Guest Editorial
Guest Editorial
复制标题
客座社论
DOI：
10.1068/c3203ed
复制
发表时间：
2014
期刊：
影响因子：
--
通讯作者：
Comunian R
中科院分区：
文献类型：
--
作者：
Comunian R
在过去十年中，各国政府和政策制定者对创意经济作用的关注大大增加，不仅在英国(DCMS 2001)和欧洲(Kea 2006)，而且在全球(贸发会议2008)。创意部门被认为对经济增长具有基础性作用和潜力。然而，“创意部门”的用意还有待商榷。在英国、整个欧洲和澳大利亚，学术界对创意产业的研究主要集中在所谓的创意产业上。在北美，人们更多地关注创意人士的角色，他们后来被称为“创意阶层”(佛罗里达，2002年)。虽然创意产业的论述主要集中在如何帮助和支持创意公司--经济增长过程中的关键参与者--但创意阶层理论的核心是这样一个概念，即从事“创意”职业的个人通过营造一个开放和充满活力的工作和生活环境，为当地经济增长做出贡献。尽管侧重点不同，但这两种方法可以被视为一枚硬币的两面：一种看公司，另一种看个人。无论是看个人还是公司，许多作者都试图解决创意部门在经济中的角色、模式和范围。然而，文献并没有指出高等教育机构在创造力的发展中扮演着或可能扮演什么样的角色
The attention paid by governments and policy-makers towards the role of the creative economy has grown tremendously in the last decade, not only in the UK (DCMS 2001) and Europe (KEA 2006) but also globally (UNCTAD 2008). The creative sector is believed to have a fundamental role and potential for economic growth. However, what is intended by ‘creative sector’is open to debate. In the UK, Europe in general and also Australia, the main focus of the academic research on the creative sector has been the so-called creative industries. In North America the focus has been more on the role of creative people, who became known as the ‘creative class’(Florida 2002). While the creative industries discourse focuses primarily on how creative firms–key players in the economic growth process-can be helped and supported, the core of the creative class theory is the notion that individuals working in a “creative” occupations contribute to local economic growth by fostering an open and dynamic environment to work and live in. Despite the different focus, the two approaches can be seen as the two sides of the same coin: one looking at firms, the other at individuals.Whether looking at individuals or firms, many authors have tried to address the role, patterns and scope of the creative sector on the economy. However, the literature has failed to address what role Higher Education Institutions (HEIs) play or can potentially play in the development of the creative