地方文化創(chuàng)意產(chǎn)業(yè)外文文獻(xiàn)翻譯

1、文獻(xiàn)信息文獻(xiàn)標(biāo)題：CreativeEconomy,CulturalIndustriesandLocalDevelopment（創(chuàng)意經(jīng)濟(jì)、文化產(chǎn)業(yè)與地方發(fā)展）文獻(xiàn)作者：NicolaBoccella,IreneSalerno文獻(xiàn)出處：Procedia-SocialandBehavioralSciences»,2016,223:291-296.字?jǐn)?shù)統(tǒng)計：英文3378單詞，18355字符；中文5627漢字外文文獻(xiàn)CreativeEconomy,CulturalIndustriesandLocalDevelopmentAbstractThepurposeofthispaperistodrawa

2、clearpictureofcreativeandculturalindustriesandofthecreativeeconomy,asdrivingfactorsofeconomicgrowthandlocaldevelopment.Tothisaim,thepaperanalyzessomerecentdataonthesignificanceofthecreativeeconomies,reflectingontheconceptsofcreativeandculturalindustries.Inthetext,attentionispaidtothelinksbetweencrea

3、tiveeconomyandlocaldevelopmentononehand,andtheconceptsofterritorialcapitalandsocialcapitalontheotherside.Intheend,theworkfocusesonpresentingtheresultsofanin-progressstudy,abouttherecentliteratureonthementionedissues,presentingabriefoverviewofsomesignificantworks.Keywords:Creativeeconomy,culturalecon

4、omy,culturalindistries,creativeindustries,localdevelopment,socialcapital,territorialcapital.1 .Creativeeconomy,culturalandcreativeindustries.OverviewonconceptsanddataOverthelastyears,theimportanceoftheso-calledculturaleconomyandoftheculturalandcreativeindustrieshasgreatlyincreased.Today,culturalandc

5、reativeindustriesaredrivingfactorsforeconomicgrowthandaccordingtoglobaldemand,alsostimulatedbytheneweconomy.Asitisknown,theconceptrefersnotonlytothedomainofcultureinthestrictsense,butrefersalsotoculturalgoodsandservicesasthecoreofanew,powerfulandvastsectorthatcanbebroadlyreferredtoculturalareas.Thec

6、reativeeconomyiscloselyrelatedtothecreativeandculturalindustries.ThetermculturalindustrieswasdiffusedsincetheEighties,anditwasreferredtothoseformsofculturalproductionandconsumption,whichhaveattheircenterasymbolicorexpressiveelement.TheconceptwasthenspreadaroundtheworldbyUNESCOjustsincetheEightiesand

7、itsdefinitionhasgraduallyincorporatedawiderangeofindustries:music,theindustriesrelatedtoart,writing,fashionanddesign,media,aswellascraftproduction.SincetheNinetiesoftheNineteenthCentury,however,itisinusealsothenameofthecreativeindustries;thetermreferstoaverylargeproductionthatincludesgoodsandservice

8、sproducedbytheculturalindustriesandthosedependingoninnovation.Fromthetimeinwhichtheterm"creativeeconomy"waspopularized,in2001,theso-calledculturalandcreativeindustriesstaredgeneratingeconomicgrowthataprogressivelyincreasingrate;atgloballevel,asstatedinthe“Creativeeconomyreport'(2013),s

9、ucheconomygenerated"US$2.2trillionworldwidein2000andgrowingatanannualrateof5percent”.ConcerningtheEuropeanscenario,Europehasastronginterestintheculturalandcreativeindustries,astheyareasourceofeconomicgrowth:asstressedinthereportoftheEuropeanCreativeIndustriesSummit,“theculturalandcreativesector

10、smakeupnearly4.5%oftheEuropeaneconomy,thankstonearly1.4millionsmallandmedium-sizedbusinessesgeneratinganddistributingcreativecontentalloverEurope.Theculturalandcreativesectorshaveshowngreatresilienceduringthecrisis-theyactuallycontinuedtogrow-whilestimulatingcreativityandinnovationspilloversinothers

11、ectors.About8.5millionpeopleareemployedincreativesectorsacrossEuropeandmanymoreifwetakeintoaccounttheirimpactonothersectorssuchastourismandinformationtechnology”.Focusing,moreindetail,ontheItaliansituation,herein20142theenterprisesoftheculturalandcreativesectorsproduce78.6billionofaddedvalueandstimu

12、latedothersectorsoftheeconomysoastogeneratethe15.6%ofthewholenationaladdedvalue,equalto227billioneuroincludingtheincomesofthatpartofthenationaleconomythatisdirectlyactivatedbyculture(e.g.tourism).AccordingtorecentdataoftheUnionCamere-SymbolaReport(2015),between2012and2014despitetheglobalcrisis,compa

13、niesthathaveinvestedincreativityhaveincreasedtheirturnoverby3.2%;companiesthathaveinvestedincreativitywererewardedwitha4.3%increaseinexports.Moreover,the443,208enterprisesintheculturalproductionsystem,accountingfor7.3%ofdomesticenterprises,reaches5.4%ofthewealthproducedinItaly,equalto78.6billionofeu

14、ros.Arrivingatabout84,equivalentto5.8%ofthenationaleconomy,ifweincludepublicinstitutionsandorganizationsinthenon-profitorganizationactiveinthefieldofculture.Particularattentionhastobepaidtothemultipliereffectsgeneratedbytheeconomyofcultureandthepositiveimpactontheemployment:infact,theculturalandcrea

15、tiveindustriesaswellasthesectorsofhistorical,artisticandarchitecturalheritage,performingartsandvisualarts,areactuallyemploying1.4millionpeople,thatmeansthe5.9%ofwholeItalianemployment-andover1.5million,equalto6.3%ofthewholeemploymentrateifweincludealsothepublicandno-profitsector.2 .Culturalandcreati

16、veindustriesasdriverfactorsforlocaldevelopment:RelationshipswithterritorialandsocialcapitalThesignificancefromaneconomicpointofview,ofthecreativeeconomies,mentionedinthepreviouschapter,imposesareflectiononthenecessarynationalandinternationalpoliciesthatwillenhancethedeepbondsbetweenthevariousfieldso

17、fculture,territoriesandthesocio-institutionaltissue,inordertogivetheculturalandcreativesectorstheirroleintheeconomyoftheterritoriesandmakeittheheartofthelocaleconomicdevelopmentpatterns,eveninunderprivilegedterritories.AsstressedintheEuropeanCreativeIndustriesSummit(2015),“Thecreativeeconomyisalsoas

18、sociatedwithlargecitiesand/ordominantregionswithincountries,orevenconcentratedwithincitieswhereaprosperouscreativeindustrysectormaybeasmallenclavesurroundedbypovertyandsocialdeprivation.Thecreativeeconomytendstoconcentratetodayingreatworldcitiesthatarealreadycentralplacesoffinancialcapital,investmen

19、tandpowerorhavesignificanthistoricallegaciesofsocialandculturalmixing.Whatismore,thecentripetalforceshaveintensifiedbecauseofconvergenceandacquisitionsattheglobalcorporatelevel.Emblematicinthisregardarethetelevision,media,filmandpublishingindustries.Moreover,moredispersedorganizationalforms,whichare

20、alsocharacteristicofthesector,tendtohavetheirmajorvalue-addedactivitieslocatedand/orcontrolledintheglobalNorth.Thus,manyformsofcreative-economyinvestmentandgrowthcanamplifyexistingdivisionsbetweenrichandpoorbothacrossandwithincountries.Yet,developmentofacreativeeconomycanformanintegralpartofanyattem

21、pttoredressinequality,providedthattheprocessalsobringsaboutbroaderstructuralchangestoensurethatcreativeworkersarethemselvesnotdisadvantagedinrelationtootherworkers”.Toaddresstheseproblems,theEuropeanUnionhaslaunchedseveralmeasuresandhasallocatedfundsfortheculturalandcreativeindustrydevelopmentandthe

22、creationofcapillarynetworksinsupportoftheeconomiesofdisadvantagedareas.EmblematicisthecaseoftheStructuralFundsintheperiod2014-2020,aimedatstrengtheningthelinksamongcreativeindustries,multi-disciplinaryenvironmentsandotherindustries.Europeanfundingprogrammeshavebeendesignedtoanswertothesechallenges,s

23、uchastheCreativeEuropeprogrammeimprimis,butalsootherEUfundingprogrammesliketheERASMUSPLUSthatsupportsskillsdevelopmentthrougheducationandtraining;theCOSMEprogrammethatpromotesentrepreneurship,accesstofinanceandmarketsforsmallandmediumenterprises;theHORIZON2020whichaimsatpromotingresearchandinnovatio

24、ninthefieldofcultureandculturalheritage.Atnationallevel,tostrengthencreativeandculturalindustriesitismandatorytoencouragethedevelopmentoftheterritorialnetwork,andpoliciestosupportlocaleconomyandtherelationshipsamongprivates,andbetweenpublicandprivatesectors.Inalltheassessmentsofthecreativeeconomy,de

25、velopingcountriesappearlacking,infact,inkeyinstitutionaland/orregulatoryconditions.Developingsuchnetworksandrelationshipsmeanstohaveinmindaclearpictureofthedeeplinksamongthecreativeandculturalindustriesdevelopmentandtheso-called"territorialcapital“ofacountry;theconceptofterritorialcapitalrelate

26、s,furthermore,totheconceptof“socialcapital”.Asitisknown,forboththetermsseveraldefinitionsareavailable;thetermsreferstothesystemofterritorialassetsofeconomic,cultural,social,environmentalnature,thatensuresthepotentialdevelopmentofplaces.Thelatter,inordertosucceed,havetoexploitthiscomplexsetoffactors.

27、Theterritorialcapitalhasastronginfluenceoneconomicgrowth.Thequalityoftheinstitutionsandcohesionareelementsofgreatimportancetocreateconditionssothattheterritorialcapitalcanfullyexpressitspotential.Thismeansthatitisessentialtodirectnationalpolicies,lookingatthespecificityofeachterritory,boostingtheins

28、titutionalquality.Italsomeansinvestigatingthedeeprelationswiththeregisteredcapitalofagivencontext(Brasili,2014).Closelyrelatedtotheconceptofterritorialcapitalandinrelationwithlocaldevelopment,istheotherconceptofsocialcapital.TheconceptofsocialcapitalhasbeenextensivelyusedsincetheEightiesoftheTwentie

29、thCenturyinsociology,economicsandpoliticalscience;today,therearenumerousdefinitionsofitanditisnotpossibletoidentifyauniversallyacceptedone(Abbafati,Spandonaro,2011).Inthiscontextandtotheaimsofthiswork,itcanbedefiniedasaprofitableresourcebasedontheexistenceofsomekindofrelationsand/orsocialnorms,namel

30、y,asacollective,indivisibleresource,andasapublicgood(Cartocci,2007).Thelevelofsocialcapital,inconclusion,determinesthedegreeofsocialcohesion,thehorizontallinksandthenatureofrelationswithinstitutions.Itthereforereferstothespontaneoussharingofavaluesystemthatestablishesanddeterminesthequalityofcivilso

31、cietyandthelinksbetweenitsmembers,whichisreflecteddirectlyonthequalityofinstitutionsandethicaltissue(Abbafati&Spandonaro,2011).Hence,inordertodevelopcreativeeconomiesrelatedtothegoodsofacertainterritory,itisnecessarytostimulateandstrengthenthenetworkofvaluesandrelationshipsbetweensocialandinstit

32、utionalactorsandtopromotepoliciesinsupportoflocaldevelopment,basedonnewparadigmstakingintoaccounttheimportanceoftheterritorialcapitalandfocusedonincreasingthesocialcapitalofahumancollectivity,locatedinacertainterritory.ThisisespeciallynoticeableinthecaseofcountrieslikeItaly,forexample,wherethereisno

33、strongstrategical,uniquepolicy:cultureandcreativeindustriespolicies,infact,havebeendevelopedmainlybytheregions.Thiscausedtheoflacksustainabilityandconsistencyoftheapproachesandpracticespointedout.3 .AnoverviewonliteratureStartingfromtheissuespointedoutinthepreviouschapters,thispaperaimsatdrawingaqui

34、ckpictureoftherecentinternationalliteratureoncreativeandculturalindustriesinEuropeandworldwide.Someinterestingworkare:CreativeEconomyandCultureChallenges,ChangesandFuturesfortheCreativeIndustries(2014)byJohnHartley,WenWen,HenrySilingLi;KeyConceptsinCreativeIndustries(2013)byJohnHartley,JasonPotts,St

35、uartCunningham,TerryFlew,MichaelKeaneandJohnBanks;IntroducingtheCreativeIndustries:FromTheorytoPractice(2013)byRosamundDaviesandGautiSigthorsson;TheCreativeIndustries:CultureandPolicy(2011)byTerryFlew;TheCulturalIndustries(2012)byDavidHesmondhalgh;CreativeIndustriesandInnovationinEurope.Concepts,Mea

36、suresandComparativeCaseStudies(2014)byLucianaLazzeretti;CareersinCreativeIndustries(2015)byChrisMathieu;EntrepreneurshipfortheCreativeandCulturalIndustries(2015)byBonitaKolb;Managingsituatedcreativityinculturalindustries(2015),editedbyFiorenzaBelussiandSilviaSedita;CreativeIndustriesandUrbanDevelopm

37、ent:CreativeCitiesinthe21stCentury(2014)editedbyTerryFlew;CreativityinPeripheralPlaces:RedefiningtheCreativeIndustries(2014)byChrisGibson;TheorizingCulturalWork:Labour,ContinuityandChangeintheCulturalandCreativeIndustries(2013),editedbyMarkBanks,RosalindGillandStephanieTaylor.Finally,wewanttomention

38、threein-printingworks:TourismandtheCreativeIndustries:Theories,policiesandpractice,editedbyPhilipLongandNigelD.Morpeth;RethinkingStrategyforCreativeIndustries:InnovationandInteractionbyMilanTodorovicandAliBakir,andMarketingStrategyforCreativeandCulturalIndustriesbyBonitaM.Kolb.Wewant,inthispaper,tof

39、ocusonthedescriptionofafewofsuchbooks,thatcanberegardedashavingandinnovativepointofview.Concerningthegeneralconceptofcreativeeconomy,arecent,interestingworkisthepublicationbyHartley,WenandSilingLi,CreativeEconomyandCultureChallenges:ChangesandFuturesfortheCreativeIndustries(2014).Thefirstbookinvesti

40、gatestheconceptof"creativeindustries"extendingthofcreativeinnovationasaglobalphenomenon.CreativeEconomyandCulturepursuestheconceptual,historical,practical,criticalandeducationalissuesandimplications.Itlooksatconceptualchallenges,theforcesanddynamicsofchange,andprospectsforthefutureofcreati

41、veworkatplanetaryscale.Authorsfocusontheso-called“threebigs”,whichare:thecreativeindustriesarenotconfinedtoaneliteoftrainedartistsorfirms;theyencompass(orcouldencompass)everyone;theyarenotconfinedtoonesectoroftheeconomy;theycharacterise(orcouldcharacterise)everything;theyarenotafeatureofadvancedorwe

42、althycountries;theyare(orcouldbe)everywhere.Theauthorsanalyseindepthsomekeyconcept,suchaspopulation,technologies,culture,justtoquotethemostimportantones.Concerningtheconceptof"populationtKeynotethat“Themostimportantelementmissingfromcurrentconceptualisationsofcreativeindustriesiseveryone一thegen

43、eralpopulation,who,sincetheemergenceofdigitaltechnologies,socialnetworksanduser-createdcontent,canbeseen(notjustclaimed)tobeengaginginmasscreativeproductivity,whichwecallmicroproductivity,thatisamajordriverofeconomicdevelopment”.Ontheconceptoftechnology,indeed,theyhighlightthatcreativityisnottobeloc

44、atedintheindividualperson,butinsystems:“cultureandtheeconomyassystemstoo,albeitmorecomplexandmultiple(systemsofsystems)thananytechnologytodate.Becauseoftheirscaleandvariability,'naturabufturalsystemsarehardtostudy.Technologicalsystems,ontheotherhand,areanempiricalformofhumanconnectednessthatcanb

45、estudied(Arthur,2009).Ofthese,wethinktwoaremoreimportantthanothers.Oneisveryold:cities.Theotherisverynew:theinternet.Weseeurbananddigitaltechnologies,theirproductivityandcapacitytocreatenewideasandtodistributethemacrosswholepopulations,asaproxyforthosesamequalitiesinhumanculture.Itfollowsthatwethink

46、thepredominantconceptualisationofcreativeindustrieshasnotintegrated'creativeproduction'sufficientlywithnetworks'orwithwhatwecall'urbansemiosis'”.Abouttheconceptof“Culture”,theauthorsstatethataccordingtodheirvistheconceptof“'culture'ismisunderstoodandrestrictedinmostpublic

47、thoughtaboutthecreativeindustries.weseecultureasahumaninventionwhosefunctionistoproducegroupsor'demresupswhichcansurvivewhereindividualsdonotWearguethatwhatbindsthesegroupsisknowledge;andthatthe'outputofcultureisnotheritage,customs,art,orevenartefacts(goodsandservices),butinnovation:culturei

48、sthemechanismfor'producingnewness'inconditionsofuncertainty.Thus,forus,culturefacesthefuture.Itisthedriverofeconomy,andnottheotherwayaround.Itneedstobereconceptualisedandintegratedintoeconomicthoughtandpolicy;equally,thosedevotedtocultureandtheartsaspresentlyconfiguredneedtounderstanditsrole

49、ineconomicevolution”.Inouropinion,particularlyinterestingisthentheattentionthatauthorspaytotheneedtointegratedisciplineandapproachesinreflectingoncreativeeconomiesinitsrelationshipswithhumandevelopment.Suchrefectionisrootedontheconceptof“planet”:“wethinksomethingratherlargerthantheproverbial'ele

50、pharroom"ismissingfrommostaccountsofcreativeindustries,andcreativitymoregenerally,whetherinitsculturaloreconomicdimension:theplanet.Itisonlysincethemid-nineteenthcenturythat'we'(humansingeneral)haveevenknowntheextentoftheplanetandwhatitismadeof,whereitslandandseamassesarelocated,whatits

51、geological,biologicalandhumanresourcescomprise,andhowitssystemsinteract.Amongtheslowestdisciplinesto'globalise'theirviewofitittersubjectarethehumanities(culture)andsocialsciences(economics),whichretainalocal,sectarianornationalperspective,ratherthanseekingwaystounderstandtheirobjectofstudyas

52、aplanetaryphenomenon.Itwouldbeweirdifgeologists,oceanographers,environmentalscientists,meteorologistsorevenminersrestrictedthemselvestothisorthatcorneroftheworldwithoutseekingtounderstandhowandwhereitconnectswithothers.Butthestudyofmeaning-creationandthestudyofwealth-production(i.e.culturalstudiesan

53、deconomics;whichthisbookwilltreatasintegrated)havebothremainedaggressivelyparochial.Theideaofaplanetaryculturalsystem,orcreativeeconomy,isalmostunthinkableincurrentcircumstances,exceptbyvisionariesfromotherdisciplineslikeJaredDiamond(geography)orE.O.Wilson(biology).Inthisbook,incontradistinctiontoth

54、at,wetreatcultureasa'semiosphereL6tman,1990),adynamicsystemofdifferenceswhoselocalpeculiarities(identitiesandAnothernotableworkisexpression,values,artefacts,actions)canonlybeexplainedbymeansofthedynamicsandinteractionsofthesystemsthatgenera岫em”.CreativityinPeripheralRPdOefisiingtheCreativeIndust

55、ries"byChGiibson(2014).Thisbookisdedicatedtofurtherexploringthecreativeindustriesoutsidemajorcitiesinplacesthatarephysicallyand/ormetaphoricallyremote.Thepublicationaimsatexploringandre-definingtheconceptofcreativityasbotheconomicandculturalphenomenon,onthebasisoftheanalysisofseveralexamplessuc

56、haspostcarddesign,classicalmusic,landscapeart,tattooing,Aboriginalhip-hop,rocksculptureandsoon.Itisinterestingtonotethataccordingtotheauthors,creativityisrelatedtoaspecific“geography”,beingevidentinsubuiruralandremoteareas.Anothervaluableaspectofthisbookisthatitisbasedonamulti-disciplinaryapproach;i

57、nfact,itputstogetherthepointofviewofcommunicationsexperts,sociologists,culturalstudiesexpertswiththepointofviewofgeographersandhistorians,withtheobjectivetoexplorecreativityindiverseplacesoutsidemajorcities,e.g.insmallplacesintermsofpopulationorintermofproductive,socialmarginality.Theauthorstates“Ex

58、aminingnewindustriesinpreviouslyignoredcitiesrequiredeconomicgeographerstoexplorehowmarketlogicsbothsimilartoanddifferentfromtraditionalmanufacturingshapedthegeographicaldistributionofeconomicactivities.Ontheonehand,newindustriessuchasmusic,filmandfashionwereverticallydistintegrated,andreliedondenseinter-firmtransactions.Thesize,structureandinterdependentrelationshipsbetweencreativeindustryfirmsencouragedspatialagglomerationinparticulardistricts,usuallyinlargecitieso