京：知識產權專利文化頁，頁330-338。
翁佳音（1998）。《大臺北古地岸圖考釋》。臺北：臺北縣立文化中心。
耿一偉（2013）。〈華格納大爆炸：史澤曼1983年「總體藝術的趨勢」策展及其影響〉，《今藝術》，第251期，頁154-155。
馬琳（2017）。〈藝術展覽已經進入了“策展人時代”〉，《公關世界》，第18期，頁1-5。
高千惠（2002）。〈臺灣策展人迷思與論述迷障 從臺灣當代藝術域外顯影的圖文脈絡看藝術詮釋倫理的問題〉，《藝術家》，第32期，頁236-247。
高千惠（2005）。〈當代藝壇的三巨頭走了評介策展教父哈洛．史澤曼對當代藝壇的影響〉，《藝術家》，第359期，頁324-331。
張作為（2007）。《論著作於學術倫理之實踐與省思（未出版之碩士論文）》。新竹：國立清華大學科技法律研究所。
張壯熙（2014）。〈臺灣文創產業政策與發展策略之再定位〉。發表於「文化產業與通識教育學術研討會」學術研討會，元智大學人文社會學院，5月29日-30日。
張壯熙（2016）。〈「微創」概念運用於現代城市治理〉，《研習論壇月刊》，第187期，頁9-17。
張郁珮（2015）。《藝術節慶在文創產業中的效益之研究－以「大稻埕國際藝術節」為例》。臺北市：臺灣師範大學表演藝術研究所碩士學位論文。
張晴文（2011）。〈藝術介入空間行動做為「新類型」的藝術一其於藝術社會的定位探討〉，《藝術論文集刊》，第16期，頁63-78。
張蒼松（1997）。《典藏艋舺歲月》。臺北：時報文化出版公司。
莊展鵬、王明雪（2000）。《臺北歷史深度旅遊：艋舺•大稻埕》。臺北：遠流。
莊執中（2020）。《以組織變革深化藝術節與地方連結－2019年第五屆大稻埕國際藝術節製作計畫》。臺北市：國立臺灣藝術大學藝術行政與管理研究所碩士學位論文。
郭基泰（2019）。《日據時期大稻埕政經文化研究》。宜蘭縣：佛光大學中國文學與應用學博士學位論文。
陳孔立（1990）。《清代臺灣移民社會研究》。廈門：廈門大學出版社。
陳其南（1987）。《臺灣的傳統中國社會》。臺北：允晨文化。
陳其南（1987）。《臺灣的傳統中國社會》。臺北：允晨文化。
陳俊良（2016）。《策略策展》。臺北市：國立臺灣藝術大學創意產業設計研究所博士學位論文。
陳柏州、簡如邠（2004）。《臺灣的地方新節慶》。臺北：遠足文化。
陳韋臻（2017）。《拆解藝穗‧十年報告》。臺北：臺北藝穗節。
陸蓉之（1998）。〈展覽策劃人的定位和臺灣環境的互動關係〉，《藝術家》，第276期，頁66-367。
陸蓉之（2004）。〈臺灣「策展人」的昨天、今天與明天〉，《藝術家》，第352期，頁226-267。
游瑛妙（1999）。《節慶活動的吸引力與參觀者對活動品質滿意度分析-以第十一屆民藝華會為例》。臺北：臺灣省交通處旅遊局。
黃光男（1991）。《美術館行政》。臺北：藝術家。
黃琪惠（2012）。《日據時期臺灣傳統繪畫與近代美術潮流的衝擊〉。新北市：國立臺灣大學藝術史研究所博士學位論文。
楊渡（1994）。《日據時期湍新劇運動》。臺北：時報文化。
董維琇（2013）。〈藝術介入社群：社會參與式的美學與藝術實踐〉，《藝術研究學報》，第6卷第2期，頁27-38。
廖俊逞（2006）。〈提倡總體劇場，催生導演制度－華格納，也在現代劇場搞革命！〉，《PAR 表演藝術》，第164期，頁56-67。
臺灣經世新報社編（1938）。《臺灣大年表》。臺北：臺北印刷株式會社。
趙美筑（2016）。《大型節慶與文化再生：以2013歐洲文化之都—馬賽為例》。臺北市：國立臺灣師範大學歐洲文化與觀光研究所。
趙莒玲（1992）。《臺北市古街之旅》。臺北：臺北市政府新聞處。
劉永仁（2014）。《呼吸軌：藝術與策展之交互脈動》。臺北：藝術家。
劉怡蘋（2007）。〈獨立策展人的「作者功能」與當代藝術館〉，《藝術觀點》，第31期，頁59-63。
劉昌漢（2005）。〈誤解與解讀 淺談策展人角色及周邊問題〉，《典藏今藝術》，第154期，頁130-133。
鄭志明（2005）。《臺灣傳統信仰的鬼神崇拜》。臺北：大元書局
鄭慧華（2009）。〈Back to the Future：獨立策展中的趨勢和傳統（兼談策展2.0）〉，《典藏今藝術》，第203期，頁110-112。
鄭慧華（2012）。〈策展意識與獨立意識：重省臺灣策展20年〉，《典藏今藝術》，第241期，頁4-9。
戴震宇（2002）。《臺灣的鐵道》。臺北：遠足文化。
謝里法（1998）。《日據時代臺灣美術運動史》。臺北：運動家。
鍾政偉、吳琬盈、林惠惠（2014）。〈城市觀光意象、節慶活動發展衝擊與節慶活動發展態度關係之研究-以 2014 高雄燈會藝術節為例〉，《島嶼觀光研究》，第7卷第2期，頁74-98。
簡子傑（2004）。〈歷屆臺灣策展人談臺北雙年展機制〉，《典藏今藝術》，第147期，頁84-87。
貳、英文部分
Acord, S. (2010). “Beyond the Head: The Practical Work of Curating Contemporary Art,” Journal of Qualitative Sociology, 33(4):447-467.
Adam, S. (1776). The Wealth of Nations. Seattle, WA: Thrifty Bookstore.
Adom, D. (2003). "Making Sense of How Festivals Demonstrate a Community's Sense of Place," Journal of Event Management, 8(1):49-58.
Adorno W. (1975). “Culture Industry Reconsidered,” Journal of New German Critique, 6(1): 12-19.
Ahmed, Z. (1991). “Marketing your community: correcting a negative image.” Journal of Cornell Quarterly, 31(4): 24–27.
Alexander, D. (1958). The Living Museum: Experiences of an Art Historian and Museum Director. NY: NY University.
Ali-Knight, J. and M. Robertsonc (2004). Festival and events management. Oxford, England: Butterworth Heinemann.
Allen, J., W. O'Toole, R. Harris and I. McDonnell (2010). Festival and Special Event Management. Hoboken, NJ: Wiley.
Altshuler, B. (1994). The Avant-Garde in Exhibition: New Art in the 20th Century. New York: Harry N. Abrams.
Amargier, N. (2016). “Avignonn, Festival Off 1997.” Journal of Revue Russe, 12(1):57-58.
Arcodia, C. and M. Whitford (2007). “Festival Attendance and the Development of Social Capital” Journal of Convention & Event Tourism, 8(2):1-18.
Astaire, F. (1963). Social dance: a short history. London, England: Routledge and Kegan Paul.
Barry, M. (2001). The Wagner Compendium: A Guide to Wagner's Life and Music. London, England: Thames & Hudson.
Bartie, A. (2013). Edinburgh Festivals: Culture and Society in Post-War Britain. Edinburgh, England: Edinburgh University Press.
Bartie, A. (2017). “Cultural Interactions at the Edinburgh Festivals, c1947–1971.” Journal of Arts & International Affairs, 2(2):1-8.
Baumol, W. (2011). “Application of welfare economis.” In Ruth T., A Handbook of Cultural Economics. Cheltenham, UK: Edward Elgar.
Baumol, W. and W. Bowen (1966). Performing Arts: THE Economic Dilemma. Hartford, CT: The Twentieth Century Fund.
Baumol, W. J. and W. G. Bowen (1968). Performing Arts - The Economic Dilemma. Boston, MA: The MIT Press.
Berghaus, G. (2012). “The International Impact of Futurism: Absorptions, Assimilations, Adaptations. ” Journal of Zeitschrift für deutsche Literatur- und Kulturwissenschaft, 12(2012): 11-22.
Bernard, F. D. (2007). Avignonn vue du pont: 60 ans de Festival. Arles, France: Actes Sud.
Berry, R. (2005). Changing Styles in Shakespeare. London, England: Routledge.
Bianchini, F. (1989). Urban Renaissance?: The Arts and the Urban Regeneration Process in 1990s Britain. Liverpool, England: University of Liverpool.
Bilton, C and R. Leary (2002). “What can managers do for creativity? Brokering creativity in the creative industriesc. ” Journal of Cultural Policy, 8(1): 49-64.
Bilton, C. (2010). “Manageable creativity.” Journal of Cultural Policy, 26(3): 255-269.
Biryukova, M. (2017). “Reconsidering the Exhibition When Attitudes Become Form Curated by Harald Szeemann: Form versus “Anti-Form” in Contemporary art.” Journal of Aesthetics & Culture, 9(1): 1-12.
Blaug, M. (1976). Economics of the Arts. London, England: Martin Robertson.
Boella, M. (1992). Human Resource Management in the Hospitality Industry. Cheltenham, England: Stanley Thornes.
Booth, A. (2016). “Negotiating diasporic culture: Festival collaborations and production networks.” Journal of Event and Festival Management, 7(2): 100-116.
Bouquillion, P. (2014). “Francophone perspectives on creative industries and the creative economy.” Journal of Communication, 39(1): 1-10.
Bouquillion, P. (2014). “Francophone perspectives on creative industries and the creative economy.” Journal of Canadian journal of communication, 39(2014): 55-71.
Bourriaud, N. (2005). Postproduction: Culture as Screenplay: How Art Reprograms the World. Berlin, Germany: Lukas & Sternberg.
Brackett, D. (2000). Interpreting Popular Music. Oakland, CA: University of California Press.
Bramwell, B. (1997). “Strategic planning before and after a mega-event. ” Journal of Tourism Management, 18(3): 167–176.
Brandenburger, A. M. and B. J. Nalebuff (1995). “The Right Game: Use Game Theory to Shape Strategy.” Journal of Harvard Business Review, 73(4):57-71.
Brandt J. R. and J. W. Iddeng (2012). Greek and Roman Festivals: Content, Meaning, and Practice. New Nork, NY: Oxford University.
Brockett, O. G. and F. J. Hildy (2007). History of the Theatre (8th ed.). London, England: Pearson.
Brown, S. (2001). The Origins of Music. Boston, MA: Bradford Books.
Bruce, A. (1994). Avant-Garde in Exhibition: New Art in the 20th Century. Oakland, CA: University of California.
Bruce, J. A. (2013). Biennials and Beyond: Exhibitions that Made Art History: 1962-2002. New York, NY: Phaidon.
Bryson, J. (2015). “Strategic Planning for Public and Nonprofit Organizations.” Journal of International Encyclopedia of the Socia, 59(4): 515-521.
Bukofzer, M. F. (1947). Music in the Baroque Era: From Monteverdi to Bach. New York, NY: E. W. Norton & Company.
Byrnes, W. J. (2009). Management and the Arts. London, England: Routledge.
Carol L. (2002). Ballet in Western Culture: A History of Its Origins and Evolution. Abingdon, England: Routledge & CRC Press.
Chalaye, S. (2014). “Avignonn Festival.” Journal of Africultures, 79(4): 200.
Champagne, L. (1977). “ Avignonn Festival. ” Journal of Performing Arts, 2(2): 84-86.
Chris, G. and J. Connell (2016). Music Festivals and Regional Development in Australia. London, England: Routledge.
Christie, M. and L. McAteer (2015). Events Management a practical guide. Edinburgh, Scotland: EventScotland.
Coyne, K. P. and S. Subramaniam (1996). “Bringing Discipline to Strategy.” Journal of McKinsey Quarterly, 33(4): 14-25.
Cudny, W. (2014). “The Phenomenon of Festivals: Their Origins, Evolution, and Classifications” Journal of Anthropos, 109(2): 640-656.
Dahlhaus, C. (1985). Realism in Nineteenth-Century Music. New York, NY: Cambridge University Press.
Dalzel, A. (2019). History of the University of Edinburgh. IN: Palala Press.
Danny, L. J. (1989). Participant observation: A methodology for human studies. Thousand Oaks, CA: Sage Publications.
David, B. (2002). Shakespeare. Oxford, England: Blackwell.
David, L. (2010). Head to Hand: Art and the Manual. Oxford, England: Oxford University.
Davies, D. (2011). Philosophy of the Performing Arts. New Jersey: Wiley-Blackwell.
d'Avignonn, F. and C. Godard (2002). Festival d'Avignonn. Cambridge, England: Cambridge University.
De Bres, K. and Davis, J. (2001). “Celebrating group and place identity: A case study of a new regional Festival.” Journal of Tourism Geographies, 3 (3): 326-337.
Decker, C. S. (2015). “Cultural Festivals” in F. Wherry and B. Juliet, The SAGE Encyclopedia of Economics and Society. Los Angeles, CA: Sage, pp. 500-524.
Dogan, G., Kyungmi, K. and Muzaffer U. (2004). “Perceived Impacts of Festivals and Special Events by Organizers: An Extension and Validation” Journal of Tourism Management, 25(2): 171-181.
Downs, P. G. (1992). Classical Music: The Era of Haydn, Mozart, and Beethoven. NY: W.W. Norton & Company.
Durkheim, E. (1976). The Elementary Forms of the Religious Life. London, England: George Allen and Unwin.
Ensor, J., M. Robertson, and J. Ali-Knight (2007). “The dynamics of successful events–the experts' perspective.” Journal of Managing Leisure, 12(2): 223-235.
Ethis, E. (2002). Avignonn, le public réinventé: Le Festival sous le regard des sciences. Paris, France: La Documentation française.
Evans, G. (2001). Cultural planning: An urban renaissance. New York, NY: Routledge.
Fabiani, J. (2003). “The Audience and Its Legend: A Sociological Analysis of the Avignonn Festival” Journal of Arts Management aw and Society, 32(4): 265-277.
Falassi A. (1987). Time Out of Time: Essays on the Festival. Albuquerque. NM: University of New Mexico.
Farquharson, A. (2003). “I curate, you curate, we curate.” Journal of Art Monthly, 269(2003): 7-10.
Ferdinand, N. and P. Kitchin (2012). “Events Management.” Journal of Tourism Management, 33(1): 1289-1290.
Fisher, R.W. (2009). Human communication as narration. Toward a philosophy of reason, value, and action. South Carolina, SC: University of South Carolina.
Flamholtz E. G. and Y. Randle’s (1986). Growing Pains: Transitioning from an Entrepreneurship to a Professionally Managed Firm. San Francisco, CA: Jossey-Bass.
Frey, B. (2000). Arts and Economics. Berlin, Heidelberg: Springer.
Frisby, W. and D. Getz (1989). “Festival management: a case study perspective.” Journal of Travel Research, 28(1): 7–11.
Fry M. (2010). Edinburgh: A History of the City. London, England: Pan Macmillan.
Garten, J. E. (2000). World View: Global Strategies for the New Economy. Boston, MA: Harvard Business School
Gaskill K. (2011). “Curatorial cultures: considering dynamic curatorial practice”, ISEA - The 17th International Symposium on Electronic Art, Turkey September.
Gelders, D. and B. Van Zuilen (2014). “City events: short and serial reproduction effects on the city's image?” Journal of Corporate Communications: An International Journal, 18(1): 110-118.
George, A. (2015). The Curator's Handbook. Thames & Hudson. London, England: Thames & Hudson.
Gershman, J. (2006). “The Avignonn Festival.” Journal of The Drama Review, 25 (4): 82 -87.
Getz D. (2016). Event Studies: Theory, research and policy for planned events. London, England: Routledge.
Getz, D. (2005). Event Management and Event Tourism. New York, NY: Cognizant.
Getz, D. (2010b). "The nature and scope of Festival studies", Journal of Event management research, 5(1): 1-47.
Getz, D., T. Andersson and J. Carlsen (2010a). "Festival management studies: Developing a framework and priorities for comparative and cross‐cultural research", Journal of Event and Festival Management, 1(1): 29-59.
Getz, D., T. Andersson and M. Larson (2007). “Festival stakeholder roles: Concepts and case studies.” Journal of Event Management, 10(2/3): 103-122.
Gibson, C. (2008). Creative arts, people, and places: Which policy directions? In How are we going? Cambridge, UK: Cambridge Scholars Press.
Gibson, C. and L. Kong (2005). “Cultural economy: a critical review.” Journal of Progress in Human Geography, 29(5): 541-61.
Gibson, C., G. Waitt, J.Walmsley and J. Connell (2010). “Cultural Festivals and economic development in nonmetropolitan Australia.” Journal of Planning education and Research, 29(3): 280-293.
Giebelhausen, M. (2006). Museum Architecture: A Brief History. in A Companion to Museum Studies. Oxford, England: Wiley Blackwell.
Ginsburgh, V.A. and D. Throsby (2006). Handbook of the Economics of Art and Culture, Volume 1. Amsterdam, Netherlands: North Holland.
Goetschel, P. and E. Loyer (2011). Histoire culturelle de la France: de la Belle Époque à nos jours. Armand Colin, France: Armand Colin.
Gold, R. (1957). L.(1958) Roles in sociological field observations. Social forces, 36(3), 217-223.
Goldblatt, J. J. (1990). Special events: The art and science of celebration. New York, NY: John Wiley & Sons, Incorporated.
Graham, B. and S. Cook (2010). Rethinking Curating. Boston, MA: The MIT Press. Wagner
Graham, C. (2001). “Festivals and the city: The Edinburgh Festivals strategy.” Journal of City of Edinburgh Council, 6(2):33-49.
Gratton, C. and P. D. Taylor (1995). “Impacts of Festival events: a case study of Edinburgh.” Journal of Tourism and spatial transformations, 28(1): 225-238.
Green, A. M. (1992). Un Festival de Théâtre et ses Compagnies, Le Off d'Avignonn. Paris, France: Editions l' Harmattan.
Greg, R. (2000). “The European Cultural Capital Event: Strategic Weapon in the Cultural Arms Race?” Journal of Cultural Policy, 6(2): 159-181.
Gregson, B. (1992). Reinventing Celebration: The Art of Planning Public Events. Orange, CT: Shannon Press.
Grout, D. J. and Claude V. P. (1996). A History of Western Music. New York, NY: W.W. Norton & Company.
Gursoy, D.K. Kim and M. Uysal (2004). “Perceived impacts of Festivals and special events by organizers: An extension and validation.” Journal of Tourism Management 25(2): 171-181.
Handler, R. (1993). “An Anthropological Definition of the Museum and its Purpose.” Journal of Museum Anthropology, 17(1): 33-36.
Hanning, B. R., Donald J. G. (2009). Concise History of Western Music. NY: W.W. Norton & Company.
Harris, V. (2004). “Event management: a new profession.” Journal of Event Management, 9(2):103-109.
Hart, M. L. (2010). The art of ancient Greek theatre. Los Angeles, CA: J. Paul Getty Museum.
Harvie, J. (2003). “Cultural effects of the Edinburgh International Festival: Elitism, identities, industries.” Journal of Contemporary Theatre Review, 13(4): 12-26.
Honneth, A. (1997). “Horkheimer’s original idea: the sociological déficit of Critical Theory.” Journal of The critique of power, 1(2): 5-31.
Horkheimer, M. (1972). “Authority and the Family.” Journal of Critical theory: Selected essays, 1(2): 47-128.
Horkheimer, M. (1972). Critical theory: Selected essays. London, England: Continuum Publishing Corporation.
Horkheimer, M. and T. W. Adorno (2010). Dialektik der Aufklärung. Berlin, Germany: Fischer.
Hosseini, J.C. and R. Barnes (2003). Encyclopedia of Information Systems. Cambridge, MA: Academic Press.
Howell, A. (2013). The Analysis of Performance Art. London, England: Routledge.
Ian, Y. and M. Robertson. (2001). Festivals and Events Management. London, England: Routledge.
Ingram, M. (2010). “Promoting europe through ‘Unity in Diversity’: Avignonn as european Capital of Culture in 2000.” Journal of the Society for the Anthropology of Europe, 10(1), 14-25.
Iriye, A. and R. Mitter (2012). “Western Anti-Communism and the Interdoc Network: Cold War Internationale.” Journal of The Journal of Modern History, 86(4): 890-891.
Jackson, S. (2011). Social Works: Performing Art, Supporting Publics. London, England: Routledge.
Jamieson, K. (2004). “Edinburgh: the Festival gaze and its boundaries.” Journal of Space and Culture, 7(1): 64-75.
Jeong, S. and C. Santos (2004). “Cultural politics and contested place identity.” Journal of Annals of Tourism Research, 31(3): 640-656.
John, D. (2005). Art as experience. New York, NY: TarcherPerigee.
Johnny, A. (2004). Festival and Special Event Management. Hoboken, NJ: Wiley.
Kaplinsky, R. (2000). “Spreading the gains from globalization: what can be learned from value-chain analysis” Journal of Voprosy Ekonomiki, 10(1): 4-26.
Kaplinsky, R. and M. Morris (2002). “A Handbook for Value Chain Research Policy” Journal of Published by Institute of Development Studies, 5(3): 20-34.
Karpova G. (2008). “Festivel Culture in Modern Society: Tradition and Innovation”, Journal of Social and humanitarian knowledge, 10(1): 200-206.
Kerr, H. (2012). An Introduction to Art Criticism: Histories, Strategies, Voices. Hoboken, NJ: Pearson Education.
Klimke, M. and J. Scharloth (2008). 1968 in Europe–A History of Protest and Activism. London, England: Palgrave Macmillan.
Kotten, J.(1997). Strategic management in public and nonprofit organizations. Westport, CT: Praeger.
Kurlansky, M. (2003). 1968: The Year That Rocked the World Kindle Edition. New York, NY: Ballantine Books.
Kuutma, K. (1998). “Festival as Communicative Performance and Celebration of Ethnicity.” Journal of Folklore, 7(1): 79-86.
Larson, M. and E. Wikstöm (2001). “Organizing Events: Managing Conflict and Consensus in a Political Market Square” Journal of Event Management, 7(1): 51-65.
Lasswell, H. D. (2012). “The Structure and Function of Communication.” in L. Bryson, The communication of ideas. New York, NY: Sage, pp. 37-51.
Laybourn, P. (2004). “ Risk and decision making in events management. ” in: I. Yeoman and M. Robertson (eds.), Festivals and Events Management. Oxford, England: Sage. pp. 286-307.
Leenders, M. A., J. van Telgen, G. Gemser and R. Van der Wurff (2005). “Success in the Dutch music Festival market: the role of format and content.” Journal of Media Management, 7(3): 148-157.
Lopez, J. (2004). “Small-time Shakespeare: The Edinburgh Festival Fringe, 2003.” Journal of Shakespeare Quarterly, 55(2): 200-211.
Loyer, E. (2007). Histoire du Festival d' Avignonn. Paris, France: Gallimard.
Luckman, S., C. Gibson and T. Lea. (2008). “Mosquitoes in the mix: How transferable is creative city thinking? Singapore.” Journal of Tropical Geography, 30(1): 70-85.
Lynch, T., J. Harrington, K. Chambliss, M. H. Slotkin and A. R. Vamosi. (2003). The economic impact of the 2nd annual Florida Panhandle birding and wildflower Festival. Tallahassee. Florida, FL: Centre for Economic Forecasting and Analysis.
MacDonald, C. (2009). “Issues in Curating Contemporary Art and Performance.” Journal of Contem- porary Theatre Review, 19(2): 242-243.
MacGregor, A. (2001). The Ashmolean Museum: A Brief History of the Museum and Its Collections. Oxford, England: Ashmolean Museum Oxford.
Manning, F. (1978). “Carnival in Antigua: An indigenous Festival in a tourist economy.”Journal of Anthropos, 1(2): 191-204.
March, F. (2014). “Amateur reviewing at the Avignonn Festival: the “Mirror Group”. Journal of Cahiers Élisab éthains, 81(1): 133- 139.
Martin, K. and J. Scharloth (2008). 1968 in Europe–A History of Protest and Activism. New York, NY: Palgrave Macmillan.
Martin, N. (2010). “A preliminary study of some broad disability related themes within the Edinburgh Festival Fringe.” Journal of Disability & Society, 25(5): 539-549.
Masterman, G. and E. Wood (2006). Innovative Marketing Communications: Strategies for the Events Industry. Oxford, England: Butterworth-Heinemann.
McCann, E. (2002). “The cultural politics of local economic development: meaning-making, place-making, and the urban policy process.”Journal of Geoforum, 33(3): 385-398.
Mercer, G. W. (1993). “Public event planning and security in British Columbia: An overview.” Journal of Festival Management and Event Tourism, 1(4): 137-142.
Miller, E. (1996). The Edinburgh International Festival 1947-1996. Toronto, Canada: Brookfield.
Milling, J. and P. Thomson (2004). The Cambridge History of British Theatre. Cambridge, England: Cambridge University Press.
Millington, B. (2001). The Wagner Compendium: A Guide to Wagner's Life and Music. London, England: Thames & Hudson.
Minden, E. G. (2007). The Ballet Companion: A Dancer's Guide to the Technique, Traditions, and Joys of Ballet. New York, NY: Atria Publishing Group.
Mintzberg, H. (1994). The Rise and Fall of Strategic Planning. New York, NY: The Free Press.
Miroir, G. (2016). “Shakespeare at the Avignonn Festival in 2015.” Journal of Cahiers Élisabéthains, 90(1), 171-175.
Munro, I. and S. Jordan (2013). “Living Space’at the Edinburgh Festival Fringe: Spatial tactics and the politics of smooth space.” Journal of Human Relations, 66(11): 1497-1525.
Oakley, E. and Krug, D. (1991). Enlightened Leadership: Getting to the Heart of Change. New York, NY: Simon and Schuster.
Obrist, H. U., W. Hopps, P. Hulten, L. R. Lippard and H. Szeemann (2008). A Brief History of Curating: By Hans Ulrich Obrist. Zürich, Switzerland: JRP | Ringier
O'Neill, P. (2005). “Features: The Co-dependent Curator.” Journal of Art Monthly, 11(1): 7-10.
O'Neill, P. (2007). “The Curatorial Turn: From Practice to Discourse.” Issues in curating contemporary art and performance, 13-28.
O'Neill, P. and M. Wilson. (2010). In Curating and the Educational Turn. London, England: Open Editions & de Appel.
Peck, J. (2005). “Struggling with the creative class. International.” Journal of Urban and Regional Research, 29(4): 740-70.
Pesaro, G. E., B. Sparti and M. Sullivan. (1993). De pratica seu arte tripudii: On the practice or art of dancing. Oxford, England: Clarendon Press.
Pickard, A. W., J.Gould and D. M. Lewis (1953). The Dramatic Festivals of Athens. Oxford, England: Clarendon Press.
Plantinga, L. (1984). Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York, NY: W. W. Norton.
Porter, M. E. (1980). Competitive Strategy: Techniques for Analyzing Industries and Competitors. Washington, D.C.: Free Press.
Porter, M. E. (1985b). Competitive Advantage: Creating and sustaining superior performance. New York, NY: Free Press.
Porter, M. E. (1996). “What is strategy? Boston. ” Journal of Harvard Business Review, 74(6): 61-78.
Porter, M. E. (1997a). “Competitive Strategy. Measuring Business Excellence. ” Journal of Harvard Business Review, 75(6): 12-17.
Porter, M. E. (1997b). Competitive Advantage. New York, NY: Free Press.
Porter, M. E. (1998). “Clusters and the new economics of competition.” Journal of Harvard Business Review, 76(6): 77-90.
Porter, M. E. (2008). On Competition. Boston. Boston, Harvard Business School.
Porter, M. E. and V. E. Millar (1985a). “How Information Gives You Competitive Advantage” Journal of Harvard Business Review, 63(4): 149-160.
Prentice, R. and V. Andersen (2003). “Festival as creative destination.” Journal of Annals of tourism research, 30(1): 7-30.
Quinn, B. (2005). “Arts Festivals and the city.” Journal of Urban Studies, 42 (5/6): 927-943.
Raftis, A. (1987). The World of Greek Dance Finedawn. Athens. Greece: Finedawn Publishers.
Richards, G. and R. Palmer, (2010). Eventful Cities: Cultural Management and Urban Revitalisation. Oxford, England: Butterworth-Heinemann.
Richarrds, G (2000). “The European Cultural Capital Event: Strategic Weapon in the Cultural Arms Race?” Journal of International Journal of Cultural Policy, 6(2):149-158.
Ridgeway, W. (2015). The Origin of Tragedy with Special Reference to the Greek Tragedians. Warszawa, Poland: Palala Press.
Risner, D. (2000). "Making Dance, Making Sense: Epistemology and choreography." Journal of Research in Dance Education, 1 (2): 155-172.
Ritzer, G. (1999). Enchanting a disenchanted world: Revolutionizing the means of consumption. London, England: Pine Forge Press.
Robertson, N. (1992). Festivals and Legends. Toronto, Canada: University of Toronto.
Robins, C. (2005). “Engaging with curating” Journal of Art and Design Education, 24(2): 149-158.
Rorvik, P., S. Dawson, M. Reddy and M. H. Rorvik (2016). Festivals Best Practice Toolkit. Johannesburg. Cape, South Africa: Arterial Network.
Rosen, C. (1997). The Classical Style. New York, NY: W.W. Norton.
Rosenberg D.(2010). “Curating the practice/the practice of curating” Journal of Performance Arts and Digital Media, 5(2): 75-87.
Rugg, J. and M. Sedgwick (2007). Issues in Curating Contemporary Art and Performance. Chicago, IL: University of Chicago.
Rutherford, J. and A. Glenn (2005). “Towards an International Event Management Body of Knowledg.” Journal of Event Management, 9(4): 185-198.
Scharfman, R. (1992). “Report from the Avignonn Festival.” Journal of Western European Stages, 4(2): 43.
Schneider, R. (2004). “Avignonn Theatre Festival Strike.” Journal of Theatre Journal, 56(2): 296-299.
Shannon J. (2011). Social Works: Performing Art, Supporting Publics. London, England: Routledge.
Sharpe, E. K. (2008). “Festivals and Social Change: Intersections of Pleasure and Politics at a Community Music Festival.” Journal of An Interdisciplinary, 30(3): 217-234.
Shear, J. L. (2001). Polis and Panathenaia: The history and development of Athena's Festival. Philadelphia, PA: University of Pennsylvania.
Shevchenko, N. (2012). “Dialogue as a factor of development multicultural educational space.” Journal of Intercultural dialogue: Theory and practice, 23(1): 53-69.
Shevchenko, V. and G. Ulvinen (2013). Development of intercultural dialogue in the framework of youth creative Festivals. Mikkeli, Finland: Mikkeli University of Applied Sciences.
Silvers, J. R. (2012). Professional Event Coordination. Hoboken, NJ: Wiley.
Smith, A. (1776). The Wealth of Nations. Toronto. Canada: Bantam Classics.
Smith, R. (2014). The sense of art: A study in aesthetic education. New York, NY: Routledge.
Snowball, J. (2008). Measuring the Value of Culture: Methods and Examples in Cultural Economics. Heidelberrg,German : Springer.
Sørensen, E. and J. Torfing (2005). Netværksstyring. Frederiksberg, Denmark: Samfundslitteratur.
Staunstrup, E., D. P. Nielsen. and C. Nielsen (2013). Sustainability and event management. Mikkeli, Finland: Mikkeli University.
Stevenson, N. (2015). “Local Festivals, social capital and sustainable destination development: Experiences in East London.” Journal of Sustainable Tourism, 24(7): 990-1006.
Stoeltje, B. J. (1992). “Festival.” Journal of Folklore, cultural performances, and popular entertainments, 261-271.
Strauss, D. L. (2010). From Head to Hand: Art and the Manual. Oxford, England: Oxford University Press.
Susanne, H. (1983). Der Hang Zum Gesamtkunstwerk Europäische Utopien Seit 1800. Winterthur, Switzerland: Buchparadies Rahel-Medea Ruoss.
Szeemann, H. (1981). Museum der Obsessionen von, über, zu, mit Harald Szeemann. Berlin, Germany: Merve.
Szeemann, H., Scott, B., Grégoire, M., ed. (2006). Live In Your Head: When Attitudes Become Form. Works, Concepts, Processes, Situations, Information. Bern, Switzerland: Kunsthalle Bern.
Taylor, F. W. (2004). Scientific Management. Santa Barbara, CA: Greenwood.
Terry, S. (2012). Thinking Contemporary Curating. New York, NY: Distributed Art Pub.
Teye, V. and C. M. Paris. (2011). Cruise line industry and Caribbean tourism: Guests’ motivations, activities, and destination preference. Journal of Tourism Review International, 14(1): 17-28.
Thea, C., G. Williams and B. Schwabsky (2001). Foci: Interviews With 10 International Curators by Carolee Thea. Ann Arbor, MI: The University of Michigan.
Thompson, J. D. (1967). Organizations in Action: Social Science Bases of Administrative Theory. London, England: Routledge
Tobia, B. and R. Kurzmeyer (2007). Harald Szeemann: with by through because towards despite. Vienna, Austria: Springer.
Towse, R. (2014). Advanced Introduction to Cultural Economics. Cheltenham, England: Edward Elgar Pub.
Turk, E. B. (2011). French Theatre Today: The View from New York, Paris, and Avignonn. Iowa, IA: University of Iowa Press.
Ulrich, D. (1998). The community of the future. San Francisco, CA: Jossey-Bass.
Uotila, P. (2010). Savonlinnan oopperajuhlat: Kulttuuritapahtumien muuttuvat verkostot. Metropolia, Finland: Metropolia University of Applied Sciences.
Uotila, P. (2013). Cultural ecology and the aesthetic experience. Developing Best Practices in Event Management. Mikkeli, Finland: Mikkeli University of Applied Sciences.
Van der Wagen, L. (2006). Human Resource Management for Events: Managing the Event Workforce. Oxford, England: Butterworth Heinemann.
Van Melik, R. and I. Van Aalst (2012). “City Festivals and urban development: does place matter?” Journal of Tourism European Urban and Regional Studies, 19(2): 195-206.
Varadpande, M. L. (1987). History of Indian Theatre. Maharashtra, India: Abhinav Publications.
Ventzislavov, R. (2014). “Idle Arts: Reconsidering the Curator” Journal of Aesthetics and Art Criticism, 72(1): 83-90.
Voss E. and R. Wagner (2013). Der Fliegende Holl änder. Mainz, Germany: Schott Music.
Wagner, R. and W. A. Ellis (1993). "The Art-Work of the Future" and Other Works. Longleaf, NF: University of Nebraska Press.
Wallace, C. D. McDonagh, J. L. Druesedow, L. Libin and C. Old (1986). Dance: a very social history. New York, NY: The Metropolitan Museum of Art.
Wardrop, K. M. and M. Robertson. (2004). Edinburgh’s Winter Festival. In Festival and events management: An international arts and culture perspective. Oxford, England: Elsevier.
Wehle, P. (1984). “A History of the Avignonn Festival.” Journal of The Drama Review: TDR, 28(1), 52-61.
Wehle, P. (2003). “Avignonn, everybody’s dream.” Journal of Contemporary Theatre Review, 13(4), 27-41.
Wim, B. and C. Harrison (2011). Exhibiting the New Art: “Op Losse Schroeven” and “When Attitudes Become Form” 1969. London, England: Books.
Xie, P. (2001). “Festival and Special Event Management.” Journal of Annals of Tourism Research, 28(1) : 248-255.
Yeoman, I., M. Robertson, J. A. Knight, S. Drummond and U. M. Beattie (2004). Festival and Events Management: An International Arts and Culture Perspective. Oxford, England: Taylor & Francis.
Zarilli, B., P. McConachie and B. Williams (2010). Theatre Histories: An Introduction. New York, NY: Routledge.

參、網際網路資料
ARTouch (2019d).。〈2019「Performa藝術節」臺灣館現蹤：專訪Performa創辦人蘿絲李談臺灣館策展概念〉，《ARTouch》，網址：https://artouch.com/people/content-11811.html，檢索日期：2020年08月01日。
ARTWAVE (2019a).。〈CIT19當代策展的新挑戰──國際論壇暨青年策展工作坊〉，《ARTWAVE》，網址：https://artwave.ncafroc.org.tw/news/detail?id=297eb68f6c24f421016d154511dc0004，檢索日期：2020年07月26日。
ARTWAVE (2019b).。〈2019 TPAM 亮眼的臺灣力量〉，《ARTWAVE》，網址：https://artwave.ncafroc.org.tw/news/detail?id=297eb68f68f0369c0168f212c8ae0000，檢索日期：2020年07月26日。
ARTWAVE (2019c).。〈【CIT19系列】當代策展的新挑戰 ── 國際論壇暨青年策展工作坊〉，《ARTWAVE》，網址：https://artwave.ncafroc.org.tw/news/detail?id=297eb68f696be56301699588149c0004，檢索日期：2020年07月26日。
文化部（2014）。〈2014首屆愛丁堡藝穗節臺灣季成功打開國際大門〉，《文化新聞》，網址：https://www.moc.gov.tw/information_250_16377.html，檢索日期：2020年08月26日。
文化部（2018a）。〈2018愛丁堡藝穗節臺灣季圓滿落幕〉，《文化新聞》，網址：https://www.moc.gov.tw/information_250_88635.html，檢索日期：2020年08月26日。
文化部（2018b）。〈法國消息-成功藝術節為地方帶來的經濟效益〉，《藝文動態》，網址：https://fr.taiwan.culture.tw/ch/information_93_83586.html，檢索日期：2020年08月26日。
文化部（2019a）。〈2019愛丁堡藝穗節「臺灣季」票房屢創新高 星等評論大放異彩〉，《文化新聞》，網址：https://www.moc.gov.tw/information_250_101675.html，檢索日期：2020年08月26日。
文化部（2019b）。〈文化部徵選團隊參與「2020愛丁堡藝穗節臺灣季」獲選名單公布〉，《文化新聞》，網址：https://www.moc.gov.tw/information_250_107428.html，檢索日期：2020年08月26日。
文化部（2019c）。〈文化部徵選團隊參與「2020年法國外亞維儂藝術節」獲選名單公布〉，《文化新聞》，網址：https://www.moc.gov.tw/information_250_106914.html，檢索日期：2020年08月26日。
文化部（2019d）。〈2019外亞維儂藝術節開幕 臺灣團隊參與大遊行〉，《文化新聞》，網址：https://www.moc.gov.tw/information_250_100370.html，檢索日期：2020年08月26日。
文化部（2020）。〈2020愛丁堡藝穗節「臺灣季」 線上論壇探討當代表演藝術趨勢〉，《文化新聞》，網址：https://artemperor.tw/focus/3431，檢索日期：2020年08月26日。
王焜生（2018）。〈哈洛．史澤曼 — 當代藝術教父給藝術圈的啓示〉，《立場新聞》，網址：https://www.thestandnews.com/art/%E5%93%88%E6%B4%9B-%E5%8F%B2%E6%BE%A4%E6%9B%BC-%E7%95%B6%E4%BB%A3%E8%97%9D%E8%A1%93%E6%95%99%E7%88%B6%E7%B5%A6%E8%97%9D%E8%A1%93%E5%9C%88%E7%9A%84%E5%95%93%E7%A4%BA/，檢索日期：2019年05月03日。
王萱 （2019）〈策展如何教、怎麼學？從「CIT19」策展工作坊觀察側記談起〉，《典藏藝術電子報》，網址：https://artouch.com/view/content-11709.html，檢索日期：2020年07月17日。
臺北市立美術館（2019）。〈Performa．19雙年展無牆臺灣館〉，《臺北市立美術館》，網址：https://www.tfam.museum/News/News_page.aspx?id=1314&ddlLang=zh-tw，檢索日期：2020年08月01日。
朱宗慶（2014）。〈藝術外一章－藝管所學與社會連結需要時間〉，《中時電子報》，網址：https://www.chinatimes.com/newspapers/20141010000731260109?fbclid=IwAR2UfScolwo4PfbOFRufYjXrSGw4YTNNUALWQnB3piB9tGAz8R6IDA6cxs&chdtv，檢索日期： 2020年07月03日。
呂佩怡（2013）。〈策展 (Curating) / 策展 (Curation) ?〉，《視覺藝術策展資源平臺》，網址：https://curator.ncafroc.org.tw/forum/articles/post-5776/，檢索日期：2020年07月03日。
林人中（2015）。〈到亞維儂藝術節演出，然後呢?〉，《國藝會線上誌》，網址：https://mag.ncafroc.org.tw/article_detail.html?id=297ef722707b8a04017085454760001a，檢索日期：2020年08月26日。
耿一偉（2018）。〈策展人觀察〉藝術家的工作滿意度比一般人高〉，《臺北藝術節》，網址：https://www.artsFestival.taipei/blogContent.aspx?ID=554，檢索日期：2019年05月20日。
莊雅涵（2014）。〈亞維儂之春──劇場工作人員的憤怒〉，《天下雜誌-獨立評論》，網址：https://opinion.cw.com.tw/blog/profile/206/article/1678，檢索日期：2020年08月26日。
許祐綸（2019）。〈臺灣藝術家前進澳洲， 南澳澳亞藝術節歷年最大臺灣陣容〉，《ARTWAVE》，網址：https://artwave.ncafroc.org.tw/news/detail?id=297eb68f6c24f421016d154511dc0004，檢索日期：2020年07月26日。
陳俊明（2013）。〈跨領域藝術的未來性〉，《新樂園電子報》，網址：http://www1.etat.com/slyart/newsletter/2003/newfield_text/future_on_newfield.htm，檢索日期：2019年05月03日。
陳美靜（2012）。〈誰的藝術節？〉，《中國時報》，網址：http://only-perception.blogspot.com/2012/11/blog-post_9968.html，檢索日期：2020年08月21日。
林柏維（2007）。〈思想起-新國民年代的臺灣歌謠〉，《南臺通識電子報》，網址：.http://faculty.stust.edu.tw/~davidlim/621GEP/GEP06/gep0656/GEP0656_00.htm，檢索日期：2007年6月28日
陳美靜（2018）。〈從1969年Harald Szeemann《當態度變成形式》探究當代策展前沿〉，《觀察者藝文田野檔案庫》，網址：https://aofa.tw/?p=2812&fbclid=IwAR2EfOTGIUAO2OVp_mTT0e8iuzxtHdJabRR0K42XMj6Fyrnoa5QVSf-DAv0，檢索日期：2019年05月03日。
陳意華（2015）〈專訪北美館館長林平〉，《典藏藝術電子報》，網址：https://paper.udn.com/papers.php?pname=POF0007&page=5#ph，檢索日期：2020年07月17日。
劉育良、劉俊裕 （2017）〈中介組織翻轉文化治理。文化部，您真的準備好了嗎？〉，《臺灣文化政策智庫中心》，網址：https://tttcp.ntua.edu.tw/，檢索日期：2020年07月17日。
劉俊裕（2014）。〈藝術大學藝術行政與管理研究所畢業的學生「不太好用」？真的嗎？〉，《劉俊裕Facebook網誌》，網址：https://www.facebook.com/notes/，檢索日期：2020年07月03日。
Alberta government (2008). Community Festivals and Events Planning Guide. Retrieved from: https://www.richmondhill.ca/en/shared-content/resources/documents/Festivals-Events-Planning-Guide.pdf. Accessed date: August 15, 2020.
Avignonn Festival (2019). Avignonn Festival: Avignonn Festival in Avignonn. Retrieved from: https://Festival-Avignonn.com/fr/. Accessed date: June 14, 2019.
Cameron, J. and J. Gerrard (2008). Thinking and practising values: Community enterprises in the food sector. Retrieved from: https://ec.europa.eu/programmes/creative-europe/node_en. 2019/04/12.k. Accessed date: June 25, 2021.
Creative Europe program (2019). European Union: Creative Europe. Retrieved from: https://www.researchgate.net/publication/237834094_Thinking_and_Practising_Values_Community_Enterprises_in_the_Food_Sector_Report_on_the_'Community_Enterprises_in_the_Food_Sector'_Worksho. Accessed date: June 20, 2020.
Creative Europe Programme of the European Union (2019). Operational study Mobility Scheme for Artists and Culture Professionals in Creative Europe countries. Retrieved from https://www.i-portunus.eu/wp-fuut/wp-content/uploads/2019/09/OS-final.pdf. Accessed date: May 14, 2020.
Curators’ Network (2018). Sweet Home 2018: Residencies in domestic spaces. Retrieved from: http://www.curators-network.eu/activity/event/sweet-home-2018-research-. Accessed date: July 26, 2020.
D’ Avignonn Festival (2019). D’ Avignonn Festival artistic projct. Retrieved from https://www.Festival-Avignonn.com/en/artistic-project. June 20, 2019.
Department for Culture, Media and Sport (2019). Department for Culture, Media and Sport: Festival in UK. Retrieved from: https://www.gov.uk/government/organisations/ department-for-digital-culture-media-sport. Accessed date: June 25, 2019.
Edinburgh Council (2016). Edinburgh by numbers 2016. Retrieved from https://www.edinburgh.gov.uk/downloads/file/25200/edinburgh-by-numbers-2016. Accessed date: May 14, 2020.
Edinburgh Council (2017). Edinburgh by numbers 2017. Retrieved from https://www.edinburgh.gov.uk/downloads/file/25200/edinburgh-by-numbers-2017. Accessed date: May 14, 2020.
Edinburgh Council (2018). Edinburgh by numbers 2018. Retrieved from https://www.edinburgh.gov.uk/downloads/file/25200/edinburgh-by-numbers-2018. Accessed date: May 14, 2020.
Edinburgh Council (2019). Edinburgh by numbers 2019. Retrieved from https://www.edinburgh.gov.uk/downloads/file/25200/edinburgh-by-numbers-2019. Accessed date: May 14, 2020.
Edinburgh Fringe Festival (2019). Edinburgh fringe Festival: Edinburgh fringe Festival. Retrieved from: https://www.edfringe.com/. Accessed date: June 14, 2019.
European Commission (2014). European Commission: Ex-post Ebaluation of the 2013 European Capitals of Culture. Retrieved from: https://ec.europa.eu/programmes/creative-europe/sites/creative-europe/files/files/ecoc-2013-full-report.pdf Accessed date: April 20,2020.
European Commission (2014). Ex-post Evaluation of the 2013 European Capitals of Culture. Retrieved from https://ec.europa.eu/programmes/creative-europe/sites/creative-europe/files/files/ecoc-2013-full-report.pdf. Accessed date: May 14, 2020.
European Commission (2019). Communication from The Commission to the European parliament, The Council, the European economic and social committee and the committee of the regions Creative Europe - A new framework programme for the cultural andcreative sectors (2014-2020). Retrieved from https://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX:52011DC0786. Accessed date: May 14, 2020.
Hamamatsu City (2014). 音楽の都へ. Retrieved from http://www.city.hamamatsu.shizuoka.jp/miryoku/jiman/music.html. Accessed date: June 20, 2019.
Independent Curators International (2019). Independent Curators International: Independent Curators. Retrieved from: http://curatorsintl.org/. Accessed date: May 25, 2019.
International Council of Organizations of Folklore Festivals (2015) ICOFF: CIOFF Annual Report 2015. Retrieved from: http://www.cioff.org/documents.cfm. Accessed date: June 14, 2019.
Liverpool Culture Company (2019). Liverpool Culture Company: Liverpool Culture. Retrieved. Retrieved from: https://www.cultureliverpool.co.uk/. Accessed date: April 12, 2019.
Small, K. E. (2007). Understanding the social impacts of Festivals on communities. Retrieved from: http://handle.uws.edu.au:8081/1959.7/37653. Accessed date: April 12, 2020.
Next Wave Festival (2019). Next Wave Festival: Next Wave Festival in America. Retrieved from: https://www.bam.org/programs/next-wave-Festival. Accessed date: June 14, 2019.
Obrist, H. U. (2014). Hans Ulrich Obrist: the art of Curation. Retrieved from: https://www.theguardian.com/artanddesign/2014/mar/23/hans-ulrich-obrist-art-curator. Accessed date: April 14, 2019.
Performance Curators Initiative (2019). Performance Curators Initiative: Performance Curators. Retrieved from: https://performancecuratorsinitiatives.wordpress.com/. Accessed date: May 5, 2019.
UNESCO Creative Cities Network (2019). Operational study Mobility Scheme for Artists and Culture Professionals in Creative Europe countries. Retrieved from: https://www. i-portunus. eu/wp-fuut/wp-content/uploads. June 20, 2019.
UNESCO Creative Cities Network. (2004). What is the Creative Cities Network ?Retrieved from http://en.unesco.org/creative-cities/content/about-us. Accessed date: June 21, 2019.
UNESCO Creative Cities Network.(2019). UNESCO designates 66 new Creative Cities. Retrieved from https://en.unesco.org/creative-cities/events/unesco-designates-66-new-creative-cities. Accessed date: June 20, 2019.