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The Rise of the Creative Class--Revisited: Revised and Expanded (Englisch) Taschenbuch – 7. Januar 2014

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  • Taschenbuch: 512 Seiten
  • Verlag: Basic Books; Auflage: First Trade Paper Edition (7. Januar 2014)
  • Sprache: Englisch
  • ISBN-10: 0465042481
  • ISBN-13: 978-0465042487
  • Größe und/oder Gewicht: 23,1 x 15,5 x 3,6 cm
  • Durchschnittliche Kundenbewertung: 4.7 von 5 Sternen  Alle Rezensionen anzeigen (3 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 54.289 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)


Über den Autor und weitere Mitwirkende

Richard Florida, Director of the Martin Prosperity Institute at the University of Toronto’s Rotman School of Management and Global Research Professor at New York University, is the founder of the Creative Class Group and a senior editor for The Atlantic. He lives in Toronto.

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Von EDU am 8. November 2013
Format: Gebundene Ausgabe Verifizierter Kauf
I have to admit I am not a Florida follower.

Yet, this book, despite the author’s egocentrism, has many interesting parts for regional planners, when it comes to the precise identification of the main drivers of territorial development.
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Kann das Buch auf jeden Fall weiterempfehlen. Es ist vielleicht kein Grundlagenwerk, was jeder Mal gelesen haben sollte, aber auf jeden Fall zeigt es eine spannende Entwicklung auf. Für alle, die sich für dieses Gebiet interessieren ist es genial.
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I have recieved the book as it was described on the web. I think, I could not find it cheaper!
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Die hilfreichsten Kundenrezensionen auf (beta) 19 Rezensionen
26 von 29 Kunden fanden die folgende Rezension hilfreich
The Effective Role of Creativity 14. Juni 2012
Von Marisol D'Andrea - Veröffentlicht auf
Format: Gebundene Ausgabe
I read every single page. This revised edition of the book has been thoroughly revised with five new chapters. It departs from the original version of the 2002 book that the term Creative class has evolved. Florida explains that the term "used to mean artists and writers. Today, it means job stability" (p. viii), and contends that for prosperity and jobs to happen, there is a need to convert every job into a `creative job.' 'Every human being is creative' is the key thesis of "The Rise of the Creative Class Revisited," as in the original version of the 2002 book. With a clear and engaging message, Florida addresses his critics throughout the book and presents updated data from various scholars in the field to support his position.

The aim to capitalize `creativity' is powerfully argued in this book. Florida demonstrates that the Creative Class now comprises more than thirty percent of the entire workforce. But to his surprise, metros with the highest rank in Creativity Index, tended to have the highest level of inequality. He addresses these perplexities later in the book. However, one thing is for sure, Working and Service Classes thrive in regions with high concentration of the Creative Class. Furthermore, the author stresses that the Creative Economy is not about capitalistic discourse; instead, it is about innovation, business and culture. He ascertains the recognition of the Creative Economy where creativity is the key driver of today`s economy, as creativity needs to be commoditized in lieu of being wasted; insisting that the key task of the future must be to fully engage the creative talents of ALL.

The author speaks to the issues of inequality as well. Florida argues that what drives inequality is the persistent poverty and concentration of economic activity during globalization. One of his recommendations to overcome inequality is to make Service jobs "better," more creative. He recapitulates his central theory, where he insists that we need to build a new `social compact' that can lead to the 'creatification' of every single human being, while reaffirming the commitment to diversity, and moving away from bureaucracy and squelching standards. He ends by providing vital recommendations for harnessing creativity, growth, prosperity and the `beautification' of the city.

Florida's propositions indeed bear semblance to Jane Jacobs' work in that he has sagaciously analyzed how to improve the city and the way of life. He wishes to make the city a better place for all, and stands firm with his scholarly argument that creativity is vital to ignite economic growth--as the ticket to prosperity. In the heart of the U.S crisis, there is a sense of urgency in his message that seeks to capitalize creativity to prevail over economic failures. Overall, The "Rise of the Creative Class Revisited" is the must-have guide for policymakers and ALL leaders seeking to better understand how to manage creative workers and the proper and effective role of creativity. This book provides useful tools to begin a new way of life that is creative!

Impressive revisions and insightful body of work!
11 von 13 Kunden fanden die folgende Rezension hilfreich
Revisiting perspectives on "the key underlying forces that have been transforming our economy and culture" for several decades 10. Juli 2012
Von Robert Morris - Veröffentlicht auf
Format: Gebundene Ausgabe
As I heard the account, one of Albert Einstein's colleagues at Princeton once pointed out to him that he asked the same questions on his final examination each year. "Yes, that is true. Each year, the answers are different." I thought about that incident as I began to read this book because most (not all) of the major issues that Richard Florida addresses in the Original Edition (2003) are among those he revisits in this 10th Anniversary Edition.

As he explains in the Preface to the new edition, "the dawning of the Creative Age has ushered in a newfound respect for livability and sustainability. This, too, is part and parcel of the deeper shift. The quest for clean and green is powered by the same underlying ethos that drives the Creative Economy. Where the green agenda is driven by the need to conserve natural assets, the Creative Economy is driven by the logic that seeks to fully harness - and no longer waste - human resources and talent." Most of the same trends, patterns, shifts, etc. that Florida identified a decade ago continue, their expansion driven by diversity and inclusion that are both moral imperatives and economic necessities. Each contains an abundance of opportunities and perils.

However, that said, "all is far from well: the great promise of the Creative Age is not being met." Florida adds, "We are in a strange interregnum when the old order has collapsed and the new order is not yet born." Lacking the cohesion and solidarity of the Working Class, the Creative Class remains at the forefront of what Ronald Inglehart characterizes as "the transition to a post-materialistic politics - a shift from values that accord priority to meeting immediate material needs to ones that stress belonging, self-expression, opportunity, environmental quality, diversity, community, and quality of life."

Revising and updating the Original Edition was a major project for Florida and his associates. All of the original chapters were revised; five new ones were added; and two pair of original chapters (2 and 3, 7 and 8) have been combined into one chapter (Chapter 2 and "No Collar"). Florida devotes two of the new chapters to "the persistent and deepening economic, social, and geographic divides that continue to vex our society."

These and other major writing and editing initiatives correctly suggest how much importance Florida gives to helping to "unleash the great reservoir of overlooked and underutilized human potential," resources without which the human race cannot finally achieve and then sustain "a better, more meaningful, and more fulfilling way of life."

I agree with Richard Florida that "every single human being is creative" or at least can be creative if (HUGE "if") economic opportunity and human development are not only in alignment but, in fact, interchangeable.
30 von 44 Kunden fanden die folgende Rezension hilfreich
a modern music man 29. Juni 2012
Von Mark bennett - Veröffentlicht auf
Format: Gebundene Ausgabe
Richard Florida is a successful con-man whose business is selling dreams to cities. But whereas Professor Harold Hill in the "music man" saved towns by selling them musical instruments, Florida promises to make your town the next Silicon Valley if you just follow his simple formulas.

He went around the country to trendy places with lots of technology jobs, looked around, and then decided their success was based on what he observed. Not very scientific, but the idiots he is selling this stuff to don't know up from down.

Reality in these matters is three or four things matter:

1) High quality local univerities pumping out graduates
2) An existing base of established large companies providing technology jobs (inertia wins)
3) Good schools
4) A enterprenural class in the community willing to spend their time and money investing in technology.

A sidewalk cafe district with street musicians and all the cute little shops created from some ready-made blueprint will make your city seem like "main street USA" at Disneyland. And if your goal is to attract affluent tasteless goons downtown, it will work well. But its not going to turn your city into Silicon Valley.

In this updated version of the book, he offers analysis of his "creative class" in the aftermath of the economic crisis of 2008. He offers his views on race and gender within his creative class as well.

His definitions of the "creative class" remain as fast and loose as ever.

Karl Marx wanders around the book as well. There are some really weird bits like the reach to Marx comparing the "creative class" to the "universal proletarian", talking about creative occupations as inherently collectivist. He often talks about his creative class as if they were something like the "New Soviet Man". And there is also the idea of the rise of what he calls the "creative society" which is a reach toward utopianism by way of google and facebook. He talks vaguely of turning labor and service jobs into "creative" occupations but is kind of light on how that is to be accomplished.

The last chapter is just odd. Its a political manifesto of sorts written by the author on behalf of a class to which he doesn't really even belong. He says at one point that Occupy Wall Street represents the "creative class". Near the end he drags out Karl Marx again to say that occupy wall street and the arab spring were both instances of his "creative class" gaining self-awareness as a class.

The most important point to make is that there are no quick or easy answers to economic development that will work. The author has been selling easy solutions for a long time now and the results speak for themselves. In my opinion, building up an educational and entrepenural infrastructure is key. Being a nice place to live also helps. But you can't build a nice place from generic blueprints or copy some other place. Being friendly to businesses (government saying "how can we help") works too.
New Ways 5. November 2014
Von Amazon Customer - Veröffentlicht auf
Format: Gebundene Ausgabe Verifizierter Kauf
Richard Florida open new ways for social development
1 von 2 Kunden fanden die folgende Rezension hilfreich
Nothing new to me 28. Januar 2014
Von Amazon Customer - Veröffentlicht auf
Format: Gebundene Ausgabe Verifizierter Kauf
I am a retired teacher and this sort of information has been at the forefront of our educational inservices for the last several years. But it is something people should be aware of that do not understand the upcoming generation.
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