Economics and Culture: Culture in economic development

By D. Throsby. 2000

1,659 citations recorded by the source corpus.

In an increasingly globalised world, economic and cultural imperatives can be seen as two of the most powerful forces shaping human behaviour. This book considers the relationship between economics and culture both as areas of intellectual discourse, and as systems of societal organisation. Adopting a broad definition of culture, it explores the economic dimensions of culture, and the cultural context of economics. The book is built on a foundation of value theory, developing the twin notions of economic and cultural value as underlying principles for integrating the two fields. Ideas of cultural capital and sustainability are discussed, especially as means of analysing the particular problems of cultural heritage, drawing parallels with the treatment of natural capital in ecological economics. The book goes on to discuss the economics of creativity in the production of cultural goods and services; culture in economic development; the cultural industries; and cultural policy.

Subfields: Economics and Econometrics, Information Systems

View Paper: https://www.semanticscholar.org/paper/d7467b62aee119fd558d8438662135776ae0a2ce

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Citations in the corpus

Local And Regional Development (2006, background): “These types of criticism continue to be levelled at some TNC investments in lagging regions, but lately some researchers have suggested that the changing nature of TNCs throws up a different range of local and regional development possibilities (Amin et al. 1994; Henderson et al. 2002).”
The concentric circles model of the cultural industries (2008, background): “For a more detailed discussion see Throsby (2001b).”
Cultural-Products Industries and Urban Economic Development (2004, background): “…and Funck (1999), Fuchs (2002), Heilbrun and Gray (1993), Hudson (1995), Landry (2000), Lorente (2002), Myerscough (1988), O’Connor (1998), Throsby (2001), Weinstein and Clower (2000), and Whitt (1987), among others, have all commented on the potentialities of the cultural economy for…”
A new modernity? (2006, background): “Throsby (2001), for example, places ‘the arts’ at the core of the cultural industries sector; policy documents in the UK frequently separate out a ‘cultural sector’ distinct from the more commercially and digitally oriented ‘creative industries’.”
Economic valuation of cultural heritage sites: A choice modeling approach (2010, background): “For example, cultural institutions and heritage sites often provide a variety of public contributions such as symbolic cultural items, historical value, social value, aesthetic value, spiritual value, educational value and shared experience (Hansen et al., 1998; Sable & Kling, 2001; Throsby, 2001).”
The cultural and creative industries: a review of the literature (2007, neutral): “Related industries: Advertising; Architecture; Design; Fashion (Throsby, 2001; 2007)”
Modelling the cultural industries (2008, background): “…proposition that it is the cultural value of cultural goods that gives these industries their most distinguishing characteristic; thus the more pronounced the cultural content of a particular good or service, the stronger is the claim to inclusion of the industry producing it (Throsby 2001, 2008).”
Beyond ad hocery: Defining Creative Industries (2002, neutral): “1988; cf. Gibson 1999; Throsby 2000).”
Include Us Out—Economic Development and Social Policy in the Creative Industries (2006, background): “The current Creative Economy programme at DCMS is expected to produce a Green Paper in the autumn, but until then one is forced either to return to old texts such as Chris Smiths’s Creative Britain (Smith, 1998) or piece together what passes for policy from Ministerial speeches and statements (Purne”
The disappearing arts: creativity and innovation after the creative industries (2009, methodology): “It was based on Throsby’s ‘concentric circle’ model of the cultural sectors (Throsby 2001), which sees the creative arts as the source and generator of ideas that are later picked up by other cultural industries such as the media industries (film, TV and radio).”