Opinion - (2022) Volume 12, Issue 11
Received: 13-Oct-2022, Manuscript No. jbmr-23-90091;
Editor assigned: 15-Oct-2022, Pre QC No. P-90091;
Reviewed: 27-Oct-2022, QC No. Q-90091;
Revised: 03-Nov-2022, Manuscript No. R-90091;
Published:
10-Nov-2022
, DOI: 10.37421/2161-5833.2022.12.473
Citation: Parra, Kath. "Organizational Trust, Corporate Reputation for Sustainable Performance and Corporate Social Responsibility." Arabian J Bus Manag Review 12 (2022): 473.
Copyright: © 2022 Parra K. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
The phrase "creative economy" (CE) has gained popularity over the past three decades all over the world as a means of coping with the quick changes that have occurred in both economies and society. Additionally, by encouraging the coordinated acquisition of creativity, knowledge, and technology, CE may significantly contribute to the expansion and maintenance of national economies while upholding sustainable development. As a result, CE has emerged as a pertinent issue for nations and their economy, given that it is used in both developed and developing nations, despite the absence of official backing and public policies that would enable adequate growth .The CE is a model of innovation and economic growth, offering a crucial function in the sector. These creative sectors are essential for development, job creation, and global trade. They cover a wide range of activities, such as the creation, production, and delivery of both tangible and intangible intellectual or artistic goods and services [1,2]. These industries cover a wide range of economic activities, including advertising, photography, architecture, designer fashion, R&D, software, and electronic publishing.
They also include the arts (painting, music, performing arts), audio-visual (cinema, television, video games), and photography. In order to strengthen professional careers in the arts, sciences, and culture as well as to encourage social inclusion, the creative economy facilitates employment and qualification. The UK is the primary contributor, working on 140 papers with 25 different nations [3-5]. This outcome was expected given that the Department for Digital, Culture, Media, and Sport published the first report on the creative industries in the 1990s. The United Kingdom is now the country that leads scientific production in this area. This publication marked a shift in the debate about how the creative and cultural industries develop and deliver value, exporting this knowledge to other European nations, North America, and even Asia. The journal with the greatest number of publications on this topic is the UK's Creative Industries Journal, which also contributed to the dissemination of 65 papers [6].
The cognitive structure of the creative economy (CE) in business, management, and accounting during the previous three decades might be assessed thanks to this bibliometric investigation. The performance study also reveals a rising interest in academics and society by recording 687 scientific articles between 2011 and 2021, a concentration of 79.6%.The contributions of I 46 countries, including the United Kingdom, Indonesia, and the United States; (ii) 267 journals, including the Creative Industries Journal; (iii) 1340 authors, including Minghuei Chen from the National Chung Hsing University (Taiwan); and (iv) the publication with the highest citation count, "Creativity and Tourism. The State of the Art" by Tilburg University's Greg Richards.
None.
None.
Google Scholar, Crossref, Indexed at
Google Scholar, Crossref, Indexed at
Google Scholar, Crossref, Indexed at
