Journals / Sosyoekonomi / 2017 / Cilt: 25 - Sayı: 33

The New Face of Economy: Creative Economy

Ekonominin Yeni Yüzü: Yaratıcı Ekonomi

Pages
59–80
Publication Date
2017-07-31
DOI
—
🏛️Bibliographic metadata and full text access for this article are provided via DergiPark.
DergiPark Record ↗
✨

AI Summary & Key Takeaways

AI Insight
⚡ TL;DR(Too Long; Didn't Read)

In this study, the notion of creative economy and related approachs are discussed in order to fill the gaps.

📌 3 Key Takeaways

🎯
Objective & Hypothesis:The economic reflection of creativity, which requires thinking differently, finding unique solutions to problems, producing unique products, being original and new, in short, is appering as "creative economy".
📊
Key Findings & Data:Since the early 90s, the number of studies and researches is rising day by day in developed countries that realised the positive effects of creative economy on economic and cultural development of the country.
💡
Conclusion & Impact:In this study, the notion of creative economy and related approachs are discussed in order to fill the gaps.
🔬Design:Research Article
📍Scope:Comprehensive Sample
⚙️Variables:Yaratıcı Ekonomi · Yaratıcı Endüstriler · Yaratıcı Sınıf

Abstract

The economic reflection of creativity, which requires thinking differently, finding unique solutions to problems, producing unique products, being original and new, in short, is appering as "creative economy". Since the early 90s, the number of studies and researches is rising day by day in developed countries that realised the positive effects of creative economy on economic and cultural development of the country. Unfortunately, in our country, the literature has gaps about this subject, because the importance of creative economy has newly began to understood. In this study, the notion of creative economy and related approachs are discussed in order to fill the gaps.

Özet

Herkesin düşündüğünden farklı düşünmeyi, herkesin bulduğu çözümlerden farklı çözümler bulmayı, herkesin ürettiğinden farklı şeyler üretmeyi kısacası orijinal ve yeni olmayı gerektiren yaratıcılığın ekonomiye yansıması “yaratıcı ekonomi” olarak kendini göstermektedir. 90’lı yılların başlarından itibaren, yaratıcı ekonominin, ülkenin ekonomik ve kültürel gelişimi üzerine olumlu etkilerinin farkına varmış olan gelişmiş ülkelerde bu konuda yapılan araştırma ve çalışmaların sayısı gün geçtikçe artmaktadır. Ülkemizde ise, yaratıcı ekonominin önemi yeni yeni anlaşılmaya başlandığı için konu ile ilgili yazında boşluklar vardır. Bu çalışmanın amacı da; mevcut boşluğu bir nebze doldurabilmek adına, yaratıcı ekonomi kavramını; yaratıcı endüstriler, yaratıcı sınıf ve yaratıcı şehir yaklaşımları üzerinden ele alarak, genel bir çerçeve oluşturmaktır.

🔖

Cite This Article

ESEN, Ü. B., ATAY, Ö. (2017). The New Face of Economy: Creative Economy. Sosyoekonomi, Cilt: 25 - Sayı: 33, 59–80. https://ajindex.com/articles/139448

📄 Full Text PDF Viewer

📄

PDF görüntüleyici hazırlanıyor...

References (20)

  1. Aksoy, A. ve Z., Enlil, (2011), “Kültür Ekonomisi Envanteri İstanbul 2010”,
  2. Bilgi Üniversitesi Yayınları,
  3. İstanbul.
  4. Booyens, I., (2012), “Creative Industries, Inequality and Social Development: Developments, Impacts and Challenges in Cape Town”, Urban Forum, 23, pp.43–60.
  5. Caves, R. E., (2000),
  6. Creative Industries, Harvard University Press,
  7. England. DCMS, Department for Culture, Media & Sport (2015), Creative Industries Economic Estimates, Full Statistical Release. De Beukelaer, C., (2014), “Creative Industries in Developing Countries: Questioning Country Classifications in The UNCTAD Creative Economy Reports”, Cultural Trends, Vol. 23, No. 4, pp.232–251.
  8. Demir, E. M., (2014), “Yaratıcı Endüstriler”, İLEF Dergisi, 1(2), s. 87-107.
  9. Donald, B., Gertler M. S. and P. Tyler, (2013), “Creatives After the Crash”, Cambridge Journal of Regions, Economy and Society, 6, pp.3–21.
  10. Eriç, M., (1998),
  11. Kültür ve Yaratıcılık, Kazancı Kitap, İstanbul. European Commission, (2006), ‘The Economy of Culture in Europe”, Eorupean Affairs. Flew, T., (2002), “Beyond ad hocery: Defining Creative Industries”, The Second International Conference on Cultural Policy Research, New Zealand. Florida, R., (2005),
  12. Cities and the Creative Class, Routledge, New York. Florida, R., Mellander, C.P.A. and K. M., Stolarick, (2010), “Talent, Technology and Tolerance in Canadian Regional Development”, The Canadian Geographer, Vol.54, No. 3, pp.277–304.
  13. Gabe, T., Florida, R. and C. Mellander, (2013), “The Creative Class and The Crisis”, Cambridge Journal of Regions, Economy and Society, 6, pp.37-53.
  14. Glaeser, E. L. (1998) “Are Cities Dying?”, Journal of Economic Perspectives, Vol.12, No.2,, pp.139-160.
  15. Glaeser, E., (2011), “Which Places Are Growing? Seven Notable Trends from Newly Released Census Data”, Policy Briefs, pp.1-12.
  16. Güran, M. C. ve İ. E. Seçilmiş, (2013), “Ankara Kültür Ekonomisi Sektörel Büyüklüklerin Değerlendirilmesi”, T.C Kültür ve Turizm Bakanlığı, Ankara.
  17. Grodach, C., (2013), “Cultural Economy Planning in Creative Cities: Discourse and Practice”, International Journal of Urban and Regional Research, Volume 37.5, pp.1747–1765.
  18. Hansen, H. K., (2007),
  19. Technology, Talent and Tolerance – The Geography of the Creative Class in Sweden, Department of Social and Economic Geography, Lund University, Report 169. Hospers, G.-J., (2003), “Creative Cities: Breeding Places in the Knowledge Economy”, Knowledge, Technology, & Policy, Vol.16, No.3, pp. 143-162.
  20. Howkins, J., (2013), The Creative Economy: H