英国创意阶层形成和发展
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摘要
自上世纪90年代以来，世界经济经历了全球化、信息化、市场化的大转变。特别以信息技术密集型和知识密集型代表高科技含量的产业得到了迅猛的发展，自此也宣布了集知识经济和文化经济的诞生。文化创意产业是20世纪90年代发达国家提出的发展理念，但更是信息时代知识经济的产物，被视为21世纪的“朝阳产业”。这是因为自工业革命所诞牛的“夕阳产业”面临失去原动力之后，后工业社会所必须要面对的问题。因此寻找后工业社会的原动力就成为当今世界各国的首要任务。文化创意产业无论就其产品性质、生产及消费者偏好等，都与传统制造业及高科技企业有显著不同。它是融合了时尚工业、文化产业、资讯科技、娱乐传播于一体的新型复合型产业，是现代大都市发展从生产—技术创新阶段演进到文化——艺术——技术创新阶段的主导产业体系。文化创意产业集聚具有提供创意氛围、建构合作网络、创造知识区域、积累社会资本等优势。正是这些优势使得各国都将其作为下个世纪各国重点的发展对象，作为后工业社会经济发展的新兴增长点。
创意产业是当今世界的朝阳产业。它具有快速成长性，也因此有望成为未来世界各国的支柱产业。该产业涉及了诸如文化、科技、教育和地理位置等多方面因素，并且这些因素之间呈现相互依赖、相互作用的关系。
截至本世纪，创意产业是最为重要的经济增长点之一。在发达国家里，创意产业是重要的发展方向，关于这一点已被国际社会广泛认可。可以想象不久的将来国家的竞争主要表现为创意城市之间的竞争。对业已形成的创意城市来说，将面临来自世界各地新生创意城市的竞争。创意城市之间的竞争归根到底是创意人才的竞争，所以创意阶层将成为一个国家最具有价值的资源。
本文主要研究内容是探讨和理解创意阶层的产生背景和发展模式，认识他们是谁、他们如何工作等等问题。通过对这个群体的集中研究，揭示这个产业的主要方方面面。但是我所寻求的答案是创意人才怎样形成和发展的，以及创意阶层怎样成为新经济的驱动力。
本文从英国各城市创意阶层的发展理论展开。笔者认为一个城市由于历史、地理和文化积淀而具备特有性格，相应地它们各自创意阶层形成和发展模式也会不一样。通过研究，我已发现创意阶层不仅在城市中心区域得到了很好的发展，而且很多城郊甚至农村的创意产业也开始蓬勃发展。我选择研究的对象是英国。最主要原因是英国的“创意阶层”与其他国家相比享有很高的声望，同时也是起源国家；第二个原因是因为英国和中国之间存在着很多相似的共同点，都具有悠久的历史、都对传统十分尊重；第三，英国从一个制造业经济转型为一个信息经济，并且又成功成为一个创意产业国，大力提倡运用个人知识、想象力和热情创造非凡的价值和财富。
在过去三十年里，我国主要专注于经济建设。取得了很大的成就，使我国逐渐发展成为一个充满活力而繁荣的国家。但是全球化、技术和竞争正日新月异地改变着全球经济环境，过去成功不等于未来的成功，所以我国应该未雨绸缪，做好积极应对之策。所以此课题对目前我国具有很重要的现实意义。
为便于这个研究，我已将创意产业广义地划分为三个部分：艺术与文化、设计、媒体。但是本文在正文中有必要的地方也会从狭义的角度来对创意产业进行细分。
The creative industry is a sunrise industry - one that is relatively new, fast growing and is expected to become more important in the future. This phenomenon involves many interdependent factors such as culture, technology, education and geographic location.
It is now internationally acknowledged that the creative industry is one of the most important sources of economic growth this century and an essential development in any modern, thriving civilization. It is envisaged that in future, there will be competition for the established creative cities from new players around the world. Creative talent meanwhile, needs careful nurturing and will become one of a nation's most valuable resources.
My chosen research angle is to study and understand the background of the creative class. Identify who they are, how they work, etc. By focusing on this group it is my intention to uncover key aspects of this fascinating industry. The answer I am seeking is how creativity has become the new driving force.
The beginning of the study was based on the theory that the creative class developed in cities. Since it is recognized that a city's character is the product of its history, geography and culture, then its individual creative industry model will have developed differently. Through research, I have found that a further evolution of the creative industry has evolved in non-city areas, in the suburbs and even the countryside. Therefore the theory to be examined is whether individual talents can be attracted by different geographical factors.
My choice of geographical location for study is the UK. The main reasons are first and foremost that the UK as a whole and London in particular, enjoy a peerless reputation for "creative industry' - in fact the term was actually coined there. Secondly, because there is an affinity between UK and China in so far as they share a long history, the respect for tradition and in the last century, have begun to interlink cultures.
The UK has evolved from a manufacturing economy to an information economy and now a creative economy that exploits the knowledge, imagination and passion of individuals to create extraordinary value and wealth.
Over the past 3 decades, China has focused much of its energy on strengthening its industrial fundamentals. Its economic strategy has made it a dynamic and prosperous nation. However, as globalization, technology and competition are changing the global environment, the factors for success in the past may not necessarily apply in the future.
The starting point for research has been to reassess and challenge the creative cluster concept. The creative cluster is considered a key contributor to the creative economy and can be defined as "those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property". These creative industries directly or indirectly produce cultural products and include not only commercial enterprises but also artists, public and non-profit organizations. Unified by the thread of cultural creativity, the creative cluster cuts across multiple economic sectors and does not constitute a cohesive sector in the traditional sense of an industry sector.
For the purposes of this research, I have categorized the creative industries into three broad groups. Arts & Culture, Design, Media.
创意产业是当今世界的朝阳产业。它具有快速成长性，也因此有望成为未来世界各国的支柱产业。该产业涉及了诸如文化、科技、教育和地理位置等多方面因素，并且这些因素之间呈现相互依赖、相互作用的关系。
截至本世纪，创意产业是最为重要的经济增长点之一。在发达国家里，创意产业是重要的发展方向，关于这一点已被国际社会广泛认可。可以想象不久的将来国家的竞争主要表现为创意城市之间的竞争。对业已形成的创意城市来说，将面临来自世界各地新生创意城市的竞争。创意城市之间的竞争归根到底是创意人才的竞争，所以创意阶层将成为一个国家最具有价值的资源。
本文主要研究内容是探讨和理解创意阶层的产生背景和发展模式，认识他们是谁、他们如何工作等等问题。通过对这个群体的集中研究，揭示这个产业的主要方方面面。但是我所寻求的答案是创意人才怎样形成和发展的，以及创意阶层怎样成为新经济的驱动力。
本文从英国各城市创意阶层的发展理论展开。笔者认为一个城市由于历史、地理和文化积淀而具备特有性格，相应地它们各自创意阶层形成和发展模式也会不一样。通过研究，我已发现创意阶层不仅在城市中心区域得到了很好的发展，而且很多城郊甚至农村的创意产业也开始蓬勃发展。我选择研究的对象是英国。最主要原因是英国的“创意阶层”与其他国家相比享有很高的声望，同时也是起源国家；第二个原因是因为英国和中国之间存在着很多相似的共同点，都具有悠久的历史、都对传统十分尊重；第三，英国从一个制造业经济转型为一个信息经济，并且又成功成为一个创意产业国，大力提倡运用个人知识、想象力和热情创造非凡的价值和财富。
在过去三十年里，我国主要专注于经济建设。取得了很大的成就，使我国逐渐发展成为一个充满活力而繁荣的国家。但是全球化、技术和竞争正日新月异地改变着全球经济环境，过去成功不等于未来的成功，所以我国应该未雨绸缪，做好积极应对之策。所以此课题对目前我国具有很重要的现实意义。
为便于这个研究，我已将创意产业广义地划分为三个部分：艺术与文化、设计、媒体。但是本文在正文中有必要的地方也会从狭义的角度来对创意产业进行细分。
The creative industry is a sunrise industry - one that is relatively new, fast growing and is expected to become more important in the future. This phenomenon involves many interdependent factors such as culture, technology, education and geographic location.
It is now internationally acknowledged that the creative industry is one of the most important sources of economic growth this century and an essential development in any modern, thriving civilization. It is envisaged that in future, there will be competition for the established creative cities from new players around the world. Creative talent meanwhile, needs careful nurturing and will become one of a nation's most valuable resources.
My chosen research angle is to study and understand the background of the creative class. Identify who they are, how they work, etc. By focusing on this group it is my intention to uncover key aspects of this fascinating industry. The answer I am seeking is how creativity has become the new driving force.
The beginning of the study was based on the theory that the creative class developed in cities. Since it is recognized that a city's character is the product of its history, geography and culture, then its individual creative industry model will have developed differently. Through research, I have found that a further evolution of the creative industry has evolved in non-city areas, in the suburbs and even the countryside. Therefore the theory to be examined is whether individual talents can be attracted by different geographical factors.
My choice of geographical location for study is the UK. The main reasons are first and foremost that the UK as a whole and London in particular, enjoy a peerless reputation for "creative industry' - in fact the term was actually coined there. Secondly, because there is an affinity between UK and China in so far as they share a long history, the respect for tradition and in the last century, have begun to interlink cultures.
The UK has evolved from a manufacturing economy to an information economy and now a creative economy that exploits the knowledge, imagination and passion of individuals to create extraordinary value and wealth.
Over the past 3 decades, China has focused much of its energy on strengthening its industrial fundamentals. Its economic strategy has made it a dynamic and prosperous nation. However, as globalization, technology and competition are changing the global environment, the factors for success in the past may not necessarily apply in the future.
The starting point for research has been to reassess and challenge the creative cluster concept. The creative cluster is considered a key contributor to the creative economy and can be defined as "those industries which have their origin in individual creativity, skill and talent and which have a potential for wealth and job creation through the generation and exploitation of intellectual property". These creative industries directly or indirectly produce cultural products and include not only commercial enterprises but also artists, public and non-profit organizations. Unified by the thread of cultural creativity, the creative cluster cuts across multiple economic sectors and does not constitute a cohesive sector in the traditional sense of an industry sector.
For the purposes of this research, I have categorized the creative industries into three broad groups. Arts & Culture, Design, Media.
引文
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[2] 东南区文化艺术委员会因为地区人口众多原因，有20名委员，其中8名来自地方和地区政府。
[1] Goldman's quip should not of course be taken literanlly;rather, it captures the idea that the risks facing producers of creative products are inherently greater than for many other productiong actives.see "Adventures in the Screen Trade"op cit.
[2] Creative Industries:Contracts between Art and Commerce, R.Caves, Oxford University Press,2001.P299
[1] "Promoting Entrepreneurship and Innovative SMEs in a Global Economy:Towards A More Responsible And Inclusive Globalisation",OECD,www.oecd.org/dataoecd/5/24/31919590/pdf,june 2004.
[2] Ibid
[1]Krugman,P.Geography and trade[M].MIT Press,Canbridge,Mas,1991.
[2]Wu Qidi(2006) Address to the Creative Industries and Innovation Forum,Beijing,Jul y2005.In M.Keane and J.Hartley(eds)Creative Industries and Innovation in China.Special iss ue of the International Journal of Cutural Studies.9:3
[3]Leadbeater,C.(1999).Living on Thin AinThe New Economy.Viking,London.
[4]Leadbeater,C.(2002).Up the Down EscalatonWhy the Global Pessimists Are Wrong.Vi king,London.
[5]J.Barry,C.Brooks,eds,The Middling Sort of People:Culture,Society and Polities in Engli sh,1550-1800,Basi-ngstoke 1994,esp.l-27.
[6]Le Paradis des Femmes:Women,Salons and Social Stratification in Seventeenth-century France,Princeton 1976.
[7]F.Chabod,‘L’'Idea di Europ,Rassegna dTtalia Ⅱ(1947),3
[8]H.Bots,ed.,Henri Basnage de Beauval en de histori desouvrages des savans,1687-1709,Ⅰ-Ⅱ,Amsterdam 1976.
[9]P.J.A.N.Rietbergen,'Pieter Rabus en de“Boekzaal van Europe”,1692-1702',in H.Bots,e d.,Pieter Rabus en de Boekzaal van Europe Amsterdam 1974,1-102.
[10]On the moralizing nature of many weeklies:W.Martens,Die Botschaft der Tugend,Stu ttgart 1968.
[11]RJ.Buijnsters/Sociability van de Spectator',Speigel der Letteren 15/1(1973),1-17.
[12]Scherer F.M.Schumpeter and Plausible Capitalism[J]Journal of Economic Literature,1992,(30):1419—1424.
[13]Romer,PM.Increasing returns and long-run growth[J]-Journal of Po-litical Economy,1986,94(5):1002-1037-
[14]Porter ME.The competitive advantage of Nation[M].New York:The Free Press,1990.
[15]Joseph S.Nye,Jr.,Soft Power[J].Foreign Policy,Fall 1990.
[16]Richard Florida.The Rise of the Creative Class[M].New York:Basic Books,May.2002:15
[17]Tracey Skeltong and Tim Allen(eds),Culture and Global Change,London:Routledge,19 99.
[18]“Consumption trends in the UK,1975-99”,L.Blow,A.Leicester and Z.Oldfield,IFS Reports R 65,2004
[19]“The Right Stuff:America's Move to Mass Customization”,Federal Reserve Bank of Dallas,1998 Annual Report.
[20]For the role of technologically influenced personalisation in creative industries,see“The Long TaiLWhy the Future of Business is Selling Less of More”op cit.See also“Sup erstars and Underdogs:An Examination of the Long Tail Phenomenon in Video Sales”op ci t.
[21]Boutmy,The English People—A Study of Their Political Psychology,pp.63-64
[22]The Difference:How the Power of Diversity Creates Better Groups,Team,Schools and Societies,S,Page,Princeton university press,2007
[23] A tentative finding with potentially wide-ranging implications is that women are mor elikely to engage in interdisciplinary research than men: "Women in interdisciplinary science: Exploring prefences and Consequences", D. Rhoten and S. Pfirman, Research Policy, Vol.36(1),2 007.
[24] "The Tipping Point:How Much is Broadcast Creativity at Risk?",The Work Foundati on, 2005
[25] The Kok Report, assessing European competitiveness in the light of the Lisbon target sfor European heads of government in 2004 described the knowledge economy in the follo wing terms:"the knowledge society is a larger concept than just an increased commitment to R&D.It covers every aspect of the contemporary economy where knowledge is at the h eart of value added-from high-tech manufacturing and ICTs through knowledge incentive s ervices to the overtly creative industries such as media and architecture. "(Kok Report.2004)
[26] How Much Does the UK inwest in tintangible Assets ?M.Marrano and J.Haskel,Que en Mary, Universtity of London Working paper no.578,2005
[27] Georghiou op cit.As the Office of Government Commerce has itself conceded:public procurement has a "tendency to opt for low-risk solutions,low-margin players and mature technology,"and "innovation is not toutinely welcomed or rewarded." "Captureing Innovati on:Nurturing Suppliers Ideas in the Public Sector,"p.5,Office for Government Commerce, 2004.See also "Driving Innovation through Public Procurement',NESTA policy Briefing, Feb ruary 2007
[28] "Transforming Government Procurement",HM Treasury,2007
[29] Goldman's quip should not of course be taken literanlly;rather, it captures the idea th at the risks facing producers of creative products are inherently greater than for many oth erproductiong actives.see "Adventures in the Screen Trade'op cit.
[30] Creative Industries:Contracts between Art and Commerce,R.Caves,Oxford University Press, 2001. P299
[31] "Promoting Entrepreneurship and Innovative SMEs in a Global Economy:Towards A More Responsible And Inclusive Globalisation",OECD,www.oecd.org/dataoecd/5/24/31919590/pdf,june 2004.
[1] 理查德·福罗里达．创意阶层的崛起[M]．北京：中国人民大学出版社，2006．6，p004
[2] 理查德·福罗里达．创意阶层的崛起[M]．北京：中国人民大学出版社，2006．6，p035
[3] 迈克尔·波特，竞争论[M]．高登第译，中信出版社，2003
[4] 张仲敏．城市建设经济学[M]．北京：中国财政经济出版社，1990．1-2
[5] 宋峻岭，陈占祥译．国外城市科学文选[M]．贵阳：贵州人民出版社，1984．1
[6] 张仲敏．城市建设经济学[M]．北京：中国财政经济出版社，1990．1-3
[7] K．J．巴顿．上海社会科学院部门经济研究所城市经济研究室译．城市经济学[M]．北京：商务印书馆，1984．14
[8] 文化丘(Tells)，中东地区-处古丘，积累了丰富的古人类聚落文化遗迹；石冢(Cairn)，圆台型垒石堆，古爱尔兰人丧葬地纪念标志；两者都是古人类聚会或聚居的地方。
[9] 刘易斯·芒福德．城市发展史--起源、演变和前景[M]．．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．P3
[10] 刘易斯·芒福德．城市发展史--起源、演变和前景[M]．宋峻岭，倪文彦译．北京：中 国建筑工业出版社．2005．P9
[11] 江美球等．城市学[M]．北京：科学普及出版社，1988．P58-59
[12] 李其荣．对立与统一-城市发展历史逻辑新论[M]．．江苏：东南大学出版社，2001．5
[13] 刘易斯·芒福德．城市发展史--起源、演变和前景[M]．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．P9
[14] 刘易斯·芒福德．城市发展史--起源、演变和前景[M]．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．P102
[15] 刘易斯·芒福德．城市发展史--起源、演变和前景[M]．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．P104
[16] 帕克等．城市经济学[M]．北京：华夏出版社1987，P1
[17] 科赛就冲突对于社会整合的功能主要提出了三个命题：1、系统中的单位越是分化与功能性互相依赖，冲突就有可能越是频繁但却是低程度和低暴力型的；2、冲突的烈度和暴力程度越低，冲突就越有可能：(1)提高系统单位创新与创造力的水平；(2)在系统单位集端化之前释放敌意；(3)提高冲突关系的规范调节程度；(4)提高现实问题的意识；(5)提高社会单位之间协作联合的数量。3、冲突越是能够实现命题2中的系列命题，社会系统内部的整合水平和系统适应外部环境的能力就越能得到提高。
[18] 刘易斯·芒福德．城市发展史--起源、演变和前景[M]．宋峻岭，倪文彦译．北京：中国建筑工业出版社，2005．P107
[19] 石洁．创意人才“心理环境”分析[J]．艺术与设计(理论)，2008年03期
[20] 潘懋元．高等教育历史、现实与未来[M]．北京：人民教育出版社，2006，P206
[21] 安宇、沈山：和谐社会的区域文化战略-江苏建设文化大省与发展文化产业研究[M]．中国社会科学出版社，2005．
[22] 阿诺德·豪泽尔．艺术社会学[M]．人民教育出版社，2006，P37．
[23] 鲍列夫．美学[M]．上海译文出版社，1988，P225
[24] 英加登．艺术的和审美的价值[J]．文艺理论研究，1985．8
[25] P．布尔迪厄．国家精英-名牌大学与群体精神[M]．商务印书馆2004，P129
[26] 许士密．大众文化和主流文化、精英文化良性互动机制的构建[J]．求实，2002，(6)：9-12．
[27] 刘迎秋．在使命与诱惑之间--试论大众文化勃兴下的精英文化意识[J]．青岛科技大学学报(社会科学版)，2003，(1)：92-94．
[28] 邹广文．当代中国大众文化及其生成背景[J]．清华大学学报(哲社版)，2001．(2)：46-53．
[29] 黄会林．当代中国大众文化研究[M]．北京：北京师范大学出版社，1998．
[30] 蔡尚伟，温洪泉等．文化产业导[M]．复旦大学出版社．2006．45
[31] 金元浦．文化生产与文化产业[J]．求是，2002年20期
[32] 厉无畏．创意产业导论[M]．学林出版社．2006．21页
[33] 荣跃明．上海创意产业发展的现状和前景[J]．毛泽东邓小平理论研究．2005年．第01期
[34] 约翰·奈斯比特等．高科技高思维[M]．尹萍译，新华出版社，2000
[35] 丹麦文化部、贸易部：丹麦的创意潜力：丹麦的文化与商业政策报告，李璞良、林怡君译，台湾典藏艺术家庭，2003
[36] [韩国]李普京．韩国：为什么必须发展文化产业，人民网《青年记者》2006年3月31日。
[37] 特路多总理1971年10月8日在众议院的讲话。见：琼·R．马利，乔纳森·C．扬编。文化多样性与加拿大教育：问题与革新。518
[38] 孙安民．文化产业理论与实践[M]．北京出版社，2005
[39] 唐任伍、赵莉．文化产业--21世纪的潜能产业[M]．贵州人民出版社，2004
[40] 高关中．英国风土大观[M]．当代世界出版社，1999，P32-35
[41] 蔡尚伟，温洪泉等．文化产业导[M]．复旦大学出版社，2006，P175
[42] 马克思，恩格斯．马克思恩格斯全集[M]．人民出版社，1965，P288
[43] 付德根．英国精英文化批判[J]．北京工业大学人文社科学院，2001年6月
[44] 钱乘旦．英国文化模式溯源[M]．上海社会科学院出版社，2003，P273
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[46] 马克思恩格斯全集(第4卷)[M]．北京：人民出版社，1965．P468-469
[47] 沃尔特·本雅明．发达资本主义时代的抒情诗人[M]．张旭东，魏文生译．北京：三联书店，1989．P51
[48] 巢乃鹏．《传媒产业：基于价值链与利润区的分析》[M]．南京大学出版社，2003．
[49] 潘成云．解读产业价值链-兼析我国新兴产业价值链基本特征[J]．当代财经，2001，9
[50] 厉无畏创意产业导论[M]．学林出版社．2006，3，197
[1] 国际劳工组织官方网站。
[2] http://laws.justice.gc.ca/en/ShowFullDoc/cs/c-18.7///en
[3] http://canada.gc.ca
[4] http://www.pch.gc.ca
[5] http://www.dfait-maeci.gc.ca
[6] http://www.anbafrance-cn.org/cn/index.php
[7] http://www.University of Westminster.edu.uk
[8] http://www.Cardiff University.edu.uk
[9] http://www.cep.culture.gov,uk/index,cfm?fuseaction=main.viewSection&intSectionID=334
[10] http://www.culture.gov.uk/
[11] http://www.culture.gov.uk/images/publications/stayingahead_epukci_annex.pdf
[12] http://www.ilo.org/global/lang--en/index.htm
[2] 理查德·福罗里达．创意阶层的崛起[M]．北京：中国人民大学出版社，2006．6，p035
[1] Krugman, P. Geography and trade[M].MIT Press,Canbridge,Mas, 1991.
[1] 迈克尔·波特，《竞争论》，高登第译，中信出版社，2003
[1] 蔡尚伟，温洪泉等．文化产业导[M]．复旦大学出版社．2006．45
[2] 金元浦．文化生产与文化产业[J]．求是，2002年20期．
[3] 厉无畏．创意产业导论[M]．学林出版社．2006．21页
[4] 荣跃明．上海创意产业发展的现状和前景[J]．毛泽东邓小平理论研究．2005年．第01期
[1] Scherer F. M. Schumpeter and Plausible Capitalism[J].Journal of Economic Literature, 1992,(30):1419-1424.
[2] Romer, PM. Increasing returns and long-run growth [J]·Journal of Po-litical Economy, 1986, 94(5):1002-1037.
[3] Porter ME.The competitive advantage of Nation [M].New York:The Free Press,1990.
[4] Joseph S. Nye, Jr., Soft Power[J]. Foreign Policy, Fall 1990.
[5] Richard Florida.The Rise of the Creative Class[M].New York:Basic Books,May.2002:15
[1] [韩国]李普京．韩国：为什么必须发展文化产业，人民网《青年记者》2006年3月31日。
[1] 特路多总理1971年10月8日在众议院的讲话。见：琼·R．马利，乔纳森·C．扬编。文化多样性与加拿大教育：问题与革新。518
[2] http://canada.gc.ca
[3] http://www.pch.gc.ca
[4] http://www.dfait-maeci.gc.ca
[1] http://www.anbafrance-cn.org/cn/index.php
[1] 丹麦文化部、贸易部．丹麦的创意潜力：丹麦的文化与商业政策报告，李璞良、林怡君译，台湾典藏艺术家庭，2003
[2] 孙安民．文化产业理论与实践，北京出版社，2005
[3] 唐任伍、赵莉．文化产业--21世纪的潜能产业，贵州人民出版社，2004
[1] 张仲敏．城市建设经济学．北京：中国财政经济出版社，1990．1-2
[2] 宋峻岭，陈占祥译．国外城市科学文选．贵阳：贵州人民出版社，1984．1
[3] 张仲敏．城市建设经济学．北京：中国财政经济出版社，1990．1-3
[4] K．J．巴顿．上海社会科学院部门经济研究所城市经济研究室译．城市经济学．北京：商务印书馆，1984．14
[5] 文化丘(Tells)，中东地区一处古丘，积累了丰富的古人类聚落文化遗迹；石冢(Cairn)，圆台型垒石堆，古爱尔兰人丧葬地纪念标志；两者都是古人类聚会或聚居的地方。
[1] 刘易斯·芒福德．城市发展史--起源、演变和前景．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．3
[2] 江美球等．城市学．北京：科学普及出版社，1988．58-59
[3] 刘易斯·芒福德．城市发展史--起源、演变和前景．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．9
[4] 李其荣．对立与统一-城市发展历史逻辑新论．．江苏：东南大学出版社，2001．5
[1] 刘易斯·芒福德．城市发展史--起源、演变和前景．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．9
[2] 刘易斯·芒福德．城市发展史--起源、演变和前景．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．102
[3] 刘易斯·芒福德．城市发展史--起源、演变和前景．宋峻岭，倪文彦译．北京：中国建筑工业出版社．2005．104
[4] 帕克等．城市经济学．北京：华夏出版社1987，P1
[1] 刘易斯·芒福德．城市发展史--起源、演变和前景．宋峻岭，倪文彦译．北京：中国建筑工业出版社，2005．107
[2] 石洁．创意人才“心理环境”分析．艺术与设计(理论)，2008年03期
[1] P．布尔迪厄．国家精英商务印书馆-名牌大学与群体精神．2004，P129
[2] 约翰·奈斯比特等．高科技高思维[M]．尹萍译，新华出版社，2000
[3] 这是德国社会统计学家恩格尔发现的定理。
[1] 丹麦文化部、贸易部：丹麦的创意潜力：丹麦的文化与商业政策报告，李璞良、林怡君译，台湾典藏艺术家庭，2003
[2] http://www.ilo.org/global/lang--en/index.htm
[1] J.Barry, C.Brooks,eds,The Middling Sort of People:Culture, Society and Polities in English,1550-1800,Basingstoke 1994 ,esp. 1-27.
[2] Le Paradis des Femmes:Women,Salons and Social Stratification in Seventeenth-century France,Princeton 1976.
[3] F.Chabod, 'L` Idea di Europ', Rassegna d` Italia Ⅱ(1947),3
[4] H.Bots,ed.,Henri Basnage de Beauval en de histori desouvrages des savans,1687-1709,Ⅰ-Ⅱ,Amsterdam 1976.
[5] P.J.A.N.Rietbergen, 'Pieter Rabus en de "Boekzaal van Europe",1692-1702' ,in H.Bots,ed.,Pieter Rabus en de Boekzaal van Europe Amsterdam 1974,1-102.
[1] On the moralizing nature of many weeklies:W.Martens,Die Botschaft der Tugend, Stuttgart 1968.
[2] P.J. Buijnsters, 'Sociability van de Spectator', Speigel der Letteren 15/1 (1973), 1-17.
[3] 许士密．大众文化和主流文化、精英文化良性互动机制的构建[J]．求实，2002，(6)：9-12．
[4] 刘迎秋．在使命与诱惑之间--试论大众文化勃兴下的精英文化意识[J]．青岛科技大学学报(社会科学版)，2003，(1)：92-94．
[1] 邹广文．当代中国大众文化及其生成背景[J]．清华大学学报(哲社版)，2001．(2)：46-53．
[2] 黄会林．当代中国大众文化研究[M]．北京：北京师范大学出版社，1998．
[1] 阿诺德·豪泽尔．艺术社会学，第37页．
[2] 鲍列夫．美学．上海译文出版社，1988，第225页
[1] 英加登．艺术的和审美的价值．文艺理论研究，1985．8
[2] Wu Qidi(2006) Address to the Creative Industries and Innovation Forum, Beijing, July2005.In M.Keane and J.Hartley(eds)Creative Industries and Innovation in China.Special issue of the International Journal of Cutural Studies.9:3
[1] 潘懋元．高等教育历史、现实与未来．北京：人民教育出版社，2006，P206
[2] Leadbeater, C.(1999).Living on Thin Air: The New Economy. Viking, London.
[3] Leadbeater, C.(2002).Up the Down Escalator: Why the Global Pessimists Are Wrong. Viking, London.
[1] 安宇、沈山：和谐社会的区域文化战略-江苏建设文化大省与发展文化产业研究，中国社会科学出版社，2005．
[1] 高关中．英国风土大观[M]．当代世界出版社，1999，P32-35
[2] 蔡尚伟，温洪泉等．文化产业导[M]．复旦大学出版社，2006，P175
[1] Tracey Skeltong and Tim Allen(eds),Culture and Global Change, London: Routledge, 1999.
[1] 马克思，恩格斯．马克思恩格斯全集．人民出版社，1965，P288
[1] 裘特人原居住今日丹麦一带，今天的丹麦还有一地叫“裘特兰”的地方。
[2] Boutmy, The English People-A Study of Their Political Psychology, pp.63-64
[1] The Difference: How the Power of Diversity Creates Better Groups, Team, Schools and Societies, S, Page, Princeton university press, 2007
[2] A tentative finding with potentially wide-ranging implications is that women are more likely to engage in interdisciplinary research than men:"Women in interdisciplinary science:Exploring prefences and Consequences",D. Rhoten and S. Pfirman, Research Policy, Vol.36(1),2007.
[3] "The Tipping Point: How Much is Broadcast Creativity at Risk?",The Work Foundation,2005
[4] www. University of Westminster.edu.uk
[1] www.Cardiff University.edu.uk
[2] 付德根．英国精英文化批判[J]．北京工业大学人文社科学院，2001年6月
[1] 钱乘旦．英国文化模式溯源[M]．上海社会科学院出版社，2003，P273
[2] 威廉斯．文化与社会[M]．昊松江，张文定译．北京：北京大学出版社，1991．P64
[3] 马克思恩格斯全集(第4卷)[M]．北京：人民出版社，1965．P468-469
[1] 沃尔特·本雅明．发达资本主义时代的抒情诗人[M]．张旭东，魏文生译．北京：三联书店，1989．P51
[1] www.cep.culture.gov.uk/index,cfm?fuseaction=main.viewSection&intSectionID=334
[1] 潘成云．解读产业价值链--兼析我国新兴产业价值链基本特征[J]．当代财经，2001，9
[1] http://www.culture.gov.uk/
[2] 东南区文化艺术委员会因为地区人口众多原因，有20名委员，其中8名来自地方和地区政府。
[1] Goldman's quip should not of course be taken literanlly;rather, it captures the idea that the risks facing producers of creative products are inherently greater than for many other productiong actives.see "Adventures in the Screen Trade"op cit.
[2] Creative Industries:Contracts between Art and Commerce, R.Caves, Oxford University Press,2001.P299
[1] "Promoting Entrepreneurship and Innovative SMEs in a Global Economy:Towards A More Responsible And Inclusive Globalisation",OECD,www.oecd.org/dataoecd/5/24/31919590/pdf,june 2004.
[2] Ibid
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[2]Wu Qidi(2006) Address to the Creative Industries and Innovation Forum,Beijing,Jul y2005.In M.Keane and J.Hartley(eds)Creative Industries and Innovation in China.Special iss ue of the International Journal of Cutural Studies.9:3
[3]Leadbeater,C.(1999).Living on Thin AinThe New Economy.Viking,London.
[4]Leadbeater,C.(2002).Up the Down EscalatonWhy the Global Pessimists Are Wrong.Vi king,London.
[5]J.Barry,C.Brooks,eds,The Middling Sort of People:Culture,Society and Polities in Engli sh,1550-1800,Basi-ngstoke 1994,esp.l-27.
[6]Le Paradis des Femmes:Women,Salons and Social Stratification in Seventeenth-century France,Princeton 1976.
[7]F.Chabod,‘L’'Idea di Europ,Rassegna dTtalia Ⅱ(1947),3
[8]H.Bots,ed.,Henri Basnage de Beauval en de histori desouvrages des savans,1687-1709,Ⅰ-Ⅱ,Amsterdam 1976.
[9]P.J.A.N.Rietbergen,'Pieter Rabus en de“Boekzaal van Europe”,1692-1702',in H.Bots,e d.,Pieter Rabus en de Boekzaal van Europe Amsterdam 1974,1-102.
[10]On the moralizing nature of many weeklies:W.Martens,Die Botschaft der Tugend,Stu ttgart 1968.
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[14]Porter ME.The competitive advantage of Nation[M].New York:The Free Press,1990.
[15]Joseph S.Nye,Jr.,Soft Power[J].Foreign Policy,Fall 1990.
[16]Richard Florida.The Rise of the Creative Class[M].New York:Basic Books,May.2002:15
[17]Tracey Skeltong and Tim Allen(eds),Culture and Global Change,London:Routledge,19 99.
[18]“Consumption trends in the UK,1975-99”,L.Blow,A.Leicester and Z.Oldfield,IFS Reports R 65,2004
[19]“The Right Stuff:America's Move to Mass Customization”,Federal Reserve Bank of Dallas,1998 Annual Report.
[20]For the role of technologically influenced personalisation in creative industries,see“The Long TaiLWhy the Future of Business is Selling Less of More”op cit.See also“Sup erstars and Underdogs:An Examination of the Long Tail Phenomenon in Video Sales”op ci t.
[21]Boutmy,The English People—A Study of Their Political Psychology,pp.63-64
[22]The Difference:How the Power of Diversity Creates Better Groups,Team,Schools and Societies,S,Page,Princeton university press,2007
[23] A tentative finding with potentially wide-ranging implications is that women are mor elikely to engage in interdisciplinary research than men: "Women in interdisciplinary science: Exploring prefences and Consequences", D. Rhoten and S. Pfirman, Research Policy, Vol.36(1),2 007.
[24] "The Tipping Point:How Much is Broadcast Creativity at Risk?",The Work Foundati on, 2005
[25] The Kok Report, assessing European competitiveness in the light of the Lisbon target sfor European heads of government in 2004 described the knowledge economy in the follo wing terms:"the knowledge society is a larger concept than just an increased commitment to R&D.It covers every aspect of the contemporary economy where knowledge is at the h eart of value added-from high-tech manufacturing and ICTs through knowledge incentive s ervices to the overtly creative industries such as media and architecture. "(Kok Report.2004)
[26] How Much Does the UK inwest in tintangible Assets ?M.Marrano and J.Haskel,Que en Mary, Universtity of London Working paper no.578,2005
[27] Georghiou op cit.As the Office of Government Commerce has itself conceded:public procurement has a "tendency to opt for low-risk solutions,low-margin players and mature technology,"and "innovation is not toutinely welcomed or rewarded." "Captureing Innovati on:Nurturing Suppliers Ideas in the Public Sector,"p.5,Office for Government Commerce, 2004.See also "Driving Innovation through Public Procurement',NESTA policy Briefing, Feb ruary 2007
[28] "Transforming Government Procurement",HM Treasury,2007
[29] Goldman's quip should not of course be taken literanlly;rather, it captures the idea th at the risks facing producers of creative products are inherently greater than for many oth erproductiong actives.see "Adventures in the Screen Trade'op cit.
[30] Creative Industries:Contracts between Art and Commerce,R.Caves,Oxford University Press, 2001. P299
[31] "Promoting Entrepreneurship and Innovative SMEs in a Global Economy:Towards A More Responsible And Inclusive Globalisation",OECD,www.oecd.org/dataoecd/5/24/31919590/pdf,june 2004.
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[8] 文化丘(Tells)，中东地区-处古丘，积累了丰富的古人类聚落文化遗迹；石冢(Cairn)，圆台型垒石堆，古爱尔兰人丧葬地纪念标志；两者都是古人类聚会或聚居的地方。
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[17] 科赛就冲突对于社会整合的功能主要提出了三个命题：1、系统中的单位越是分化与功能性互相依赖，冲突就有可能越是频繁但却是低程度和低暴力型的；2、冲突的烈度和暴力程度越低，冲突就越有可能：(1)提高系统单位创新与创造力的水平；(2)在系统单位集端化之前释放敌意；(3)提高冲突关系的规范调节程度；(4)提高现实问题的意识；(5)提高社会单位之间协作联合的数量。3、冲突越是能够实现命题2中的系列命题，社会系统内部的整合水平和系统适应外部环境的能力就越能得到提高。
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