创意产业英文文献3
文化创意产业园外文翻译文献
文献信息：文献标题：Creative China must find its own Path（中国要有自己的创新之道）国外作者：Justin 0'Connor文献出处：《Zhuangshi》, 2009, 199:1-4字数统计：英文2082单词，10526字符；中文3519汉字外文文献：Creative China must find its own Path It is commonly said that China needs to ‘catch-up’ with ‘the west’ or the ‘developed world’. This phrase implies a singular path; there may be short cuts and ‘late-comer advantages’ but the destination –a modern, developed country –is the same. But just when it seems China is within touching distance, the ‘developed world’ changes the definition of what it is to be ‘developed’ and puts more obstacles in the path of those trying to catch-up. In English we call this ‘moving the goal-posts’. After manufacturing, services and high-technology seemed to present clear goals for China, the cultural creative industries arrive as the new ‘value-added’ product and service sector, posing yet more problems for the country’s policy-makers. Many in the West have argued that China will take a long time to catch-up in these areas and that this provides a new source of competitive advantage to the West. Indeed, for some, the absence of a competitive cultural creative industries sector is evidence that China is not, and maybe can never be, fully ‘developed’.Much of this can be dismisse d as another example of the West’s superiority complex; however, there can be no doubt that the cultural creative industries present great possibilities but also great challenges for China. These industries – from visual and performing arts, to recorded music, film and TV, to digital animation and new media services, through to fashion, design and architecture – are highly creative andinnovative products and services, relying on complex flows of knowledge and intellectual property. They are also cultural or symbolic products that reflect and influence our pleasures and ambitions, and our individual and collective sense of meaning and identity. For these reasons all nations have sought to protect and develop their own national culture and traditions by investing in cultural infrastructure and expertise. In the second half of the twentieth century this was expanded beyond ‘the arts’ – galleries, museums, opera houses, universities, arts schools, journals etc. - to include broadcast media, film, publishing and recorded music. In the last 20 years the emphasis has shifted from building economic infrastructures for reasons of national cultural identity to mobilizing culture and creativity for reasons of economic development.The cultural creative industries are now strongly linked with the knowledge economy, which emphasizes high levels of research, knowledge transfer and, above all, innovation. In the West artists or ‘cultural producers’ have long been associated with dynamic, often unpredictable creative innovation. Now the innovative capacity of the cultural industries is extended to a new range of creative products and services and is also seen as a catalyst for innovation right across the economy. In China this agenda has also meant moving beyond the idea of a better industrialization or marketisation of existing cultural products towards a more systematic approach to the idea of cultural and creative innovation and its wider economic impacts. This demands the ability to anticipate new products and services, finding new audiences, differentiating rather than imitating what already sells. It requires new kinds of ‘soft skills’ that are hard to acquire as they are often ‘tacit’, demanding experience rather than formal education (though this is also necessary). It demands understanding different models of production, complex value chains and the interaction between cultural, creative and business skills.In the last few years the central driving force behind cultural and creative industries policies has been the idea of ‘cluster’. Starting from a few isolated examples in Beijing, Shanghai and other smaller coastal cities the concept has now become a central policy platform. Cultural and creative clusters exist in the West,though these terms cover extremely diverse developments. There are some good reasons why China would choose this policy platform above others. In many large cities experiencing de-industrialisation there are empty factories that seem ripe for this kind of development. The model of concentration to facilitate rapid development also fits well with China’s history of collectivization and more recently its development of high-tech and other R&D parks. Clusters are also attractive to policy makers because they are highly visible - successful ones give publicity to them and the city. At the same time they offer clear and concrete steps to support a sector that is very new and not very well understood. However, there are some real problems to be overcome if these clusters are to deliver what is expected of them.Many clusters emerged organically, with artists looking for cheap workspace; but in China, as in the West, they soon drew attention from property developers. The first big problem faced by clusters is that cultural and creative producers raise the profile of a place and this is very quickly translated into rent rises, typically driving out the first occupants. This is a complex problem, but my main point would be that policy cannot be driven by the dynamics of real estate. Some have said that if creative industries are so economically important we should let the market decide. There is some truth in this; it is very easy to subsidise bad artists and creative producers.However, the dynamics of real estate markets and the creative economy are very different, especially at the early stages. Cultural profile can raise rents much more rapidly than with other kinds of occupancy, often from a low base, and can provide good profit. But these rent rises are often too fast for a slowly emerging sector, which is no t just to be seen as individual companies but as a complex emerging ‘creative ecology’. The real estate market measures ‘good’ or ‘bad’ creatives by their ability to pay the rent, not on their long-term effect on innovation. There are easy measures for real estate success –higher rent yield –but how are we measuring the innovative capacity of the local economy? In general, local governments should not give tax breaks to real estate companies and then allow them to apply pure market rules to rents. More subtle intelligence and policy instruments are needed if government is find a productive balance in this area.Clusters are often conceived as places for the ‘industrialisation’ of cultural products –that is, mass production and marketing. The need for innovation is forgotten in the process. There are many visual art clusters that are very much like factories, reproducing extremely outdated products for the lowest end of the art market. This might provide jobs in the short term but simply confirms China as the world’s low value producer. Similar things could be said about traditional crafts, which are extremely repetitive and are usually only protected by inter-provincial tariffs. These products might inflate the statistics – according to one report China is third largest exporter of cultural products – but they are very misleading; most of the products counted do little to enhance the innovation capacity of the cultural creative sector.Better understanding and governance of clusters is necessary. Clusters deliver benefits for many but not the entire cultural creative sector. Computer games, for example, does not benefit from clusters because more or less everything is produced in-house in great secrecy. They go to clusters because of tax and rent subsidies, not to be in proximity to others. Visual artists benefit from cheaper rents, the reputation of a ‘cool’ place and from space to work in quiet; they do not necessarily engage in intensive networking and knowledge transfer. Other project based industries, such as new media, want the networking possibilities provided by clusters, what economists called ‘untraded interdependencies’. There are thus different requirements for the different branches, and both the mix of companies and the quality of the space need to be carefully understood.There is real scope for informed government policy here. In general they should look to raise the quality of production as well as developing new audiences and markets. Clusters can have a role in this, but they have to form part of a wider policy strategy. For example, universities are vital to building new human capital - they have to be encouraged to look to creative skills not just teaching from established models, . Local television stations can be encouraged to pay more for high quality content – at the moment the purchase is a one size fits all approach which often pays the worst and the best exactly the same. The design of urban spaces can be enhancedto support the city as a ‘creative milieu’. More directly, the cultural creative industries need new creative attitudes and mentalities that take some time to come through; they also demand a range of ‘soft skills’ associated with project management, brand development and marketing which have to be learned ‘on the job’. But th ey find it hard to learn these skills when they are mostly delivering services at the lowest part of the value chain, where innovation effects and intellectual property go abroad. Talent is wasted in servicing when it should be focused on developing original content. Local governments have to realize that though the cultural creative industries have strong economic benefits they are also about quality – high values which demand the long term view not the quick return of the ‘bottom line’. This push for high quality and higher levels of innovation is something that demands a more holistic approach to policy; and clusters can play a crucial role in this.Rather than be seen as convenient containers for cultural creative producers they need to become focal points for targeted development. Universities and art schools need to be more involved, as do their cultural creative industry research centres. Real knowledge transfer can be encouraged and facilitated by intelligent cluster managers. The skills to run a cluster are just emerging and there are some good exemplars – but much of it is just real estate management as in any other sector and this is a wasted opportunity. Networking events, joint marketing, seminars with foreign companies, spaces and occasions for experimentation, a carefully managed programme for the general public (too much tourism can destroy a cluster, as in Tianzi fang in Shanghai), intelligent links to other clusters and larger creative companies –all these demand specific skills to deliver. These skills also should be disseminated and improved across between the clusters.China does need to look to foreign experts and models; but it has also shown time and again that it can also find its own way, and in ways that have astonished outsiders. It can do this with the cultural creative industries but it has to look long term, beyond immediate economic gain (including rent increases) to the long-term creative and innovative capacity of the country. It has to recognize that it is catching up at a time when western creative industry corporations are more global than ever,looking to penetrate local Chinese markets just when the country is trying to develop its own creative sector. This presents a real challenge, but I would say that rather than try and use policy tools derived from the West, China should look to its own traditions and strengths. I do not just mean its traditional culture in terms of calligraphy or opera or ink painting; I mean its resources for social and economic development that uses, but is not subservient to, the ‘free’ market. In fact the UK, closely associated with the creative industries agenda, has very little capacity to deliver industry support, relying on demands that people be more ‘entrepreneurial’ rather than deliver systema tic and intelligent sectoral strategy. This is why it has let a 250-year-old world famous ceramics company – Wedgewood – go bankrupt. China has some things to learn from the UK, but its deep resources of intelligent and pragmatic policy will be ultimately decisive. Most important, policy makers should not loose sight of the importance of culture for collective meaning and identity. This is much more diverse, fluid and open to new influences, and the Chinese government has increasingly stood back from direct intervention. In the search for the new economic benefits of the cultural creative industries their deeper cultural contexts should not be neglected.中文译文：中国要有自己的创新之道人们总是说中国需要赶超西方或发达国家，这似乎意味着是唯一的道路。
中小企业营销创新和产品创新外文文献翻译中英文
中小企业营销创新和产品创新外文文献翻译中英文（节选重点翻译）英文How do innovation culture, marketing innovation and product innovation affect the market performance of small and medium-sized enterprises(SMEs)?Hasan AksoyIntroductionIt is known that innovation has a significant impact on the performance of firms. Most studies that focus on the relationship between innovation efficiency and firm size only sought to understand the findings in terms of the improvement of market performance and the exploitation of new market opportunities. This specific relationship was further established for small and medium-sized enterprises (SMEs), as well as large companies. Because of their number and the significant share of the workforce involved, SMEs play a crucial role in the economies. Thus, strengthening the innovative aspects and knowledge of SMEs brings major opportunities, as innovation is a key to long-term competitiveness and promises further gains regarding private sector performance and economic development.In this light, this paper aims to contribute to the literature by providing a better understanding of the links between the layers ofinnovation and market performance. Equally, the study empirically tests the resource-based view (RBV) and is extended from Terziovski's work. In contrast to numerous previous studies that indicate market performance as a dimension of the firm's performance, this study provides a clearer view upon the relationship between the constructs of innovation that drive market performance.The first objective implies highlighting the importance of market innovation and innovation culture on product innovation in SMEs. Thus, it should be mentioned that innovation is significant at all stages of competition and creates wealth in the business environment for companies. Some researchers argue that small firms invest more in product innovation than they do in process innovation. Therefore, this study approaches only the effect of product innovation on market performance. Companies need to apply innovation culture in their practices, such as to allow them to succeed in terms of innovative products and services. It is creativity, empowerment, and change of organizational culture that drives innovation. Empirical evidence suggests that it is important to build, maintain, and promote a culture of innovation, if companies want to remain successful and create new products. However, despite the attention towards the topic of marketing innovation and innovation culture in the literature, previous research did not sufficiently analyzed the contribution of innovation culture and theimpact of marketing innovation on product innovation.The second objective of the study is to address the importance of marketing innovation strategies and product innovation when considering superior market performance. The primary idea behind this research is that marketing innovation is a prerequisite when trying to improve market performance. Marketing and product innovation strategies are the key contributors to market performance. Competitiveness has become an indispensable element of survival in the marketplace, while innovation activities create superior value and benefits, such as allowing a company to differentiate itself from its' competitors. SMEs can effectively use market innovation to sell differentiated products and services in complex environments. The innovation literature suggests that product innovation affects performance. In the research, the focus was on the influence innovative activities have on market performance. This study contributes to the present literature by revealing the manner in which the development of a unique innovation culture and marketing innovation provides SMEs with product innovation success. It also sustains that the creation of innovative marketing strategies and product innovation capabilities maintain superior market performance on the part of SMEs.The researcher theoretically approaches the fact that an RBV plays a major role in explaining and answering the following questions in the model. Firstly, to what degree do marketing innovation and productinnovation efforts influence the market performance of SMEs? Secondly, how does innovation culture impact on both marketing and product innovation in SMEs? Thirdly, to what degree do marketing and product innovation interact with each other to affect the market performance of SMEs? In this light, the SPSS Amos from listed Turkish SMEs was used to test the hypothesis.The study begins by discussing the literature and theoretical background of the model, followed by the description of the methodology and the examined samples and measures. The final sections present the results, while highlighting a critical review and possible avenues for future research.Innovation cultureThe findings in the literature indicate a significant relationship between culture and innovation [79], [80], [81], [82], [83]. Innovation is a crucial precursor to competition and generates wealth in the business environment [13], [14], [15]. However, the application of innovation is not easy to embrace without having a culture that encourages the organization to innovate [84]. Innovation occurs when firms motivate their employees to share their skills with the rest of the organization [47]. As such, values, beliefs, and behaviors are shared by organizational members in a manner that builds an innovation culture [85], [86]. This empowers company development and the obtaining of new knowledgethat improves the innovation [87], [88].Marketing innovationMarketing adds value to the sales interface and to the innovation performance of the company [103]. Market innovation focuses on developing the mix of a target market, while determining how companies can serve the target markets best [37]. It is also described as a progress in marketing mix [53], [61]. Nevertheless, innovation and marketing must go hand in hand. Innovation reveals the buyer's needs beyond the product, while marketing innovation has to evaluate customer value perceptions and generate opportunities for unmet customer needs, based on which companies may provide new innovative products [40], [104].Product innovation is significant in the marketing context because it attracts new customers by promising superior value and by enlarging market segments and product lines [91], [105]. Many studies support the positive relationship between marketing innovation and product innovation. For example, some indicate that marketing innovation has a positive effect on product innovation [106], [107]. Additionally, marketing innovation empowers the offer of cheaper and better quality products [108]. Marketing innovations produce a higher diversification of products [109], which helps companies expand their offerings, while acting as one of the important sources of competitive advantage [110]. As such, firms should use new methods and innovative marketing ideas topromote their products that are not well-known in the market [111].The marketing capability and innovation performance of companies are strongly related [112]. Innovation is also a significant function of marketing, as it is linked to firm performance. Thus, the remarkable interest on the part of researchers towards the ability of marketing innovation to increase firm performance is reasoned . Equally, marketing innovation has a positive effect on firm performance [117], [118] and an ability to improve, strengthen, and maintain the firm's competitive advantage.Product innovationAs innovation can be applied in different forms, the study regards product innovation as one of the significant types of innovation. There are several studies in the literature discussing product innovation . Product innovation is defined as the development and radical change in the performance attributes of the supplied product or service . The concept dominated most discussions on innovation; since it has the strategic importance to satisfy the customer's needs and enter into new markets. The innovation literature suggests that product innovation affects company performance. Despite SMEs' flexibility and ability to rapidly respond to market needs, the tendency for product innovation is higher in larger firms than is the case in smaller enterprises . Equally, while analyzing the SMEs associated with the development of productinnovation and the relationship between product innovation and firms' performance, a study reveals that the product innovation has a positive relationship with a firm's performance [. In addition, the positive relationship between new product development and performance is also supported.Discussion of the findings and conclusionInnovation is a prerequisite for being successful in a competitive environment. In SMEs, innovation culture is an important construct that can sustain product innovation and foster marketing strategies. As such, understanding marketing innovation can help to encourage product innovation and SME market performance. Terziovski's model ensures a framework for considering SME performance and the impact of innovation constructs on it. While building on this model, the present study considers in an empirical context how distinct layers of innovation can support SME market performance. The tests reported here indicate that innovation constructs support SME market performance.Theoretical implicationsThe study extends a model suggested by literature. In Terziovski's model, SME performance depends on strategies, capabilities, culture, relationships, and structure. In this paper, SMEs market performance depends on more focused constructs, in the form of innovation culture, market innovation, and product innovation.Thus, the findings of this study seek to bring several contributions to the literature with regard to organizational practices. It contributes to the overall understanding of market performance by analyzing the innovative structure of SMEs. The theoretical model investigates the relationships among innovation culture, product innovation, marketing innovation, and the market performance of SMEs. The findings show that innovation culture is an effective source of both marketing innovation and product innovation (H1aand H1b). Furthermore, there are some reasonable statements about these results. Firstly, innovation culture is a prior condition for achieving organizational, marketing, and managerial success in competitive markets. Although previous research revealed the importance of innovation culture in an organization, various questions remain regarding the relationships between innovation culture and the innovative marketing strategies of SMEs.SMEs' innovation culture not only positively impacts on marketing strategies, but also positively strengthens product innovation performance. When a firm's innovation culture is strong, it has the ability to sustain marketing strategies and foster the generation of new ideas and services to satisfy customers. Also, the creation of an innovation culture may help to develop the process of product innovation and performance.The study reveals that a marketing innovation strategy has a significant and positive relationship with both product innovation andmarket performance (H2a and H2b). In the same light, previous studies noted the important role of marketing innovation on market performance, business performance, and SME performance. However, this study extends previous research studies by testing marketing innovation in an integrated model, focusing on SME and market performance. New products are successful when the associated development and marketing activities are well performed. Nevertheless, potential customers know little about a product when it is initially released on the market. Therefore, companies need new tools to introduce and promote it, which will ultimately lead to marketing innovation.Numerous studies argued that product innovation plays a critical role in the development of new products, process efficiency, and sustained competitive advantage, in terms of extending market share. The findings show that product innovation has a significant and positive relationship with market performance (H3). Moreover, unique new products have the effect of enhancing performance.The results of the model highlight that innovation culture and marketing innovation in SMEs have a positive direct relationship with product innovation. The results of the study offer a valuable perspective for researchers, implying that innovation culture stimulates the SMEs to differentiate their organizational culture and products from those of their competitors. As such, the present study contributes to the innovationliterature by improving the understanding of the relationship between innovation and the market performance of SMEs. Mainly, it extends the understanding of the relationships between innovation and market performance by analyzing the impact of marketing innovation and product innovation.Managerial implicationsThe findings of the study point out some implications for managers in terms of the importance of SME marketing innovation strategies and product innovation, with regard to increasing the market share. Firstly, SMEs should improve marketing innovation to achieve a competitive advantage, by building an innovative culture within the company and following the trends. Marketing innovation is crucial for SME managers when it comes to creating new and unique products, and for attaining superior market performance.Secondly, the findings of the study also propose that SMEs should balance their investment in terms of an innovational learning culture, marketing, and innovation processes, as part of the pursuit of improving market performance. These results help managers to achieve superior market performance. Thirdly, SMEs should improve their product innovation capability, by investing in promotion techniques, and introducing innovative marketing programs within the company. Furthermore, SMEs should be responsive to this type of innovationresulting from their organization environment and marketing related activities, as improving such capability in order to encourage innovation can the develop market performance.As one can observe, the model described in the study opens the door for a new approach on the part of managers regarding the manner in which SMEs make use of marketing and innovative skills, ensuring successful market performance. Additionally, embedding an innovation culture in the organizational structure can support a higher level of marketing and product innovation. Thus, managers can guide employee behavior, conduct, and integrate their new ideas in such a way as to achieve better market performance outcomes.中文创新文化，营销创新和产品创新如何影响中小企业的市场表现？引言众所周知，创新对公司的绩效有重大影响。
文化创意产业创新外文翻译文献
文化创意产业创新外文翻译文献(文档含中英文对照即英文原文和中文翻译)Creative China must find its own PathJustin 0'ConnorIt is commonly said that China needs to ‘catch-up’ with `the west' or the `developed world'. This phrase implies a singular path; there may be short cuts and `late-comer advantages' but the destination一a modern, developed country一is the same. But just when it seems China is within touching distance, the `developed world' changes the definition of what it is to be `developed' and puts more obstacles in the path of those trying to catch-up. In English we call this `moving the goal-posts'. After manufacturing, services andhigh-technology seemed to present clear goals for China, the cultural creative industries arrive as the new `value-added' product and service sector, posing yet more problems for the country's policy-makers. Many in the West have argued that China will take a long time to catch-up in these areas and that this provides a new source of competitive advantage tothe West. Indeed, for some, the absence of a competitive cultural creative industries sector is evidence that China is not, and maybe can never be, fully `developed'.Much of this can be dismissed as another example of the West's superiority complex; however, there can be no doubt that the cultural creative industries present great possibilities but also great challenges for China. These industries一from visual and performing arts, to recorded music, film and TV, to digital animation and new media services, through to fashion, design and architecture一are highly creative and innovative products and services, relying on complex flows of knowledge and intellectual property. They are also cultural or symbolic products that reflect and influence our pleasures and ambitions, and our individual and collective sense of meaning and identity. For these reasons all nations have sought to protect and develop their own national culture and traditions by investing in cultural infrastructure and expertise. In the second half of the twentieth century this was expanded beyond `the arts，一galleries, museums, opera houses, universities, arts schools, journals etc. 一to include broadcast media, film, publishing and recorded music. In the last 20 years the emphasis has shifted from building economic infrastructures for reasons of national cultural identity to mobilizing culture and creativity for reasons of economic development.The cultural creative industries are now strongly linked with the knowledge economy, which emphasizes high levels of research, knowledge transfer and, above all, innovation. In the West artists or `cultural producers' have long been associated with dynamic, often unpredictable creative innovation. Now the innovative capacity of the cultural industries is extended to a new range of creative products and services and is also seen as a catalyst for innovation right across the economy. In China this agenda has also meant moving beyond the idea of a better industrialization or marketisation of existing cultural products towards a more systematic approach to the idea of cultural and creative innovation and its wider economic impacts. This demands the ability to anticipate new products and services, finding new audiences, differentiating rather than imitating what already sells. It requires new kinds of `soft skills' that are hard to acquire as they are often`tacit', demandingexperience rather than formal education (though this is also necessary). It demands understanding different models of production, complex value chains and the interaction between cultural, creative and business skills. In the last few years the central driving force behind cultural and creative industries policies has been the idea of `cluster'. Starting from a few isolated examples in Beijing, Shanghai and other smaller coastal cities the concept has now become a central policy platform. Cultural and creative clusters exist in the West, though these terms cover extremely diverse developments. There are some good reasons why China would choose this policy platform above others. In many large cities experiencing de-industrialisation there are empty factories that seem ripe for this kind of development. The model of concentration to facilitate rapid development also fits well with China's history of collectivization and more recently its development of high-tech and other R&D parks. Clusters are also attractive to policy makers because they are highly visible一successful ones give publicity to them and the city. At the same time they offer clear and concrete steps to support a sector that is very new and not very well understood. However, there are some real problems to be overcome if these clusters are to deliver what is expected of them.Many clusters emerged organically, with artists looking for cheap workspace; but in China, as in the West, they soon drew attention from property developers. The first big problem faced by clusters is that cultural and creative producers raise the profile of a place and this is very quickly translated into rent rises, typically driving out the first occupants. This is a complex problem, but my main point would be that policy cannot be driven by the dynamics of real estate. Some have said that if creative industries are seconomically important we should let the market decide. There is some truth in this; it is very easy to subsidise bad artists and creative producers. However, the dynamics of real estate markets and the creative economy are very different, especially at the early stages. Cultural profile can raise rents much more rapidly than with other kinds of occupancy, often from a low base, and can provide good profit. But these rent rises are often too fast for a slowly emerging sector, which is not just to be seen as individual companies but as a complex emerging `creative ecology'. The real estate market measures `good' or `bad' creative bytheir ability to pay the rent, not on their long-term effect on innovation. There are easy measures for real estate success一higher rent yield一but how are we measuring the innovative capacity of the local economy? In general, local governments should not give tax breaks to real estate companies and then allow them to apply pure market rules to rents. More subtle intelligence and policy instruments are needed if government is find a productive balance in this area.Clusters are often conceived as places for the `industrialization' of cultural products一that is, mass production and marketing. The need for innovation is forgotten in the process. There are many visual art clusters that are very much like factories, reproducing extremely outdated products for the lowest end of the art market. This might provide jobs in the short term but simply confirms China as the world's low value producer. Similar things could be said about traditional crafts, which are extremely repetitive and are usually only protected by inter-provincial tariffs. These products might inflate the statistics一according to one report China is third largest exporter of cultural products一but they are very misleading; most of the products counted do little to enhance the innovation capacity of the cultural creative sector.Better understanding and governance of clusters is necessary. Clusters deliver benefits for many but not the entire cultural creative sector. Computer games, for example, does not benefit from clusters because more or less everything is produced in-house in great secrecy. They go to clusters because of tax and rent subsidies, not to be in proximity to others. Visual artists benefit from cheaper rents, the reputation of a `cool' place and from space to work in quiet; they do not necessarily engage in intensive networking and knowledge transfer. Other project based industries, such as new media, want the networking possibilities provided by clusters, what economists called `untraced interdependencies'. There are thus different requirements for the different branches, and both the mix of companies and the quality of the space need to be carefully understood.There is real scope for informed government policy here. In general they should look to raise the quality of production as well as developing new audiences and markets. Clusters can have a role in this, but they have to form part of a wider policy strategy. For example, universities are vital to building new human capital一they have to be encouraged to look to creative skills not just teaching from established models,.Local television stations can be encouraged to pay more for high quality content一at the moment the purchase is a one size fits all approach which often pays the worst and the best exactly the same. The design of urban spaces can be enhanced to support the city as a `creative milieu'. More directly, the cultural creative industries need new creative attitudes and mentalities that take some time to come through; they also demand a range of `soft skills' associated with project management, brand development and marketing which have to be learned `on the job'. But they find it hard to learn these skills when they are mostly delivering services at the lowest part of the value chain, where innovation effects and intellectual property go abroad. Talent is wasted in servicing when it should be focused on developing original content. Local governments have to realize that though the cultural creative industries have strong economic benefits they are also about quality一high values which demand the long term view not the quick return of the `bottom line'. This push for high quality and higher levels of innovation is something that demands a more holistic approach to policy; and clusters can play a crucial role in this.Rather than be seen as convenient containers for cultural creative producers they need to become focal points for targeted development. Universities and art schools need to be more involved. As do their cultural creative industry research centres. Real knowledge transfer can be encouraged and facilitated by intelligent cluster managers. The skills to run a cluster are just emerging and there are some good exemplars一but much of it is just real estate management as in any other sector and this is a wasted opportunity. Networking events, joint marketing, seminars with foreign companies, spaces and occasions for experimentation, a carefully managed programme for the general public (too much tourism can destroy a cluster, as in Tianzi fang in Shanghai), intelligent links to other clusters and larger creative companies一all these demand specific skills to deliver. Theseskills also should be disseminated and improved across between the clusters. China does need to look to foreign experts and models; but it has also shown time and again that it can also find its own way, and in ways that have astonished outsiders. It can do this with the cultural creative industries but it has to look long term, beyond immediate economic gain (including rent increases) to the long-term creative and innovative capacity of the country. It has to recognize that it is catching up at a time when western creative industry corporations are more global than ever, looking to penetrate local Chinese markets just when the country is trying to develop its own creative sector. This presents a real challenge, but I would say that rather than try and use policy tools derived from the West, China should look to its own traditions and strengths. I do not just mean its traditional culture in terms of calligraphy or opera or ink painting; I mean its resources for social and economic development that uses, but is not subservient to, the `free' market. In fact the UK, closely associated with the creative industries agenda, has very little capacity to deliver industry support, relying on demands that people be more `entrepreneurial' rather than deliver systematic and intelligent sectoral strategy. This is why it has let a 250-year-old world famous ceramics company一Wedgewood一go bankrupt. China has some things to learn from the UK, but its deep resources of intelligent and pragmatic policy will be ultimately decisive. Most important, policy makers should not loose sight of the importance of culture for collective meaning and identity. This is much more diverse, fluid and open to new influences, and the Chinese government has increasingly stood back from direct intervention. In the search for the new economic benefits of the cultural creative industries their deeper cultural contexts should not be neglected.中国要有自己的创新之路贾斯丁奥·康纳人们总是说中国需要赶超西方或发达国家，这似乎意味着是唯一的道路。
设计类英文文献5000字
The Smart Rollator ProjectA Collaborative Student Project Benefiting From a Multidepartmental Approach Bjarki Hallgrimsson, IDSA, and Jim Budd, IDSA, School of Industrial Design, Carleton University Adrian D.C. Chan, Department of Systems and Computer Engineering, Carleton University Introduction The Smart Rollator Project is a case study of a university joint project between the Industrial Design and the Systems and Computer Engineering (SCE) programs. The project includes several industry collaborators: a health-care products manufacturer, a geriatric hospital, and physiotherapists. Rollators are wheeled walkers that help seniors enjoy a more independent, healthier, and mobile lifestyle. The primary objective of the project is to investigate how sensors can play a part in defining new product experiences for the elderly in the context of mobility aids such as a rolling walker. Figure 1. Smart Rollator prototype by id student and test model by engineering student. The idea of adding sensors was initiated by Professor Chan in the Department of Systems and Computer Engineering in response to new, smaller and more mobile sensor technologies. Professor Chan approached Professor Hallgrimsson in the School of Industrial Design (SID), who had extensive experience working on rollators for Dana Douglas, a major manufacturer of these types of assistive devices. The project was also of direct interest to Professor Budd, the fourth-year industrial design studio professor, who has recently started the new Sensor Lab at SID. Since the project presented a good balance between the assessment of user needs and the application of new technology, it was decided that it would be suitable as a final thesis project for fourth-year students from both engineering and design. The Challenge For the purposes of this paper, the interpretation of multidisciplinary project refers to students from different departments working on a project theme together, while focusing on their own core competencies and deliverables. The students in our multidisciplinary project are registered in their respective fourth-year major project courses. The thesis course represents the final capstone project for students in both of these professional programs and represents the culmination of the knowledge learned in the respective fields. The course requirements for engineering and design students are expectantly different. This approach, in our opinion, would differ from an interdisciplinary project, where students from different disciplines would be working together on the same project in the same course. The latter scenario typically involves additional administrative complexities including the requirement to create a new course with new pedagogical requirements.Whereas there are interesting opportunities across the university for collaborative work, the curriculum issue is obviously a common problem, especially for an undergraduate thesis. New programs have been formed that transcend these boundaries by establishing new objectives and interdisciplinary pedagogies. A true interdisciplinary project at the fourth-year level, between engineering and design students, would, as an example, have to take professional accreditation requirements into consideration. At Carleton, the ID program is recognized by the standards of the Association of Chartered Industrial Designers of Ontario. The Canadian Engineering Accreditation Board accredits the engineering degree programs and places very specific requirements on the curriculum content. Similarly, the ID emphasis on user research versus theengineering focus on technology creates very different schedules. In the context of this situation, the most feasible option was to have students from the two fields work in parallel on a similar problem, with some levels of overlap. This paper, therefore, examines the lessons learned from this first multidisciplinary step, which is seen as a path towards more interdisciplinary work on the Smart Rollator project in the future. The interdisciplinary work will commence with graduate students from both of the departments working towards the same deliverable, namely a fully developed functional platform; that work is expected to start in the fall of 2008 and last for 3 years. Beyond successful student thesis projects, the following research questions were identified for dissemination: 1. Do sensors really benefit the usefulness of Rollators? 2. Will students realize the implicit benefits of working with students from another discipline in the absence of formalized interdisciplinary deliverables? 3. Would there be noticeable differences in both the engineering and design projects, from typical projects in previous years? 4. Would the experience assist the 2 departments in terms of understanding and planning a more interdisciplinary Smart Rollator project at the graduate level? The Structure Whereas no tangible collaborative deliverables existed, multidisciplinary interactions were scheduled during the course of the project as shown in the following timeline: Figure 2. Timeline of recorded interactions between ID and engineering students. 1. An initial meeting was scheduled with students from each discipline to explain that both ID and SCE were participating in the joint collaborative Smart Rollator project. 2. Students toured each other’s departments and were introduced. 3. Engineering faculty attended ID presentations. 4. The ID research report was made available to engineering students. 5. ID was invited to participate in the engineering Wiki Web site. 6. At the end of the project, students were debriefed about their experiences and these sessions were recorded for later analysis. Students were encouraged to seek out help from the other department in terms of complementary input to their projects. This was addressed through an informal collegial open-door policy.Validating the Need for SensorsLittle work had been done in terms of validating the need for sensors on Rollators. The need to investigate this in more detail was of the highest importance to the future of a commercially viable Smart Rollator. The ID students spent most of the fall term (September to December), researching the user needs and creating specification briefs for products that would more effectively address the combined performance and lifestyle considerations for the elderly. This work included: •Literature reviews: •governmental statistics and societal cost of aging •effects of aging and compounding of medical issues •existing Smart Rollator research •sensor technologies •Competitive market products analysis of Rollators •User observational analysis, including visits to nursing homes and hospitals in the Ottawa area. •Surveys and interviews with health-care professionals including physiotherapists, a Rollator manufacturer, and a rehabilitation center •Scenario and persona development This research forms the basis for future planned research. The students exposed some of the complicated issues, relating to compounding of health issues. Whereas obstacle avoidance had been previously addressed, it was now better understood in the context of specific scenarios for people with vision impairments. Additionally, the students classified and studied the effect of various typical vision impairments such as macular degeneration and isolated the most typical kind of obstacle avoidance problems, so that a bettersystem could be designed. This contrasts with the engineering projects where these needs are presumed and students work immediately towards implementing technological solutions. Did Students Realize Implicit Benefit of Working with Each Other? The value of user observation studies, by ID students, was clear to the engineering students who actually decided to change some of their own problem statements in response to design research. Persona creations for example (Figure 3), help students from other disciplines relate to the human aspect more easily. Industrial design students meanwhile became more familiar with technology driven projects, and the benefits of quantitative testing methods (for example, debugging techniques). During the debriefing sessions we asked students from both departments some questions, which dealt with the multidisciplinary experience. Both the engineering and ID students expressed that they knew very little about the other field of study at the beginning of the term. The engineers for example said that they had heard and knew about ID, but that they had thought that it was only art based, or that it concerned itself mostly with the appearance of things. Similarly the ID students knew about engineering, but did not know what made computer and systems engineering different from computer science or electrical engineering. The students expressed that they had new appreciation and respect for the other discipline. One engineering student said, “The ID students are really focused on the end user and seem to know a lot more about manufacturing aspects than we do.”Another engineering student mentioned how ID made them think outside the box and consider things like the marketing of the product in terms of the cost of components. An ID student observed how engineering students think of a system and analyze the functional operation in terms of the different technological parts of the product: sensors, electronics, and software. ID can learn from this approach as well even when making simpler proof of concept electronic mockups. Another ID student also observed how he now sees that even within engineering, there are a lot of different areas of specialization to focus on (the engineering students were pooled from the Systems and Computer Engineering as well as Electronics departments).Figure 3. Persona creation by ID students. Noticeable Differences in ID and Engineering Projects from Previous Years The ID students have in the past developed mostly conceptual nonworking prototypes for their fourth-year major (capstone) project. This year, they were challenged to go further in terms of making working focused prototypes. This was also made possible by addition of the school’s new Sensor Lab. The lab has been set up to introduce design students with little or no electronics and programming background to the basic knowledge required to conduct experiments and produce “proof of concept-type operational models”incorporating sensor technologies. Figure 4. Use of Simple Lego Mindstorms System Opens Opportunity for Proof of Concept Testing for ID Students In addition, the student interviews revealed that some of the ID students interfaced with the engineering students and learned about sensor testing as well as debugging approaches. The engineering students have not been challenged in the past to give this amount of consideration to holistic engineering development. This affected the approach and criteria by which the engineering students selected the electronic components, to be much more real world oriented. Rather than a focus on what they could get away with in the lab, the engineering students looked at their Rollator systems in terms of what would be more user oriented.The ID and engineering students did not collaborate in terms of their deliverables. In fact, the projects are distinct and different. That being said, there was evidence of students helping each other and collaborating in a real interdisciplinary sense. ID students showed engineering students how to do some user testing with their engineering test model through video methods, while the engineering students would help with explaining electronics and sensors to the same ID student. The following is a brief list of the individual student projects: ID 1 E-Nurse (Shayta Roy) An electronic handle grip monitors heart rate and blood oxygen saturation levels. The user can transfer data to health-care providers online via Bluetooth and a secure server. ID 2 Conductor (Silvan Linn) An obstacle-avoidance system for people with visual impairment. A compact sensor unit scans the area ahead of the Rollator for hazards (corners, curbs, stairs). The user is alerted through audio feedback via bone-conduction technology mounted on a glasses-like frame (freeing the ears to listen for other dangers). ID3 Rollator with Electronic Assist Braking (Justin Frappier) This redesigned Rollator incorporates electronic-assisted braking. The design aims to eliminate human error associated with cognitive and motor skill impairments. ID4 Liberty (Chris Ledda) This Rollator battery-charging system uses radio frequency (RF) technology. A transmitter that is plugged into a wall sends out a signal that is recognized by a Rollator-mounted receiver, which can charge the onboard battery while it is parked within 3 feet of the transmitter. Eng 1 Usage Monitoring System (Davide Agnello and Brian Earl) The usage-monitoring system is a real-time distance- and speed-monitoring system to track daily usage and usage patterns of a Rollator. The system also includes wireless Bluetooth data communications and a software database with remote access. Eng 2 Obstacle Detection System (Mohammed Aboul-Magd, Faysal Hassan, and Alex Sintu) This system was developed to monitor multiple objects and environments around the rollator; this included walls, drop-offs, inclines, and objects. Project Project Definition Final Prototype Usability and Technical Testing Sensors Electronics and Software ID1 Created by student Appearance Model Ergonomic testing and feedback from physiotherapists users and rollator manufacturer Observed and used heart rate and oxygen saturation sensors Heart-rate and O2 sensors. This electronics portions was mainly developed in last year's project in SCE ID2 Created by student Fully integrated working prototype (technical and appearance) Ergonomic testing and feedback from physiotherapists users and rollator manufacturer Lego Mindstorms mockups Breadboards Feedback mockups (haptic, eye, audio) Infrared and ultrasound sensors. Arduino embedded system board. Custom code audio output. ID3 Created by student Appearance model and separate technical working prototype Ergonomic testing and feedback from physiotherapists users and rollator manufacturer Electronically powered brake mockup Linear actuatorsTable 1. End project deliverables for the ID and engineering projects. The table illustrates some of the main differences between the ID and engineering deliverables, for example: •ID students spend a considerable amount of time doing user-oriented research and creating project definitions and concepts. •The ID students always produce a final appearance model to show what the envisioned manufactured product would look like. •ID projects tend to be more conceptual and engineering projects more safe in terms of feasibility. •The engineering students build a technical prototype upon which they base their testing The table also highlights some new project accomplishments in this year. ID students were able to use sensors and technology tobuild working proof of concept prototypes, which is atypical in their thesis project. The engineering students added usability selection criteria to the sensor and electronics selection; for example, larger LED screens and data collection that matched real user scenarios. They were also introduced to testing their engineering models with real subjects. Does This Project Help Plan a More Advanced Interdisciplinary Project at Graduate Level? Both engineering and ID faculty feel that many valuable lessons have been learned from this project in terms of planning an interdisciplinary project at the graduate level. This has already been evidenced through a rewritten research plan, where additional focus has been placed on user-oriented research. This research needs to be done and explained in terms of context to the new engineering participants. The report done by the ID students in this year will help engineering students appreciate and understand this approach. Another insight is a better understanding of how the ID projects differ at the technical level from the engineering projects. The ID sensor-based projects are typically focused on the proof of concept, whereas the engineering systems are more technically optimized to provide a more robust and reliable system. In the figure below, the ID student is thinking about how the sensor board can be mounted in a real product, the diagram next to it shows how the engineering students spend a lot of time analyzing the specific performance of a given sensor in a very detailed technical sense.Figure 5. ID sensor project and engineering confidence interval analysis. Observations and Conclusions 1. It is clear from this experiment that the ID and engineering students approach the same or similar problems from very different perspectives with very different goals in mind. •Design students are primarily interested in using sensors as a proof of concept to make sure that the technology is viable and that it is beneficial to the end user. Whereas the design students spend their time creating research-based, user-oriented design decisions, the engineering students spend a lot of time optimizing the electronics system reliability and efficiency. For example, making a wireless system work flawlessly is not easy; it is also important to evaluate its performance, including maximum distance between transmitter and receiver, data transfer rate, data transfer errors and recovery, and power consumption. It is important to make sure that the sensor readings are correct and test the sensors under all kinds of conditions to determine accuracy and confidence intervals. 2. It is also evident from the interaction among the students that each group recognizes the benefits of the differences in approach and can leverage certain aspects to help improve their own solutions. 3. Based on these findings it is relatively clear that there are significant educational gains to be made in developing more tightly aligned collaborative projects, through a multidisciplinary approach. •These projects were not only good fourth-year projects, the experience gained by faculty has helped shape the future of the Smart Rollator project, which is expected to last at least an additional three years. The lessons learned will help frame some of the interdisciplinary work to be complete。
有关电影类英文文献
有关电影类英文文献下面是店铺为大家整理的一些“有关电影类英文文献”资料，供大家参阅。
电影类英文文献The needs of the development of the Chinese animationWhy the development of cultural industries such as animation and game? Who is the model for the development of animation and game industry in China? By following the survey report in Japan and the U.S. can be seen, animation, games and other cultural industries to each country to bring much benefit. Not ugly, social progress, to a certain period of time, the development of cultural industries is inevitable.Japan's animation industry can be described as a model, and therefore the reference object and catch up with the target of China's animation industry. However, reporters found that a series of data on the Japanese animation industry is also confusing, especially back in five or six years ago, a number of widely cited data today seems very absurd.In many articles in 2006, reporters found that when the output value of the global animation industry between $ 200,000,000,000 to $ 500,000,000,000, the annual output value of Japan's animation industry to reach 230 trillion yen, Japan's second-pillar industry. " According to the 2010 release in Japan this year Japan's gross domestic product (GDP) at current prices of479.1791 trillion yen, while Japan's economic growth in recent years is not, you can estimate when the Japanese animation industry, the proportion of GDP is likely to exceed 50%!The most popular data is the Japanese animation industry share of GDP over 10%, this estimate, the Japanese animeindustry output should be about 48 trillion yen, which is $ 800,000,000,000. Which is basically the global animation industry and its industrial output value of derivatives and the United States topped the list where the shelter?According to the Japan Association of digital content, the White Paper 2004 "of the" digital animation industry as an important part of Japanese culture and creative industries, the output value in 2004 reached 12.8 trillion yen, accounting for Japan's gross domestic product 2.5%, Imaging Products 4.4 trillion yen, 1.7 trillion yen of the music products, books and periodicals published 5.6 trillion yen, 1.1 trillion yen of the game, more than agriculture, forestry, aquatic production value of 10 trillion yen. Andcommunications, information services, printing, advertising, appliances and other aggregate, it is up to the scale of 59 trillion yen. Only in this way the scope of the animation industry generalized, so as to achieve 10% of the proportion of domestic widespread.The integration of information seems relatively reasonable, "White Paper on digital content 2004 to data released, with some reference value, that is, Japan's animation industry's share of GDP should be between 2-5%. This way, the domestic animation industry is also a lot less pressure, but the runner-up position in the global animation industry, is the total GDP has exceeded Japan's, China is still beyond the reach of being the so-called efforts will be necessary.About 20% of GDP of the U.S. cultural industries, especially following a set of data appear most frequently in a variety of articles: 2006 U.S. GDP was $ 13.22 trillion, the cultural industries for the $ 2.64 trillion; cultural products occupy 40% ofinternational market share. The United States controlled 75 percent of global production and production of television programs; the American animation industry output accounted for almost 30% of the global market to reach $ 31 billion; film production in the United States accounted for 6.7 percent of the world, but occupied 50% of the world screening time; In addition, the total size of the sports industry in the United States is about $ 300 000 000 000, accounting for 2.3% of GDP which only NBA a $ 10 billion. However, we can see that this so-called American culture industry output is included, including sports and related industries, its scope is greater than the domestic cultural industry classification.Last article published on the web on the proportion of cultural industry in the United States, the earliest dating back to the Economic Daily News October 27, 2000 published in the Chinese culture, industry, academic Yearbook (1979-2002 Volume) cultural entrepreneurship space is there much ". Mentioned According to statistics, 18-25 percent of the U.S. cultural industries accounted for the total GDP, the 400 richest American companies, there are 72 cultural enterprises, the U.S. audio and video have been more than the aerospace industry ranks exports trade first. " Since then, the concept of "cultural industries" in the Research Office of CPC Central Committee from 2002 release of "2001-2002: China Cultural Industry Development Report", the official presentation of its background "article is the first official document reference the data. Now, the "Economic Daily News, the data from wherehas been untraceable, however, has passed 10 years, the data are still widely various articles and government documents referenced, just a little floating, such as to 1/3 or dropped to 12%,the value ratio of 72 cultural enterprises "in the past 10 years has never been subject to change. At least the data, has 11 years, there is a problem.The definition of cultural industries, the classification system, statistical methods and cultural enterprises related to the composition. Culture Research Center of the Chinese Academy of Social Sciences, deputy director Zhang Xiaoming, in an interview with reporters: "to a large extent, today's American culture industry is more from multinational companies to operate these multinational corporations majority of United States as the main body. This seems to be one kind of paradox: American culture industry backed by multinational companies to benefit from all over the world, but the ultimate holding company lies in the hands of the merchants of other countries, although the country is still the biggest beneficiary the United States during the GDP statistics still this part of the cross-cultural enterprises to join them. It is reported that, among the most powerful movie studios of Hollywood, Columbia TriStar is a subsidiary of Sony Corporation of Japan, parent company of Fox (Fox) is Australia's News Corporation. Especially in the popular music industry sector, in addition to the WEA, the more money earned in the U.S. market is the Sony of Japan, the Netherlands, Polygram, BMG in Germany, the United Kingdom Thorn EMI companies.China in recent years to increase the development of cultural industries such as animation and game, the seventh international animation festival, the statistics of the number of Chinese animation turnover super-Japan, to become the first in the world. We need more quality to support domestic animation to the world.[1] Marilyn Hugh著, Andrea Jane译外文资料翻译-中文部分中国动画发展的需求中国为什么要发展动漫游戏等文化产业?中国发展动漫游戏产业的榜样是谁?通过下面对日本与美国的调查报告可以看出来，动漫游戏等文化产业给每个国家带来了多大的利益。
文化创意产业,文创产品英文作文
文化创意产业,文创产品英文作文Cultural Diversity and Cultural IntegrationGood Evening，Ladies and Gentlemen！ Today， it’s my honor to stand here to give you a speech about cultural diversity and cultural integration。
First， I like to drink Coca-Cola，and almost every two days I would drink a bottle of 500 milliliters。
Just as most American families cannot live long without Chinese products， I also have a sense of dependence on Coca-Cole。
Besides， my major is Japanese and I have learned Japanese for more than one year。
So，I’ve been influenced by the Japanese culture。
For example， when I am talking with other people I always want to nod to agree with other people， even though it is a unique Japanese way of communication。
On the other hand，you must be proud that Chinese Kung Fu and Chinese diets are spreading in the whole world because of the Hollywood movie “Kung Fu Panda”。
文创英文文献
文创英文文献The realm of creative English literature is a vast and captivating domain that has long captured the imagination of readers and writers alike. From the timeless classics of Shakespeare to the cutting-edge works of contemporary authors, the English language has served as a canvas for the expression of human experience, emotion, and imagination.At the heart of creative English literature lies the power of words - the ability to craft narratives, evoke imagery, and convey profound truths that resonate with the human spirit. Whether in the form of poetry, prose, or dramatic works, the written word holds the capacity to transport readers to new worlds, challenge their perceptions, and inspire profound reflection.One of the hallmarks of creative English literature is its diversity. Across the centuries, writers have embraced a wide range of genres, styles, and themes, each offering a unique perspective on the human condition. From the sweeping epics of the Romantic era to the gritty realism of modern urban fiction, the breadth of creative Englishliterature is truly astounding.Take, for instance, the works of William Shakespeare, whose plays and sonnets have captivated audiences for centuries. Through his masterful use of language, Shakespeare delved into the complexities of human nature, exploring themes of love, power, ambition, and the human struggle against fate. His characters, from the tragic Hamlet to the mischievous Puck, have become indelible figures in the collective consciousness, their words and actions echoing through the ages.Similarly, the novels of Jane Austen have enchanted readers with their intricate social commentary, sharp wit, and timeless love stories. Austen's ability to capture the nuances of human interaction and the societal constraints of her era has made her works enduring classics, inspiring countless adaptations and scholarly analyses.In the realm of poetry, the works of T.S. Eliot, Sylvia Plath, and Maya Angelou have challenged and transformed the way we perceive and engage with language. Through their powerful use of imagery, metaphor, and rhythm, these poets have grappled with the complexities of the human experience, from the existential angst of the modern condition to the profound depths of personal and social struggle.The richness of creative English literature is not limited to the past, however. Contemporary authors continue to push the boundaries of the written word, exploring new forms, genres, and perspectives. The rise of diverse voices and perspectives has led to a proliferation of works that challenge traditional narratives and offer fresh insights into the human experience.Take, for example, the works of Chimamanda Ngozi Adichie, whose novels and short stories delve into the complexities of identity, culture, and the immigrant experience. Her acclaimed novel "Americanah" has been praised for its nuanced exploration of race, class, and the search for belonging in a globalized world.Similarly, the works of Haruki Murakami have captivated readers with their surreal, dreamlike qualities, blending elements of magical realism, existential philosophy, and the exploration of the human psyche. Murakami's novels, such as "The Wind-Up Bird Chronicle" and "Kafka on the Shore," have become beloved classics, inspiring a devoted following of readers who are drawn to the author's unique and enigmatic style.The power of creative English literature lies not only in its ability to entertain and captivate but also in its capacity to challenge, inform, and transform. Through their works, writers have grappled with the most pressing social, political, and philosophical issues of their time,offering insights and perspectives that have the potential to shape the way we understand and engage with the world around us.In an era of rapid technological and social change, the enduring relevance of creative English literature has become increasingly apparent. As we navigate the complexities of the modern world, the written word continues to serve as a powerful tool for self-expression, cultural exchange, and the exploration of the human experience.Whether in the form of a timeless classic or a cutting-edge contemporary work, creative English literature has the power to captivate, inspire, and transform. By engaging with these works, readers and writers alike can unlock new perspectives, expand their understanding of the world, and ultimately, deepen their connection to the shared human experience that lies at the heart of the literary tradition.。
工业设计产品设计论文中英文外文翻译文献
中英文外文翻译文献原文：DESIGN and ENVIRONMENTProduct design is the principal part and kernel of industrial design. Product design gives uses pleasure. A good design can bring hope and create new lifestyle to human.In spscificity,products are only outcomes of factory such as mechanical and electrical products,costume and so on.In generality,anything,whatever it is tangibile or intangible,that can be provided for a market,can be weighed with value by customers, and can satisfy a need or desire,can be entiled as products.Innovative design has come into human life. It makes product looking brand-new and brings new aesthetic feeling and attraction that are different from traditional products. Enterprose tend to renovate idea ofproduct design because of change of consumer's lifestyle , emphasis on individuation and self-expression,market competition and requirement of individuation of product.Product design includes factors of society ,economy, techology and leterae humaniores.Tasks of product design includes styling, color, face processing and selection of material and optimization of human-machine interface.Design is a kind of thinking of lifestyle.Product and design conception can guide human lifestyle . In reverse , lifestyle also manipulates orientation and development of product from thinking layer.With the development of science and technology ,more and more attention is paid to austerity of environmental promblems ,such as polluting of atmosphere,destroy of forest, soilerosion,land desertification, water resource polluting, a great deal of species becaming extinct,exhansting of petroleum , natural gas and coal and so on . A designer should have a strong consciousness of protecting environment and to make his\her design to be based on avoiding destroying environment and saving natural recourse.Nowadays ,greenhouse effects,destroyed ozone layers and acid rain are three global environmental questions.Greenhouse effect is phenomena of the atmosphere becoming warmer . The forming principle of greenhouse effect is that the Sun shortwave radiation can penetrate into ground through atmosphere ,long wave radiation emitted from ground after ground is warmed ,is absorbed by carbon dioxide of atmosphere , and then atmosphere gets warmer.The carbon dioxide in the atmosphere changes the earth to a large greenhouse like a thick layer of glass . Methane ,ozone,chlorine,Fluorine, hydrocarbon and aqueous vapor also make some contribution to greenhouse effects. With rapid increase of population and rapid development of industry ,more and more carbon dioxide of atmosphere enters into atmosphere. Because forest is cun down in a large amount also ,carbon dioxide increases gradally ,and the greenhouse effects are strengthened constantly .The results of the greenhouse effects are very serious. The great changes will take place in the natural ecology ,such as desert expanding ,land corroding aggravating, forest retreating to the polarregion, calamity of drought and waterlog serious and rainfall increasing. The temperate zone will be wetter in water and will be droughtier in summer . Tropical zone will become wetter and subtropical zone will become more arid . All of these above will forces the existing irrigation works to be adjusted. Coastal regions will be threatened seriously .Because the temperature is rising , ice-cubes will be melted at the two poles so to the sea level will be rising and a lot of cities and ports will be submerged.The ozone layer destroyed shocked academia and the wholeinternational aommunity .American scientists,Monila and Rowland , pointed out that it is human activities bring ozone hole of today . arch-criminal that we now well know is freon and Kazakhstan dragon.Acid rain has already become a kind of air pollution phenomenon in extensive range,crossing over national boundaries at present. Acid rain destroys soil, makes lake acid and endangers growing of abimals and plants. It also stimulates people's skin, brings out the skin disease, causes lung hydronces, lung harden ,and corrodes the metal product,paint ,leather, fabrics and building with carbonate .In a word , the environment of human life has already worsened day by day. The reasons of the worsening mostly come from the human own bad life style, disrespecting the objective law, eager for quick success,use of the earth resource without scientific plan ,and lack of consciousness pratecting the environment in design . So they destroy home by themselves,which not only harm human on contemporary, but also seriously influence existence of descendants.The environmental question is caused by people's bad design and life style to a great extent , which puts forward a serious question for a designer that designers should undertake the historical important task of environment protection.Industry has brought the disaster to world while creates a large amount of wealth for mankind . Industry design has accelerated theconsumpition of the resource and energy resource and has caused enormous destruction to the ecological balance of the earth while creating modern life style and living environment for mankind.So as industry designers, setting up environmental awareness incarnates their morals and social sense of responsibility. Designers must be responsible for their own designs, and must take human health and blessedness , and harmonically coexisting of nature with the human as the rules necessarily obeyed in their own design.Designers must also master the necessary knowledege in material, craft, chemical industry, manufacturing,ect.,in order to be possible for avoiding to danger to environment causing by his design.The concept of "Sustainable development design"has epoch-maling meanings of humanity and real development of the world .It reflects the designer's morals and responsibility , and has already become the trend of designing development in the 21st century .Hence ,mankind's development made of traditional industrial civilization was turned to one of the modern ecological civilization. It is the coordination of social progress,economic growth and environmental protestion.Sustainable development is a kind concept of brand-new ethics,morals and values that people should follow. Its essence lies in fully utilizing the modern science and technongy ,exploiting green resources ,development constantly, impelling harmonious developmentbetween human and nature and pramoting inter-harmony of population ,resource and environment .Solving the problem of sustainable development is a change of technological innovation and behavior made.Sustainable development strategy is to solve the problem of meeting contemporary people's demands in maximum under the precondition of un-hurting several generations' demands of the future . It will realize the unity of the present interests and long-term interest and leave the development space for descendants.The question of the strategic consideration of sustainable development should include circulation, green energy and ecological efficiency.Green design comes from introspection on environmental and ecological disruption caused by design of modern technology and culture. Green design focuses on the balance relation of persons and natural ecology . Designers should consider the environmental benefits at every decision of the disign process, and try their best to reduce the destruction to environment.For industry design, the core of green design is "3R",namely Reduce,Recycle and Reuse.It is necessary not only to reduce consunption of substance and energy sources,and reduce letting of harmful substance,but also to classified reclaim, recycle and reuse products andparts conveniently.Green design is not only technical ,but also an innovative idea. It requires designer to give up some rat-fuck method excessively emphasizing at the style of products, and to focus on the real innovative. He or she would design the form of the products with more responsible method and make the products lengthen their wervice life as much as possible through succinct and permanent modeling.For materials,stock and regeneration of raw materials, consumption and pollution of environmental energy during obtaining materials,machining performance in follow-up manufacturing,low consumption and low pollution of energy ,and reclaimable during discarded should be considered.Problems of manufacturing are that pollution should be reduced or died out during beginning of manufacturing.Consideration on packing, transporting , sale, ect. is meant the environmental performance of packaging, green packing ,good performance of transportation ,decreasing self weight , reducing energy consumption , localized production and reducing consimption of work flow.Consideration on the use of product concerns with waste of energy and resources while produces are used , the modularization of environmental performance , recombined ability , and the mades of using product while products are renewed , as well as other factors.Easy disassembled feature , convenient decomposition and classification , reclaaimable and reusable features of materials, and recombined feature of parts or removes for other use should all be considered during the period while products are renewed , as well as other factors.Easy disassembled feature, convenient decomposition and classification , reclaimable and reusable features of materials, and recombined feature of parts or removed for other use should all be considered during the period while products are discarded .Clean energy souces should be Considered , such as solar ernergy , water, electricity and wind power .Clean materials concern with low pollution , innocuity, disaggregation and reclaimable . Clean manufacturing process is meant production with energy saving and environment protection while used, and reclaimable while discarded.Regeneration and reuse of parts are powerful measure of sustainable strategy. The fact has proved that through disassembly and analysis the proportion of reusable material would be higher after improving design and retread.For example , in a scrap car , metal meterial accounts for 80%.Among them , nonferrous metal accounts for 3%~4.7%. 45%of output of steel comes from scrap steeel in world and 25% output of steel comes from scrap steel in our country.Product Lifecycle Management is meant all life course of product from people's demand for product to be washed out , including the main stages of demand analysis, praduct planning , conceptual design , produce design , digitized simulation, proceess preparation , process planning,production testing and quaality control , sell and distribution, use \maintaining and maintain, as well as scrap and reclaiming . Advanced management idea and first-class information technology are taken into industrial and commercial operation in modern enterprises , which makes enterprises be able to adjust management means and management ways effectively in digital economic era , inoder to exert enterprise's unprecedented competition advantage . Helping enterprise to carry on products innovation , to win the market , and to obtain additional profit would improve the value of the enterprise products.译文：设计与环境产品设计是工业设计的主体和核心。
创业中英文文献
参考文献中文参考文献：1.【澳】朗达.拜恩：《秘密》，谢明宪译，北京：中国城市出版社2008年版。
2.【美】安德鲁·杜布林：《心理学与工作(原书第6版)》，王佳艺译，中国人民大学出版社2007年版。
3.【美】阿瑟•S•波雷：《心理学词典》，上海：上海译文出版社1996年版。
4.【美】班杜拉：《自我效能：控制的实施》，华东师范大学出版社2003年版。
5.【美】彼得·德鲁克：《21世纪的管理挑战》，机械工业出版社2007年版。
6.【美】舒尔茨：《工业与组织心理学(心理学与现代社会的工作第8版)》，时勘等译，中国轻工业出版社2004版。
7.樊一阳，叶春明，吴满琳：《大学生创业学导论》，上海财经大学出版社2005年版。
8.林嵩：《创业学：原理与实践》，上海财经大学出版社2008年版。
9.刘穿石：《创业能力心理学》，陕西师范大学出版社2004年版。
10.刘勇：《团体心理辅导与训练》，中山大学出版社2007年版。
11.【美】罗伯特·赫里斯,迈克尔·彼得斯：《创业学》，王玉，王蔷等译，清华大学出版社2004年版。
12.【美】杰弗里·蒂蒙斯：《创业者》，周伟民译，华夏出版社2002年版。
13.【奥】米塞斯：《经济学的认识论问题》，经济科学出版社2001年。
14.【美】莫特玛•阿德勒：《西方思想宝库》，周汉林等译，中国广播电视出版社1991年版。
15.黄希庭：《心理学导论》，人民教育出版社2007年版。
16.儒索等：《决策行为分析》，北京师范大学出版社1998年版。
17.宋克勤：《创业成功学》，经济管理出版社2002年版。
18.王重鸣：《管理心理学》，人民教育出版社2000年版。
19.王英杰，郭晓平：《创业教育与指导》，机械工业出版社2006年版。
20.徐剑明：《自主创业实务》，中国经济出版社2007年版。
21.郁义鸿,李志能等：《创业学》，复旦大学出版社2000年版。
创意经济 The Creative Economy, the Creative Industries and the Ecology of Culture
The creative content users
91% of users agreed that the LMA ‘adds vitality to the city centre area’ 68% rated the LMA as a ‘safe environment’ 79% rated the LMA as ‘good for shopping’ 90% rated the LMA as ‘good for socialising’ 20% were there for work purposes 30% were there for shopping 49% were there for social reasons
Source: John Howk ins (2001 ) The Creative Economy: How People Make Money from Ideas, London, P enguin.
The Creative Industries: definition
as Ōa ctivities which have their origin in individual creativity, skill and talent and which have the potential for wealth and job creation through generation and exploitation of intellectual property.Õ
The subsidised organisations employ nearly 800 operational staff on both continuing and contract basis and a further 800 artists, performers and educators.
文化创意产业CulturalandCreativeIndustries（优秀范文五篇）
文化创意产业CulturalandCreativeIndustries（优秀范文五篇）第一篇：文化创意产业Cultural and Creative Industries 文化创意产业Cultural and Creative Industries，是一种在经济全球化背景下产生的以创造力为核心的新兴产业，强调一种主体文化或文化因素依靠个人（团队）通过技术、创意和产业化的方式开发、营销知识产权的行业。
文化创意产业主要包括广播影视、动漫、音像、传媒、视觉艺术、表演艺术、工艺与设计、雕塑、环境艺术、广告装潢、服装设计、软件和计算机服务等方面的创意群体。
《国家“十一五”时期文化发展规划纲要》明确提出了国家发展文化创意产业的主要任务，全国各大城市也都推出相关政策支持和推动文化创意产业的发展。
新媒体是新的技术支撑体系下出现的媒体形态，如数字杂志、数字报纸、数字广播、手机短信、移动电视、网络、桌面视窗、数字电视、数字电影、触摸媒体等。
相对于报刊、户外、广播、电视四大传统意义上的媒体，新媒体被形象地称为“第五媒体”。
第二篇：有关文化创意产业有关文化创意产业2009年7月22日，国务院常务会议讨论并原则通过《文化产业振兴规划》，至此，文化产业跃升到国家战略发展层面。
文化创意产业作为现代服务业的重要组成部分，其快速发展对于促进城市产业结构升级、完善城市各种服务功能、增加就业、建设两型社会都具有非常重要的作用。
当前全球的文化创业产业规模正在快速增长，已成为发达国家引领国家产业结构调整和创新发展的一支重要力量。
近年来，我国高度重视鼓励和支持发展具有中国特色的文化创意产业，各级政府也通过加强规划指导提供政策优惠、优化管理协调等手段大力支持文化创意产业发展。
各经济发达地区文化创意产业快速崛起，逐渐成为这些城市和地区产业发展的新亮点，各地加大扶持各类文化创意产业企业发展和专门人才成长的工作力度，加快筹划和建设各具特色的文化创意产业基地或文化创意产业示范园区，力争打造本地区经济社会发展新的增长点。
简析英国的创意产业
简析英国的创意产业The brief analysis of Britain's Creative industry文/王娜刘瑜 Wang Na Liu Yu摘要：创意产业在英国已经蓬勃发展了十多年。
本文简要论述了英国创意产业的发展历程及其发展过程中英国的政府机构对其的扶植政策。
Abstract:Creative industry has been booming in Britain for more than 10 years. This paper briefly discusses th e development course of British’s creative industry .And in their development process, the British government how to foster creative industry.关键词：英国创意产业发展历程扶植政策Keywords: British Creative industry Development history Assistance policy正文：一、英国创意产业提出的背景第二次世界大战中英国经济实力受到极大的削弱，政治地位下降，老工业部门日趋衰落。
战后政府没能制定完善的产业政策，对科技成果的商业应用及教育和人才培养等方面也不够重视，工业发展继续走下坡路，英国长期处于高通胀、高失业率、低经济增长的严重不景气状态。
20世纪70年代末至80年代初，英国产业结构从制造业为主逐渐转向以金融、贸易、旅游等第三产业为主带动了经济的短期复苏。
之后经过近20年的发展，金融服务、商业服务业也出现了一定程度的疲态。
20世纪90年代，英国因为政府的产业政策未能刺激经济发展，某些产业的发展濒临危机。
1994年，澳大利亚公布了国内第一份文化政策报告。
英国政府派团赴澳大利亚考查，回国后马上建立组织管理机制，政府成立了专门的研究指导小组，首相布莱尔亲任组长，投入了大量的资金及资源发展文化创意产业。
品牌设计英文文献
Brand Design: A Review of English Literature1. IntroductionBrand design plays a crucial role in establishing a strong and distinctive identity for a company or product. It encompasses various elements such as logo design, packaging, typography, color schemes, and overall visual representation. Over the years, brand design has evolved to become a significant aspect of marketing and has gained immense importance in creating a positive brand image. In this article, we will explore the English literature on brand design and its impact on consumer behavior.2. The Importance of Brand DesignBrand design serves as the visual representation of a brand’s identity. It helps to differentiate a brand from its competitors and creates a unique perception in the minds of consumers. Studies have shown that a well-designed brand can significantly influence consumer behavior, including purchase decisions and brand loyalty (Kapferer, 2012). A visually appealing and consistent brand design enhances brand recognition, builds trust, and creates emotional connections with consumers.3. Elements of Brand Design3.1 Logo DesignThe logo is one of the most recognizable elements of brand design. It serves as a visual symbol that represents a brand’s identity. A well-designed logo is simple, memorable, and easily identifiable. It should convey the brand’s values, personality, and essence. Research suggests that a strong logo design positively influences brand perception and increases brand trust (Keller, 2013).3.2 Packaging DesignPackaging design plays a crucial role in attracting consumers and influencing their purchase decisions. It not only protects the product but also communicates the brand’s message and creates a memorable experience for the consumers. The packaging design sh ould align with the brand’s overall design aesthetics and effectively communicate the product’s features and benefits (Underwood & Klein, 2002).3.3 Typography and Color SchemesTypography and color schemes contribute to the overall visual appeal of a brand. Typography refers to the style and arrangement of text, while color schemes define the colors used in the brand’s design. Both elements have the power to evoke specific emotions and create associations with a brand. They should be consistent across all brand collaterals to maintain a unified brand identity.4. The Impact of Brand Design on Consumer Behavior4.1 Influence on Purchase DecisionsA well-designed brand can significantly impact consumer purchase decisions. Studies have shown that consumers are more likely to choose a product with an appealing and recognizable brand design compared to its competitors (Morris & Kocak, 2017). Effective brand design creates a positive first impression and builds trust, which influences consumers to select a particular brand over others.4.2 Building Brand LoyaltyBrand design plays a crucial role in building brand loyalty. Consistent and visually appealing brand design fosters a sense of familiarity and trust among consumers. It creates a connection between the brand and its consumers, resulting in repeat purchases and increased brand loyalty (Aaker, 1991).4.3 Creating Brand RecognitionA strong brand design contributes to brand recognition. Consumers are more likely to remember and recognize a brand with a distinct and memorable brand design. Through consistent use of logos, typography, and color schemes, brand design helps to create a strong visual identity that consumers can easily identify and recall (Kapferer, 2012).5. ConclusionBrand design plays a pivotal role in establishing a strong brand identity and positively influencing consumer behavior. From logo design to packaging, typography, and color schemes, each element contributes to creating a unique and compelling brand image. The English literature on brand design highlights its significance in building trust, influencing purchase decisions, and fostering brand loyalty. Effective brand design enhances brand recognition and creates a lasting impression in the minds of consumers. Therefore, companies should invest in strategic brand design to gain a competitive edge and create a lasting impact on their target audience.ReferencesAaker, D. A. (1991). Managing brand equity: Capitalizing on the value of a brand name. Free Press.Kapferer, J. N. (2012). The new strategic brand management: Advanced insights and strategic thinking. Kogan Page Publishers.Keller, K. L. (2013). Strategic brand management: Building, measuring, and managing brand equity. Pearson Education.Morris, J., & Kocak, A. (2017). Brand design and consumer behavior: an analysis of three fast fashion brands. Journal of Retailing and Consumer Services, 35, 20-28.Underwood, R. L., & Klein, N. M. (2002). Packaging as brand communication: Effects of product pictures on consumerresponses to the package and brand. Journal of Marketing Theory and Practice, 10(4), 58-68.。
英文介绍创意文化产品小作文
英文介绍创意文化产品小作文Innovative Cultural Products: A New Paradigm for Economic and Social Development.In an era defined by technological advancements and globalization, the creative industries have emerged as a potent force, fueling economic growth and shaping the fabric of our societies. Creative cultural products, encompassing a diverse array of artistic and cultural expressions, have become an integral part of this burgeoning landscape.Defining Creative Cultural Products.Creative cultural products are tangible or intangible items that embody artistic, cultural, or heritage value. They encompass a wide spectrum of expressions, including:Visual arts (paintings, sculptures, photography)。
Performing arts (music, dance, theater)。
Literature (books, poetry, screenplays)。
Design (fashion, architecture, industrial design)。
创意产业
创意产业文化产业(Cultural Industries)的概念最早是由西方马克思主义法兰克福学派在20世纪40年代提出的，这一概念被欧洲大多数国家认可，比较具有代表意义。
它强调文化和经济的双向互融，是通过市场化方式提供文化产品和服务的产业。
关于创意产业的定义，最具代表性的有三种：第一种是1998年由英国创意产业工作组提出的《创业产业专题报告》，它把创意产业定义为：源于个人创造性、技能与才干，通过开发和运用知识产权，具有创造财富和增加就业潜力的产业(见创意产业工作组：《1998年创意产业路径文件》)。
第二种是由理查德·凯夫斯(Richard Caves)从文化经济学的角度把创意产业狭隘地定义为：提供具有广义文化、艺术或仅仅是娱乐价值的产品和服务的产业(见凯夫斯：《创意产业：艺术与商业之间的合同》)。
三是约翰·霍金斯(John Howkins)根据“有想法的人——有自己想法的人——已经比操纵机器的人更有力量，在、很多情况下比拥有机器的人更有力量”的基本判断，认为美国著名学者理查德·弗罗里达(Richard Florida)首个着眼于“版权、专利、商标和设计等四个产业的总和，构成了创意产业和创意经济”(见霍金斯《创意经济：人们怎样用想法挣钱》)。
由上面的定义我们知道文化产业和创意产业的定义有所交融。
因而可以说文化创意产业是文化产业和创意产业的交融。
2006年公布的《北京市文化创意产业分类标准》将文化创意产业明确定义为：“以创作、创造、创新为根本手段，以文化内容和创意成果为核心价值，以知识产权实现或消费为交易特征，为社会公众提供文化体验的具有内在联系的行业集群。
”文化创意产业园的概念（一）国外关于文化创意产业园概念的界定随着文化创意产业园在西方城市的发展，相关的研究也越来越多。
对文化创意产业园概念进行的探讨有德瑞克·韦恩提出的文化园区概念，Hilary Anne Frost-Kumpf提出的文化区概念。
创意与文化产业经济学
创意与文化产业经济学文献综述李政辉数理经济学 2012103119摘要：本文简要介绍了创意产业经济学的产生，以及广告对文化产业的影响，一个创意产品的生产过程。
最后本文对创意经济学进行进一步讨论和面临的挑战以及对创意经济学批判。
关键词：文化创新创意产品广告ABSTRACT:The passage introduce the origin of the cultural industry economy,the influence to the cultural industry economy from advertisement,the productive process of creative products.Finally,The passage give the deep discussion of creative industry economy and the challenge it will face and the critique of creative industry economy.Key words: Culture Innovation Creative products Advertisement一：艺术与商业的结合无论是说艺术的商业化(或者叫产业化)，还是商业介入艺术，只是基于不同的立场和分析问题的角度，但提法的不同无法掩盖艺术与市场结合愈发紧密的现实。
也许艺术家会在不同程度上坚持艺术的纯洁性以及艺术商品有别与其他商品的特殊性，但在商人和经济学家看来，这只不过是对一种商品在经济背景下其发展宿命的又一次演绎。
从经济学和商业发展的角度，创意产品即使再特殊也只不过是商品，商业逐利的动机不可能放过可以带来利润的任何领域。
①既然创意产品的生产已经体现了专业化分工，并且其流通需要市场作为媒介，那么创意产业的商业化就是不可避免的趋势。
问题的存在只是在这一过程中如何做到利润最大化。
文创产品的英语作文
文创产品的英语作文English:Cultural and creative products, also known as 文创产品, are a manifestation of the fusion of culture and creativity. These products are not only a reflection of a society's cultural heritage and traditions, but also a demonstration of innovative and artistic expressions. With the rise of the cultural and creative industry, 文创产品 have become increasingly popular and sought after by consumers both domestically and internationally. From traditional crafts to modern design, 文创产品 encompass a wide range of categories including fashion, art, literature, and more. Through the production and promotion of these products, cultural and creative industries not only contribute to economic growth, but also play a crucial role in preserving and promoting cultural heritage and identity.Translated content:文化创意产品，也被称为文创产品，是文化和创意的融合体现。
关于文创设计作品的英语作文
文创设计作品的魅力与影响In the modern era, cultural and creative design works have emerged as powerful vehicles for expressing and promoting cultural heritage and contemporary creativity. These designs, which often blend traditional elements with modern aesthetics, serve not only as artistic expressions but also as cultural ambassadors, bridging the gap between the past and the present, and connecting diverse cultures and communities.The beauty of cultural and creative design lies in its ability to transform traditional symbols and motifs into contemporary forms, while retaining their original essence and significance. Whether it's a reinterpretation of ancient patterns in a modern fashion line or the fusion of traditional crafts with cutting-edge technology in a product design, these works speak to the timeless value of cultural heritage and its relevance in today's world.Moreover, cultural and creative design works have a significant impact on society and culture. They contribute to the preservation and promotion of cultural identity, allowing individuals and communities to connect with theirheritage and share it with a wider audience. These designs can also serve as catalysts for cultural exchange and understanding, breaking down barriers and fostering mutual respect and appreciation between different cultures.In addition to their cultural significance, cultural and creative design works also have economic benefits. They can drive tourism, attract cultural tourists seeking to experience and appreciate different cultures, andcontribute to the growth of the creative industries. These designs often become collector's items, fetching high prices in the market, and thus, provide a source of income for artists and designers.However, the creation of cultural and creative design works is not without its challenges. Balancing traditional elements with modern aesthetics can be a delicate task, requiring a deep understanding of both cultures and a keen eye for design. Moreover, with the rise of digitization and globalization, it's becoming increasingly difficult to maintain the authenticity and uniqueness of cultural heritage.Despite these challenges, the future of cultural and creative design remains promising. With the advancements in technology and the increasing awareness of the importance of cultural heritage, we can expect to see more innovative and thought-provoking designs that celebrate and promote cultural diversity.In conclusion, cultural and creative design works are not just artistic expressions; they are powerful tools for cultural preservation, promotion, and exchange. They have the potential to connect people across cultures, generate economic benefits, and contribute to the overall growth and development of society. As we move forward into the future, it's important to continue supporting and promotingcultural and creative design works that celebrate our rich and diverse cultural heritage.**文创设计作品的魅力与影响**在当今时代，文创设计作品已经成为表达和推广文化遗产与当代创意的有力载体。
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Part V: Growing and Sustaining Brand Equity
Chapter 11 Chapter 12 Designing and Implementing Branding
Strategies 432
432
Introducing and l'Jaming New Products and Brand
Relationship of Customer Equity to Brand Equity Discussion Questions
Brand Focus 2.0 The MarketingAdvantages of Strong Brands
88
Chapter 3
Brand Positioning
Preview 48
Customer-Based Brand Equity
Brand Equity asa Bridge 49
47
48
51
Making a Brand Strong: Brand Knowledge Sources of Brand Equity
Brand Awareness Brand Image 56
126
128
129
Brand Inventory Brand Exploratory
Brand Positioning and the Supporting Marketing
Program 131
Review 131
132
132
Rolex Brand Audit Discussion Questions Brand Focus 3.0
Criteria for Choosing Brand Elements
Memorability Meaningfulness Likability 142
Transferability Adaptability Protectability Brand Names
Options and Tactics for Brand Elements
STRATEGIC BRAND MANAGEMENT
BUIlDING, ~1tASURING, AND MANAGING BRAND fQUITY
THIRD EDITION
Kevin Lane Keller
Amos Tuck School ofBusiness Dartmouth College
PEARSON
Physical Goods Services 15
17
11
10
Retailers and Distributors People and Organizations Geographic Locations Ideas andCauses 26
25
Online Products and Services 21
Part III: Planning and Implementing
Brand Marketing Programs 139
Chapter 4 Choosing Brand Elements
to Build Brand Equity 139
140
140
140
141
142
143
143
Preview
97
98
Preview 98
Identifying and Establishing Brand Positioning
Basic Concepts Target Market 98
99
104
107
Nature of Competition
Points of Parity and Points of Difference
174
Legal Branding Considerations
179
Chapter 5
Designing Marketing Programs
to Build Brand Equity 184
185
185
186
194
Preview
New Perspectives on Marketing
Personalizing Marketing 188
Chapter 15
iv
635
635
Closing Observations
Prologue: Branding Is Not Rocket Science xiv
Preface xv
Acknowledgments xx
About the Author xxi
Part I: Opening Perspectives
Chapter 4 Choosing Brand Elements to Build Brand Equity 139
Chapter 5 Designing Marketing Programs to Build Brand
Equity 184
Chapter 6 Chapter 7 Integrating Marketing Communications to Build
Brand Equity 229
Leveraging Secondary Brand Associations to Build
Brand Equity 279
Part IV: Measuring and Interpreting Brand Performance
Chapter 8 Chapter 9 Chapter 10 Developing a Brand Equity Measurement and
Management System 315
315
Measuring Sources of Brand Equity: Capturing Customer
Mind-Set 353
Measuring Outcomes of Brand Equity: Capturing Market
Performance 402
121
114
115
117
Establishing Points of Parity andPoints of Difference
Defining and Establishing Brand Mantras
121
Internal Branding
125
CONTENTS
vii
Brand Audits
---Prentice
Hall
Pearson Education International
BRIEF CONTENTS
Part I: Opening Perspectives
Chapter 1
1
Brands and Brand Management
Part II: Identifying and Establishing Brand Positioning
Identifying and Establishing Brand Positioning Measuring and Interpreting Brand Performance Growing and Sustaining Brand Equity Review 42
42
Historical Origins of Branding Discussion Questions Brand Focus 1.0 41
Chapter 1
Preview 2
1
1
Brands and Brand Management
What Is a Brand? 2
Brands versus Products 3
Why Do Brands Matter?
Consumers Firms 9
6
6
Can Everything Be Branded?
36
Greater Accountability 30
35
35
36
27
30
Branding Challenges and Opportunities
The Brand Equity Concept
37
38
38
39
40
Strategic Brand Management Process
145
155
144
URLs
154
157
Logos and Symbols Characters Slogans Jingles Packaging Review 176
159
164
165
Putting It All Together
Discussion Questions Brand Focus 4.0 178
Planning andImplementing Brand Marketing Programs
43
v
vi
CONTENTS
Part II: Identifying and Establishing Brand
Positioning and Values 47
Chapter 2 Customer-Based Brand Equity
and Values 47
Chapter 2 Customer-Based Brand Equity Chapter 3 Brand Positioning 97
47
Part III: Planning and Implementing Brand Marketing
Programs 139
Positioning Guidelines