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The purpose of the article is to introduce into art historical and cultural discourse of theoretically processed, generalized, analyzed information regarding the understanding of the meaning of symbols and signs in cultural studies and art historian scientists; Clarification of the root causes of the occurrence of basic concepts in cognitive anthropology. The methodology is based on the method of critical analysis of cultural, art historical, and literary sources; semiotic method; induction and deduction methods; historical, logical, and method of interdisciplinary synthesis. Scientific Novelty. Intrutded to the past experience of scientists, philosophers, art historians, culturalologists bring the need to pay attention to the meaning of symbols and signs in art history and cultural studies. The origins of the origin of the basic concepts of cognitive anthropology are found out. The author's vision of the badge and symbolism of the non-verbal language is set out, which is assimilated through the mastery of the national culture and requires intellectual efforts, corresponds to the N. Chomsky hypothesis, according to which the nature of knowledge, its use, material or physical mechanisms, the formation of the knowledge base and its application are associated with cognitive ability man in general. A modern approach to discuss issues on perceptual, security-indexed, subject-functional and other codes in the perception of reality are considered. The newest achievements of foreign and domestic researchers in the definitions of semiotic terminology, logical justifications of symbols and signs in cultural studies, and art historian examination were studied and analyzed. Conclusions. The results of the study of literary sources on this topic provided the opportunity to draw conclusions that in the analyzed editions of many authors was given insufficient attention to the origin of the terms of cognitive anthropology in the presentation of scientific material.

This book provides a synthesis of current research and international best practice, including practitioner perspectives and a range of case study examples. It covers types of creative tourist, trends, designing and implementing creative tourism products, embedding activities in a community and place, and addressing sustainability challenges.

As it was foreseen in the BA paper "Paauglystės vaizdavimas Algimanto Zurbos romanuose", this paper continues analysing Algimantas Zurba's (b. 1942), who was popular during soviet times and is still creating nowadays, creation. The sociocultural aspects of Zurba's creation were extended by analysing the place of the writer by comparing the field of soviet times' and today's literature – therefore it is tend not to the artistic analysis of works, which was done in the BA paper, but to political, social, cultural contexts that determined the peculiarity of Zurba's creation. This sociocultural research of Zurba's creative work is based on the most famous French sociologist Pierre Bourdieu's literature field theory and Lithuanian literature sociologist Loreta Jakonytė's works, in which the development of Lithuanian literature field is exhaustively described. In accordance with Dr. Valdemaras Klumbys' thesis "Lietuvos kultūrinio elito elgsenos modeliai sovietmečiu" (2009), the relationships of Zurba and soviet government institutions are analysed; the emphasis is put on typical for the writer external adjustment model, which is related to publicly declared, favourable to the government, attitude, but not to ideological worldview support. Contextual analysis of works is based on the representative of French pragmatics Dominique Maingueneau's literature context theory and on the representative of French socio-criticism Pierre Barberr's works. The sources of the research are journalism of Zurba, published in various periodical publications, and autobiography "Gal taip reikėjo" (2012). With comparative point of view it is aimed to evaluate Zurba's capital and estimate the influence of the writer to the field of Lithuanian literature. It is revealed that while evaluating colleagues and the prose of the contest of the young philologists, Zurba aims to emphasise the importance of traditional-realistic literature. The paper highlights not only the official activity of writer-socialist, but also informal relationships with colleagues. Particular attention is paid to the development and the shift of the writer's self-image; it is noticed that while Lithuania was proclaiming independency rehabilitation ideas, Zurba hard maintained nation's leader's position, motivated Lithuanian identity and nurturance of national culture. After having rehabilitated independency, the field of Lithuanian literature changed substantially: the writers lost the interest and the respect of the society; lost financial support from the government. Even though Zurba, as well as the majority of famous writers during soviet times, feels uninteresting, old-fashioned and irrelevant in today's literature field, he is still creating traditional ethnocentric prose of village topics, and in both journalism and autobiography declares the resistance to the popular culture, emphasises the importance of the nurturance of traditional values.

Cultural policy is one of the factors that determine the conduciveness of a city to the creativity of social groups and individuals. It is directly linked to several dimensions measured almost in all the Creative City Indexes: access to culture, cultural offers and facilities, cultural/creative industries development. Indirectly, it impacts other important dimensions of the creative city: openness, tolerance and diversity. The paper aims to summarize the main features of cultural policy of five cities that have identified creativity as a strategic factor for urban development and lay in top 10 creative EU countries, according to the currently existing creativity indexes. The scope of the analysis is an institutional framework of the cultural policy formation and implementation and the mechanism of the municipal financing of culture. The analysis is based on the publicly available online information: data from the official websites of cities, statistical sources, communications and publications of the cities' councils, projects' reports.

Cultural policy is one of the factors that determine the conduciveness of a city to the creativity of social groups and individuals. It is directly linked to several dimensions measured almost in all the Creative City Indexes: access to culture, cultural offers and facilities, cultural/creative industries development. Indirectly, it impacts other important dimensions of the creative city: openness, tolerance and diversity. The paper aims to summarize the main features of cultural policy of five cities that have identified creativity as a strategic factor for urban development and lay in top 10 creative EU countries, according to the currently existing creativity indexes. The scope of the analysis is an institutional framework of the cultural policy formation and implementation and the mechanism of the municipal financing of culture. The analysis is based on the publicly available online information: data from the official websites of cities, statistical sources, communications and publications of the cities' councils, projects' reports.

"There has been increasing scholarly interest in the management of creative and cultural industries (CCIs) as both economically and socially significant sectors. However, Transformational Innovation in the Creative and Cultural Industries uniquely focuses on how innovation in these industries transforms industry practice. This textbook uncovers the strategic role of innovation for organizations in the creative and cultural sector, with practical guidance to help understand the seismic disruptions brought about by the recent global health crisis. The authors examine how innovation in business models, products, services, and technology has disrupted the competitive landscapes of the arts world. Innovations are characterized as deriving from other industries as well as via exogenous shocks that privilege some companies over others. Case studies bring to life how innovation is used strategically in different ways around varying competitive forces now. This book provides readers with both the conceptual tools and industry examples to understand how innovation can be a productive tool for transforming their own creative and cultural industry practice and performance during a period of rapid technological change and unprecedented societal challenge. This makes the book an ideal resource for students and practitioners in all creative and cultural industry sectors"--

A key interdisciplinary concept in our understanding of social interaction across creative and cultural practices, kinesthetic empathy describes the ability to experience empathy merely by observing the movements of another human being. Encouraging readers to sidestep the methodological and disciplinary boundaries associated with the arts and sciences, Kinesthetic Empathy in Creative and Cultural Practices offers innovative and critical perspectives on topics ranging from art to sport, film to physical therapy

Collection of articles on economic, social, and cultural aspects of innovation by researchers at the University of the Basque Country. - Provided by publisher

The scope of this paper is to conceptualise a data-based research framework for the role of creative networks in cultural exchange. Participation in culture measured as audience per 1000 residents and expenditures on culture-related activities were analysed in relation to such territorial assets as accessibility to creative infrastructure, the economic status of residents, the governance networks of civil society, and cultural capital. The results indicate how accessibility, governance networks, and cultural capital contribute to participation measured via audience indicators while a low poverty rate has explanatory value with respect to expenditures on culture.

Journal of Inspiration Economy (JIE) Vol.2 Nr.2, 11-27 ; Cultural and creative industries are today recognised as an important area in the promotion of economic growth and innovation. In Western countries of them appreciation emerged two decades ago. In China, the development has been slower, but recently these industries are included in policy programmes of the central government. The change is interlinked with the transition from manufacturing to services and also reflects the development of knowledge economy in China. Our study aims to deepen the understanding of the ways in which cultural and creative industries are understood in China and how their development is reconciled with the country-specific challenges: piracy, centralised power and the creativity-hampering features of Confucianism. Our empirical study is based on the experience of a Western 3D contents production company which is actively looking for business opportunities in the cultural and creative industries in China. This experience has been illustrated through interviews in the company and among its partners and potential clients.

This book presents the creative industries as a suite of practices intimately connected to political, economic, and cultural power. Seeking to illuminate the creative industries through critical cultural analysis, the book shows the extent to which creative labour shapes our shared cultural and political realities, good and bad.