Search results

1

Factors Which Influence the Growth of Creative Industries: Cross-section Analysis in China

100%

Zhang J., Kloudova J.

Creative and Knowledge Society

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2011

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vol. 1

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issue 1

5-19

EN

With the more and more important roles of creative economy, its research has become one of the major fields in economic development. The creative economy has the potential to generate income and jobs while promoting social inclusion, cultural diversity and human development. As a developing country, China is also in need of developing the creative economy to adjust the economic structure and realize the sustainable development. In this paper, we examined the factors which influence the growth of creative industries in China through the cross-section analysis of 23 regional data in 2007. Four main factors were examined in this multi-regression model, that is, GDP per capita, the number of higher education institutions, the number of students enrolled in higher education institution and the number of patents.The statistical analysis found that the model's fit is quite good and 69% of dependent variable (the ratio of value-added of creative industries to the GDP) is explained by the model. Specifically, there are three sub-conclusions. Firstly, there is not a positive relationship between GDP per capita and dependent variable; on the contrary, there is a weak negative relationship in this model. We infer that it is because of the stage of economic development. China heavily depends on the development of the second industry in the process of industrializing. Secondly, there is no linear relationship, in this model, between the number of higher education institutions and the dependent variable. We infer that it is mainly due to the differences between the higher education institutions, such as scales and qualities, etc. Thirdly, there is enough evidence to conclude that the number of students enrolled in higher education institution and the dependent variable are linearly related; the number of patents and the ratio of creative industries are linearly related, as well. They represent the important roles of talents and technology in the development of creative industries.

2

Creative Class, Creative Economy, and the Wisdom Society as a Solution to their Controversy

100%

Murgaš F.

Creative and Knowledge Society

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2011

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vol. 1

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issue 2

120-140

EN

The paper briefly introduces the notion of creativity, linking the concepts of creative class and the related creative economy that are considered by Florida (2002) and his followers as the driving force of the current social and economic development. The concept of creative economy and its quantification in form of the Creative Class Index 3T or the Euro-Creativity Index were submitted to strong critique.The critics overturn some key issues of the concept of creative class with an indication that the creative people give priority in choosing the work from the place; and there is no or almost nil correlation of a perceptual representation of the persons of homosexual orientation and the high-tech growth which confirms the opinion that the assertion about higher creativity of homosexual persons is a myth only. The purpose of the article is the examination of propriety of the concept of creative class and its quantification at one hand, and the rightfulness of their critique at the other. The analysis of the axiology of the concept of creative class is the method of examination. From point of view of axiology probably the most significant characteristic of the creative class is its accompanying destruction of thee social capital of creative people and it substitution of the creative capital. The rise of creative class takes place in parallel with the implosion of values at which basis our Jewish-Christian civilization is established. To this Florida expresses rather vague attitude by a statement that all socio-cultural changes that accompany the rise of the creative class will have no favorable impact on society.Florida (2009) labeled creativity as a basic human law, furthermore, he announced the need for a new live style in which the quality of life will increase and people become better men. The concept of creativity as an instrument of urban planning evolved into a left-liberal ideology with elements of social engineering that is the most important finding of the axiological analysis. The second finding is the need to accept the meaning of creativity. By implication of the two findings there arises a proposal for wisdom as a new driving force of social and economic development. The conclusion is the contribution is a requirement for formulation of the concept of wisdom society that is currently likely absent in the academic world, and the statement that if the West will not create the wisdom society, it will lose the raison d'être of its existence.

3

Paradygmat sektora kreatywnego w ujęciu teoretycznym

100%

Augustyn K.

Przedsiębiorstwo i Region

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2017

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issue 9

7-13

EN

The aim of the paper is to consider the crucial aspects of the creative sector as a part of the modern economy in the context of brand new subdiscipline – economics of creativity. In relation to the above theoretical aspects, the author of the article focuses mainly on definition, selected features of creative sector and its determinants of development as well.

4

Changing role of BRIC countries in technology-driven international division of labor

100%

Gryczka M.

Business and Economic Horizons

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2010

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vol. 2

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issue 2

89-97

EN

In contemporary international division of labor the importance of ICT technologies and social capital is increasing, and allows the economy to be more competitive due to arising many connections to the global information networks. The major goal of this article was analyzing (mostly in descriptive manner) and comparing the recent trends in GDP growth and its composition and international trade of high-technology manufactures and services for developed and BRIC countries. The results of conducted statistical data analysis justify the conclusion that some developing economies, especially China and India, are in fact gaining on importance in international trade of high-tech products and knowledge-intensive business services, even having become more effective competitors to the post-industrial economies in so called creative industries. Such an outcome has been caused mostly by foreign direct investments flowed in during two last decades, but also was conditioned by social and educational policy leading to development of networked human capital.

5

Creative Clusters in Poland

100%

Namyślak B.

Barometr Regionalny. Analizy i prognozy

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2013

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issue 2(32)

25-31

EN

The article describes the idea of cluster formation with particular emphasis on creative industry clusters. In first part the concept and the basic definitions of creative clusters were presented. The second part of the article is devoted to experiences in establishing creative clusters in Poland, which in reality are not significant (five formed clusters and 13 cluster initiatives countrywide).

PL

Artykuł poświęcony jest idei tworzenia kreatywnych klastrów. W pierwszej części artykułu przedstawiono koncepcję kreatywnych klastrów i z tym związane pojęcia. W drugiej części zaprezentowano polskie doświadczenia w tworzeniu kreatywnych klastrów, które jak dotychczas nie są zbyt duże (5 klastrów utworzonych i 13 inicjatyw).

6

Success in Creative Industries. A Discussion About Critical Success Factors

100%

Dziurski P.

Journal of Management and Financial Sciences

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2016

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vol. 24(2)

87-100

EN

The goal of this article is to present a discussion about the critical success factors in creative industries and recommendations for the managers within them. In the article we positively verify the thesis that sectors in creative industries have general as well as sector-specific critical success factors. Additionally, we formulate the thesis that organisations in creative industries, due to their nature, are specifically managed. This has justified an increase in the number of research on management in organization on creative industries, which enable us to raise the knowledge about those sectors and formulate recommendations for their managers.

7

Artistic Education and the Artist’s Work: the Way out of Producing Objects

100%

Nakonechna L.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione

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2018

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vol. 13

105-114

EN

In this article, the changes of the principles of teaching art in the 20th century are discussed. The artist’s path from producing objects to conducting sensory experiences, from producing representations of reality to taking an active part in the construction of reality, was reflected in the process of educational transformation. New art practices grounded in communicative features, interaction, collaboration, do not tend to make a material work as a final product, but they act in the area of the invisible. In the new conditions of the neo-liberal economy, the artist’s abilities, based on language and developed owing to pedagogical innovations in theart academies and university departments, are at risk of becoming a product of a new type, a valuable resource of creative economy, while counteraction determines new challenges for education.

8

CONCEPTUALIZING CREATIVE ECONOMY

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Krawiec M., Noga M.

Torun International Studies

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2017

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issue 10

127-137

EN

In the present papers, the authors analyse the new phenomenon in the global economy, which is creative economy. It is only since 1998, when the Ministry of Culture of Great Britain announced “the map” of creative industries in Great Britain, the world-wide professional economic literature has launched intensive studies over the entirety of creative economy, the foundation of which were cultural industries. Creative industries constitute a sharply delineated economic structure, referred to by the authors as a structural entity which yield itself to structural analysis. The aim of the paper is an attempt to define creative economy as a structural entity, which would entail certain consequences in an economic theory as well as in the practices of both domestic and global economy.

9

Interdependence of Innovations and Institutions: Consequences for GDP Growth

88%

Pietrucha J., Żelazny R.

Ekonomista

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2017

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issue 5

527-543

PL

Artykuł bada zależność pomiędzy wskaźnikiem gospodarki kreatywej (CEI) a wzrostem PKB. Autorzy zakładają, że w rezultacie sprężenia zwrotnego zachodzącego między instytucjami a kapitałem ludzkim i technologią powstają warunki sprzyjające działalności kreatywnej, która jest czynnikiem przyspieszającym innowacje na poziomie mikro-, mezoi makroekonomicznym, czego efektem jest wzrost gospodarczy. Skonstruowany przez autorów syntetyczny wskaźnik CEI jest oparty na 71 zmiennych mierzących stopień kreatywności gospodarczej oraz współzależność innowacji i instytucji. Analiza, przeprowadzona za pomocą modelu regresji wypełnionego danymi panelowymi dla 29 krajów Europy w okresie 2005–2014, potwierdziła znaczący dodatni wpływ CEI na tempo wzrostu realnego PKB.

EN

This paper examines the relationship between the creative economy index (CEI) and GDP growth. The authors assume that as a result of feedback between institutions, human capital and technology, conditions for creativity development arise, which is the accelerator for innovations at micro-, mezo- and macroeconomic levels – therefore, the creative economy develops. CEI is a composite index of creative economy developed by the authors. It is based on 71 variables measuring creative economy and interdependence of innovations and institutions. A significant, positive effect of CEI on real GDP growth has been confirmed using a regression model filled with panel data for 29 countries of Europe in the period 2005–2014.

RU

В статье исследуется зависимость между показателем креативной экономики (CEI) и ростом ВВП. Авторы полагают, что в результате обратной связи между институтами с одной стороны и человеческим капиталом и технологией с другой, возникают условия, способствующие креативной деятельности. Эта деятельность является фактором, ускоряющим инновации на микро-, мезо- и макроэкономическом уровне, и в результате, способствует экономическому росту. Построенный авторами синтетический показатель CEI опирается на 71 переменную, измеряющую степень экономической креативности и взаимозависимость инноваций и институтов. Анализ, проведенный с помощью модели регрессии на базе панельных данных для 29 стран Европы в период 2004–2014 гг., подтвердил значительное положительное влияние CEI на темпы реального роста ВВП.

10

Non-spatial factors of development of functional urban areas – case study of selected fuas of Silesian voivodeship

88%

Wrana K., Szulc T., Budziński M., Raczek M.

Studia Regionalia

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2016

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vol. 47

11

MEASURING INNOVATION AND INSTITUTION: THE CREATIVE ECONOMY INDEX

88%

Pietrucha J., Żelazny R.

Equilibrium. Quarterly Journal of Economics and Economic Policy

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2017

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vol. 12

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issue 1

43-62

EN

Research background: A literature review on innovativeness and institutions pointing to their correlation and the possibility of their joint examination. Purpose of the article: This paper attempts to devise a measurement method for a creative economy, where as a result of feedback between institutions, human capital and technology conditions facilitating the development of creativity are created. Methods: An empirical meta-analysis of indicators characterising innovativeness and institutional environment was carried out, following the hypothesis that at least in part they contain common information on creative economy. Findings & Value added: The new synthetic index, a creative economy index (CEI), was constructed. The study was conducted for a group of 34 economies of the European Union and its associated states for the period of 2005–2014.

12

Regionalne obserwatorium kultury w województwie podlaskim – uwarunkowania i planowane kierunki rozwoju

88%

Sztop-Rutkowska K., Klimczuk A.

Kultura i Edukacja

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2013

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issue 2(95)

222-246

EN

At the beginning of the XXI century, there are significant changes in relations of work and leisure time. The development of creative economy is also recognized along with emergence of a new social stratification and changes in developmental factors. Increasingly important in the socio-economic transformation is cultural sector as well as promotion of culture and creative industries development including their linkages with dependent sectors such as tourism, architecture and industrial design. The aim of this article is to refer these processes and phenomena to the conditions of Podlaskie Voivodship and to discuss the main reasons of Regional Observatory of Culture establishment. Article indicates the need for and potential benefits of knowledge management on culture at the regional level by conducting theoretical and methodological work within the observatory. Essay based on an analysis of existing data and own research results highlights the main features of the region, information needs of cultural and art institutions, culture observatory possible models, potential activity areas of the regional observatory and the arising benefits from its activities.

13

Zarządzanie w sektorze gospodarki kreatywnej

75%

Mirski A.

Państwo i Społeczeństwo

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2012

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issue 4

47-64

EN

Fundamental to an understanding of the creative economy – what it comprises and how it functions in the economies of both developed and developing countries – are the concepts of “cultural industries” and “creative industries”. This article provides an overview of the development of the concepts of “creativity” throughout this decade leading to what became known as the “creative economy”. The author’s intention is not to reach a final consensus about concepts, but to understand its evolution. It also considers the emergence of the associated concepts of “creative class”, “creative cities”, “creative clusters”, as well as the most recent innovative notions relating to the “experience economy” “creative commons” and “creative ecology”. The major drivers of the growth of the creative economy and its multiple dimensions are examined in the light of recent developments including the world economic crisis. This article also provides evidence on the economic contribution of the creative industries to the economies of various advanced countries.

14

ZABEZPIECZENIE EMERYTALNE TWÓRCÓW I ARTYSTÓWZABEZPIECZENIE EMERYTALNE TWÓRCÓW I ARTYSTÓW

63%

Zawadzki K.

Polityka Społeczna

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2017

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vol. 44

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issue 2(515)

9–13

EN

The article analyses the issue of retirement security of artists and creators. High risk of precarisation of that working group caused by the specificity of their work was pointed out. Case studies of pension schemes for artists and creators in the European countries and in Australia were carried out. Besides, the situation of that group in Poland was analysed, followed by recommendations on social security given by the main stakeholders. The article suggests that issues of social security for artists and creators should be regulated within a holistic scheme co-financed from several sources, and should consider the economic situation of that group during their professional career and after its completion.

PL

W artykule przeanalizowano zagadnienie zabezpieczenia emerytalnego artystów i twórców. Wskazano na zwiększone ryzyko prekaryzacji tej grupy zawodowej, wynikające ze specyfiki ich pracy. Dokonano analizy przypadków systemów ubezpieczeń emerytalnych artystów i twórców w wybranych krajach Europy i Australii. Wskazano ponadto sytuację tej grupy w Polsce i rekomendacje proponowane przez głównych interesariuszy w zakresie ubezpieczeń społecznych. Kwestie zabezpieczenia społecznego artystów i twórców w Polsce powinny zostać uregulowane w całościowym systemie współfinansowanym z różnych źródeł, uwzględniającym ich sytuację ekonomiczną w ciągu kariery zawodowej i po jej zakończeniu.

15

Urban creativity in the sociological perspective

63%

Pyka R.

Studia Regionalia

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2017

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vol. 51

16

PERSPEKTYWY ROZWOJU GOSPODARKI KREATYWNEJ W AGLOMERACJI GÓRNOŚLĄSKIEJ

63%

KLASIK A., DROBNIAK A., WRANA K.

Studia Miejskie

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2010

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vol. 1

141-162

EN

The paper is devoted to the issues concerning the conditions and potentialsfor development of a creative economy - based on culture sector - in cities and towns ofthe Upper Silesian Agglomeration. It refers to the aspects like: broad and narrow definition of a creative economy, prospective and retrospective presentation of the Upper Silesian Agglomeration as well as its institutional potential along with existingstructure of the creative economy. Cases of Katowice as a musie city and Bytom as a stage and outdoor entertainment town were also discussed.

PL

Artykuł jest poświęcony wynikom badań dotyczących warunków i potencjałów kształtowania i rozwoju kreatywnej gospodarki opartej na sektorze kultury w miastach Aglomeracji Górnośląskiej. Opracowanie obejmuje następujące aspekty: przedstawienie i analiza szerokiej i wąskiej definicji kreatywnej gospodarki, retrospektywne i prospektywne ujęcie Aglomeracji Górnośląskiej oraz jej potencjału instytucjonalnego i struktura sektorów gospodarki kreatywnej. W opracowaniu szczegółowo omówiono przypadki dwóch miast: Katowic i Bytomia. Katowice przedstawiono jako miasto kultury wysokiej i przemysłu muzycznego, Bytom natomiast jako miasto widowisk scenicznych i plenerowych.

17

The influence of the Ukrainian and Polish population’s cultural activity on their economic development

63%

Dyndar A.

Nierówności społeczne a wzrost gospodarczy

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2017

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vol. 52

326-338

EN

Creative sector is considered to be an impetus for the progress and, at the same time, an indicator of the potential of national economic development. The problem of determining the character of the creative economy influence both on performance results of individual business entities and on economic development rates of countries on the whole is of current importance. The purpose of this paper is to show a relation between cultural activity of population and development of national economy on the basis of the comparative analysis of statistical indices of Ukraine and Poland. The six dimensions model of national culture by Professor Geert Hofstede, Gert Jan Hofstede, Michael Minkov was used for determination position of the Ukrainian culture on the way of transformations of state planned economy. The Ukrainian and Polish population’s cultural activity features were defined and linked to the GDP dynamics. Calculations of correlation coefficients allow to rather accurately predict a degree of cultural dependence on economic results of a country. Results of the comparative analysis were presented by formulas for each of the analyzed countries. Article carries out the comparative analysis of the spending patterns of EU, Poland and Ukraine and defines the character and structural dynamics of the culture expenses.

PL

Sektor kreatywny postrzegany jest jako akcelerator postępu, a jednocześnie wskaźnik potencjału rozwoju gospodarczego. Problem określenia charakteru oddziaływania gospodarki kreatywnej zarówno na wyniki działalności indywidualnych podmiotów gospodarczych, jak i tempo rozwoju gospodarczego państw jako całości ma obecnie zasadnicze znaczenie. Celem opracowania jest ukazanie relacji pomiędzy aktywnością kulturową mieszkańców a rozwojem gospodarki narodowej w oparciu o analizę porównawczą statystycznych wskaźników dla Ukrainy i Polski. Sześciowymiarowy model kultury narodowej autorstwa Geerta Hofstede, Gerta Jana Hofstede i Michaela Minkova został wykorzystany dla określenia miejsca ukraińskiej kultury na ścieżce transformacji gospodarki centralnie planowanej. Zdefiniowano specyfikę aktywności kulturowej ludności Ukrainy i Polski oraz odniesiono ją do dynamiki PKB. Obliczenia wskaźników korelacji pozwalają dość dokładnie oszacować zależności między poziomem kultury i wynikami gospodarczymi kraju. Wyniki analizy porównawczej zostały zaprezentowane z wykorzystaniem formuł opracowanych dla każdego z analizowanych państw. W artykule przedstawiono ponadto analizę porównawczą wzorców wydatków w UE, Polsce i Ukrainie oraz określono charakter i dynamikę struktury wydatków na kulturę.

18

Lessons to Be Learned from Ukraine’s Positioning in International Rankings: The Need for Institutional Support and Financial Support for Economic Creativity

63%

Britchenko PhD I., Svydruk I., Pidlypnyi Y., Krupskyi PhD O. P.

Problemy Zarządzania

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2020

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vol. 18(4(90))

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issue 4/2020 (90)

125-146

PL

Cel: opracowanie propozycji dotyczących obszarów instytucjonalnego wsparcia procesów kreatywności w gospodarce ukraińskiej. Projekt/metodologia/podejście: przeprowadzono analizę trendów kreatywnego rozwoju ukraińskiej gospodarki i opracowano propozycje konceptualizacji instytucjonalnego wsparcia tych procesów. Autorzy postawili sobie za zadanie opracowanie propozycji instytucjonalnego wsparcia procesów twórczych oraz rekomendację systematycznej aktualizacji ukraińskiego ustawodawstwa w zakresie państwowej regulacji biznesu high-tech. Bazą informacyjną były materiały informacyjne Państwowej Służby Statystycznej Ukrainy, Ministerstwa Rozwoju Gospodarczego i Handlu Ukrainy, statystyczne bazy danych Komisji Europejskiej, OECD i Banku Światowego za lata 2014–2020. Metodologia badań oparta jest na narzędziach naukowych, w tym analizie porównawczej oraz modelowaniu ekonomiczno-matematycznym. Wnioski: stworzenie narodowego programu inwestycji publicznych w rozwój twórczy pozwoli na systematyczne podejście do kwestii wsparcia instytucjonalnego przełomów technologicznych. Ograniczenia/konsekwencje badania: zalecenia dotyczące opracowania i udoskonalenia instrumentów legislacyjnych polityki deregulacji, harmonizacji z normami europejskimi. Zaproponowano kierunki systematycznej aktualizacji ustawodawstwa w celu zapewnienia zagranicznego inwestowania kreatywnych projektów oraz celowego inwestowania we wspólne projekty badawcze nauki i organizacji kreatywnych. Realizacja pozwoli na systematyczne podejście do kwestii wsparcia instytucjonalnego przełomu technologicznego na Ukrainie. Oryginalność/znaczenie: konieczne jest zintensyfikowanie działań instytucjonalnych w zakresie organizacji ośrodków badawczych, wprowadzenie celowych inwestycji w rozwój nauki i badań organizacji kreatywnych. JEL: C43; D78; F15; G18; O11 Acknowledgements This research received no funds. Suggested Citation: Britchenko. I., Svydruk, I., Pidlypnyi, Y., & Krupskyi, O.P. (2020). Lessons to Be Learned from Ukraine’s Positioning in International Rankings: The Need for Institutional Support and Financial Support for Economic Creativity. Problemy Zarządzania (Management Issues), 18(4), 125–146. https://doi.org/10.7172/1644-9584.90.7.

EN

Purpose: To develop proposals on the directions of institutional support for the processes of creativity of the Ukrainian economy. Design/methodology/approach: The analysis of trends in the creativity of the Ukrainian economy is carried out and proposals are developed for conceptualizing institutional support for these processes. The authors set out to develop proposals for institutional support for creativity processes and offer recommendations for systematic updating of Ukrainian legislation in the areas of state regulation of high-tech business. The information base was the information materials of the State Statistics Service of Ukraine, Ministry of Economic Development and Trade of Ukraine, the statistical databases of the European Commission, OECD and World Bank for the period 2014–2020. The research methodology is based on scientific tools that include comparative analysis and economic and mathematical modeling. Findings: Building a national program of public investment in creative development will allow us to systematically approach the issue of institutional support for technological breakthroughs. Research limitations/implications: Recommendations on the development and improvement of legislative instruments of deregulatory policy, harmonization with European standards are substantiated. Directions of systematic updating of legislation on guaranteeing foreign investment of creative projects and targeted investment of joint research projects of academic science and creative organizations are proposed. The implementation will allow a systematic approach to the issue of institutional support for the technological breakthrough of Ukraine. Originality/value: There is a need to step up institutional activities in the field of organizing research centers, introduce targeted investment in the academic science and research activity of creative organizations. JEL: C43; D78; F15; G18; O11 Acknowledgements This research received no funds. Suggested Citation: Britchenko. I., Svydruk, I., Pidlypnyi, Y., & Krupskyi, O.P. (2020). Lessons to Be Learned from Ukraine’s Positioning in International Rankings: The Need for Institutional Support and Financial Support for Economic Creativity. Problemy Zarządzania (Management Issues), 18(4), 125–146. https://doi.org/10.7172/1644-9584.90.7.

19

The Rise of Creative Hubs in Istanbul

63%

Parlak M., Baycan T.

European Spatial Research and Policy

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2020

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vol. 27

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issue 1

127-147

EN

This study investigates the emergence and the rise of Creative Hubs (CHs) in Istanbul, which as Turkey’s economic capital contains most of its creative workforce and the largest number of its CHs. In the last 10 years, the number of co-working spaces (CWSs), incubation centres (ICs), labs, and makerspaces in the city has rapidly increased, following a global trend. This study aims to better understand the changing working forms of the city by investigating the motivations behind the emergence of CHs. 46 CH examples, consisting of CWSs, ICs, makerspaces, and labs, have been examined for this purpose. The study is structured around the four main categories that highlight the different aspects of CHs: structure (establishment structure and community structure), focus (sectors and professions), services (physical and social facilities), and values (motivation). The findings of the study demonstrate that members of CHs are mostly freelancers, entrepreneurs, micro SMSs, and start-ups, consisting mostly of members of Generation Y. They work predominantly in creative sectors and tend to look for flexible and cost-saving solutions, support mechanisms, and new connections for their work. The research revealed that CHs are distinguished through the services that they provide. Having emerged as new forms to respond to the distinctive needs of emerging jobs in the creative economy era, they can be considered a new landscape of the post-industrial city.

20

Edukacja kreatywna w kontekście zmiany wektora procesu oświatowego

51%

Saukh I.

Annales Universitatis Mariae Curie-Skłodowska, sectio J – Paedagogia-Psychologia

|

2019

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vol. 32

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issue 2

EN

The main goal in the article was the disclosure of the content and strategy of creative education, its importance in forming the professional competencies of a competitive manager. The terms “education for development” and “education for sustainable development” were analyzed. It was proved that nowadays exactly the educational factor is extremely important for the positive dynamics of society’s development. The emphasis was put on the importance of the new educational paradigm formulation in order to determine the perspectives for sustainable social development. In the context of the foregoing, the place of the creative education, which integrates other kinds, connects them into a complex of very important, positive characteristics of the professional studies and the formation of a manager. The need to consider the creative and the reflexive and the creative education as the most important components of the educational paradigm in the educational process was stressed. The content of creative education, which focuses on the development of the future manager creative abilities and on the consolidation in his professional consciousness the orientation of the innovation, was specified. It includes problems analysis and activity variants, and its result is an increase in the level of management art. Therefore, creative management education is focused on the establishment and development of the management art that appears and seen only under certain education circumstances and conditions. At the same time, creative education widens the range of managerial development problems and designs variants for their solution, which should be the main thing in the modern manager work. The need to change the technology of the educational process (focusing on the forming aims of the creative manager potential) and its organization was stated in the context of creative education content analysis, and at the same time emphasizing, that creative education is a new type of education that cannot be realized only by organizational restructuring. A new term “creative economy” was introduced. Firstly, it is characterized by the use of new technologies and findings in various spheres of man’s activity, much larger amount of existing knowledge, the new knowledge generating, a high degree of the motivational innovation. Creative education is the basis of the motivational innovation, which produces intellectual and creative human resources by teaching critical thinking skills and the ability to move from a problem to an effective decision making zone.

PL

Głównym celem artykułu było nakreślenie treści i strategii edukacji kreatywnej oraz wskazanie jej znaczenia w kształtowaniu fachowych kompetencji konkurencyjnego menedżera. Poddano analizie terminy „edukacja dla rozwoju” i „edukacja dla stałego rozwoju” oraz udowodniono, że właśnie oświatowy czynnik jest współcześnie niezwykle ważny dla pozytywnej dynamiki rozwoju społeczeństwa. Podkreślono znaczenie sformułowania nowego oświatowego paradygmatu w celu wyznaczenia perspektyw stałego rozwoju społecznego. W tym kontekście uzasadnia się miejsce kreatywnej edukacji, która integruje inne rodzaje, łączy je w kompleks bardzo ważnych, pozytywnych cech studiów zawodowych i kształtowania menedżera. Podkreślono przy tym potrzebę uznania kreatywnej i refleksyjno-kreatywnej edukacji za najważniejsze elementy nowego paradygmatu procesu edukacyjnego. Określono treść edukacji twórczej, która koncentruje się na rozwoju zdolności twórczych przyszłego menedżera oraz na utrwaleniu w jego świadomości zawodowej orientacji na innowację. Obejmuje ona analizę problemów i warianty działań, a jej wynikiem jest wzrost poziomu sztuki zarządzania. Dlatego edukacja kreatywnego zarządzania skupia się na tworzeniu i rozwijaniu sztuki zarządzania, która pojawia się i jest postrzegana tylko w określonych okolicznościach i warunkach edukacyjnych. Jednocześnie edukacja kreatywna poszerza zakres problemów związanych z rozwojem zarządzania i projektuje warianty ich rozwiązania, które powinny być najważniejsze w nowoczesnej pracy menedżera. Potrzeba zmiany technologii procesu edukacyjnego (koncentrując się na kształtowaniu celów potencjału kreatywnego menedżera) i jego organizacji została stwierdzona w kontekście analizy treści edukacji kreatywnej i jednocześnie podkreślono, że edukacja kreatywna jest nowym rodzajem edukacji, której nie da się zrealizować jedynie poprzez restrukturyzację organizacyjną. Wprowadzono nowy termin „kreatywna gospodarka”. Charakteryzuje się on zastosowaniem nowych technologii i odkryć w różnych sferach działalności człowieka, znacznie większą ilością istniejącej wiedzy, generowaniem nowej wiedzy, wysokim poziomem innowacji motywacyjnych. Kreatywna edukacja jest podstawą innowacji motywacyjnej, która wytwarza intelektualne i kreatywne zasoby ludzkie poprzez uczenie umiejętności krytycznego myślenia oraz umiejętności przejścia od problemu do skutecznego podejmowania decyzji.

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