Global Journal of Human Social Science, E: Economics, Volume 21 Issue 5

b) Culture and Economics As we previously discussed, and for the analysis objective, we will depend on the functional definitions of “culture” (p. 3). So, we can define the interrelationship between economics and culture as follows: the beliefs, attitudes, and values that bear on the economic activities of individuals, organizations, and other institutions 8 (Porter, 2000). Although the relationship between economics and culture was debatabl e 9 Another point we should mention is the broad literature of the relationship between culture and economics, which was later called “cultural Economics.” The first step of “cultural Economics” as a discipline was established in 1965-1966, with the publications of Baumol and Bowen’s titled: “On Performing Arts: Anatomy of their Economic Problems”; “Performing Arts: The Economic Dilemma.” Later, Blaug pioneered the “economics of arts” in the 1970s, he started his work with comprehensive “cost- effectiveness analysis” to reveal the allocation of public subsidies for arts (King and Blaug, 1973). Blaug also gave the main contribution to what we called “cultural economics.” He pointed out achievements, gaps, and desirable impacts of cultural economics on the econom y , economic impacts of culture were evident. These impacts have three main paths: first, historical component, made by habits and values received from parents and earlier generations. The second, contemporaneous component, represented by beliefs generated by social interactions and networking (Marini, 2016; 2013). Third, evident in the direct and indirect economic impacts of cultural industries and their activities. 10 8 In this context, culture is considered different beliefs, such as religious creeds, social beliefs and norms, habits, and values transmitted over generations through social interactions and intergenerational transmission that influence individual decisions and policies of countries and regions. Nowadays, it is recognized that cultural types represent important determinants for the study of both individual decisions and macroeconomics (Marini, 2016; 2013). 9 According to literature; some economists supported the direction of relationship from economic development to culture (Marx, 1859; Inghleart, 1990; 1997), while other economists suggested the reverse direction of impacts from culture to economic development (Banfield, 1958; Putnam et al ., 1993; Fukuyama, 1995; Tabellini, 2010), and others stated that the relationship between culture and economics interpreted as bidirectional (Dasgupta, 2003). 10 Blaug is better known for his work about the history of economic thought and economic methodology. Yet, his publications on the economics of art and culture illustrated his contribution in culture economics and its relationship with applied economics (Handke and Dekker, 2013). . He also confirmed the importance of analysis for costs and benefits to provide main framework for cultural policy. Moreover, Blaug stressed the special role of cultural economics for economic theory 11 . By 1976, It was evident that there was a new field of economics that was emerged when Blaug focused on economics of arts in a narrow sens e 12 , he referred to the exclusion of television and radio with a distinction between “entertainment” and the arts. A year later, the North American Academy established the Journal of Cultural Economics (JCE) (Handke and Dekker, 2013). By 2001, cultural economics began to cover an increasing range of “artistic phenomena” that justified the shift from “economics of arts” to “cultural economics ” 13 c) Cultural Industry(Industries) . The first use of the “cultural Industry” term was in 194 7 14 , describing arts and cultural goods that could be industrialized. This term was widely used in modern society's life, and it was picked up by French sociologists (UNESCO, 2012). Recently, “cultural industries” is converted to “creative industries” by policymakers (p. 9). Evolution the term “cultural industries,” was made by shedding light on the production and consumption of cultural activities; especially arts, which are characterized as purely economic processes 15 11 Blaug was affected by Austrian Karl Popper; he believed in the cultural sector as a type of Australia, a foreign place where black swans dwell. Moreover, Schumpeter also gave inspiration to Blaug; he argued that the topics of innovation, entrepreneurship, and Schumpeterian competition should have a central role in economics (Handke and Dekker, 2013). 12 Arts in a narrow meaning are: “opera, ballet, modern dance, orchestral concerts, theater, museums and galleries, but unfortunately not television, radio and films, and not jazz or pop music.” Blaug explained the exclusion of television and radio with a distinction between entertainment and the arts. He concedes immediately that this distinction may be “artificial and conventional,” but it is necessary to avoid the inclusion of spectator sports, which would leave the scope too broad. The film is excluded for a different reason: there were no concise economic studies available. Jazz and pop music are excluded because of the “deplorable” lack of interest of professional economists for these topics at the time. Cultural economics continues to struggle with the definition of the arts, the cultural, creative industries, or entertainment industries to this day. Moreover, Blaug’s solution was by admitting the absence of definite criterion (Handke and Dekker, 2013). 13 Blaug (2001) emphasized advances in economic theory to cover more comprehensively the full range of “outlets of artistic creativity.” So, he focused on the branch of cultural economics that use a broader, the anthropological definition of “culture,” emphasizing norms and values (Klamer, 1996; Throsby, 2001). As we previously discussed (p. 3). 14 Frankfurt School of Sociology pioneered the “cultural Industry” term, Particularly in criticism of economization of art by Adorno and Hokeimeir book: “Dialectic of Enlightenment,” which described cultural industry as an art, and cultural goods that could be industrially multiplied (Throsby, 2001; UNESCO, 2012). 15 According to this evolution, the root of cultural economics was established as a distinctive discipline in economics. Since then, cultural economics had its economic classification, and also had its international association, congresses, and journal (Journal of Cultural Economics (JCL)) (Throsby, 2001). . That is exactly the main issue of Volume XXI Issue V Version I 23 ( E ) Global Journal of Human Social Science - Year 2021 © 2021 Global Journals Economic Contribution of Cultural Industries: Evidence from Some Selected Countries cultural economics.