浅谈房地产档案的信息化管理

<正>近年来,计算机网络技术的广泛应用使档案信息管理进入现代化管理的先进行列,并为档案信息管理提供了可靠的保证,档案信息作为"信息链"中的重要一环,在经济发展和社会进步中处于重要地位。新时期房地产档案工作由原来的封闭型、管理型、被动型向开放型、科技型和主动型转变,如     

党、国家与社会三者关系的系统分析--论中国共产党执政方式创新问题

政治现象从来就是一种系统现象,而整个人类社会主要是由社会系统、政治系统、经济系统、文化系统组成。当令,政治系统主要由政党系统与国家政权系统组成,同时,人类社会的基本关系就是党、国家与社会三大系统之间的关系。而中国共产党执政方式的创新问题,也就是党、国家与社会三者之间的关系问题。本文通过对一般系统自身特点及其相互关系的分析,认为中国共产党执政方式的创新应由封闭型向开放型转变,由强制型向契约型转变,由单一型向多样型转变。     

档案编研要走特色创新的发展之路

在当今社会,信息技术的迅猛发展和广泛、深入地应用,对档案编研工作产生了强烈的冲击和深刻的影响。它迫使档案编研必须由封闭型向开放型转化,由纯编研型向研发型转化,充分利用档案信息资源为社会服务。为了适应现代社会对档案编研的需求,必须开拓档案编研的新思路。     

试论晚清时期的教育创新

这一时期的教育创新,是以学习和吸收西方现代明成果为前提;以“中体西用”为宗旨;以兴办新式学堂、废科举、改革教育体制为标志,以抵御外辱、治国安邦为目的,向封建传统教育发起冲击,使传统教育由封闭型向开放型转变,特别是以京师大学堂为代表的一批高等学府的相继创建,不仅结束了中国没有现代意义上的大学的历史,而且在促进中国教育事业的发展和推动社会全面进步等方面,有着特殊而伟大的意义。     

试探沙特王国社会结构的演变及其特点

试探沙特王国社会结构的演变及其特点王铁铮沙特阿拉伯王国是一个实施家族统治的政教合一的伊斯兰君主制国家,第二次世界大战后,沙特王国经历了从封闭型的游牧国度向开放型的现代石油工业国的转化,并以超常速度完成了由单一社会结构向多元社会结构的演进。但是,在经济...     

实践"三个代表"加快发展方志事业

续志应以江总书记“三个代表”的重要思想为指导 ,总结经验 ,提高认识。一、重视续志工作手段的技术创新 ,大力提高续志工作的科技含量。“三个代表”中首要的是体现先进生产力发展要求 ,续志工作应与时俱进 ,尽早尽快地步入“信息高速公路” ,建立起现代化修志网络。方志工作的现代化 ,不仅要求应用计算机 ,实现续志手段的现代化 ,还要求实现方志工作的目标、内容、管理协调、运行机制的现代化 ,使方志机构由封闭型向开放型、行政型和社会型方向转化 ;要求续志人员素质现代化 ,要加强对续志工作者的现代化知识、计算机知识的全员培训工作 ,…     

中国当代博物馆教育体系刍议

我国博物馆教育尚处于一种粗放式的发展阶段,还没有形成一个科学完善的教育体系。如何整合、利用有形的和无形的教育资源,使博物馆教育由粗放式向精细化转变,最终在博物馆中建立一个完善的、多层次的、具有互动性的教育体系,是当前我们急需解决的问题。     

浅谈新时期博物馆陈列工作

当前,面对市场经济体制下经济、文化等方面的激烈竞争,博物馆工作也面临许多问题,这些问题直接影响着博物馆事业的发展。本文由博物馆最基本的工作——陈列展览工作入手,从转变陈列观念、适应社会发展,发挥自身优势、办好特色陈列两方面对新时期博物馆陈列工作作了探讨。     

论学校德育工作实效性的缺失

学校德育工作的目的在于培养学生良好的道德品质,促进学生自身美德与善性的统一,以减少不良道德行为的形成和发展。改革开放使我国社会结构由内向封闭型走向外向开放型,各种思想观点、价值观念、思维方式等在影响社会的同时也在影响着学生,学校德育工作陷入了前所未有的困境。若要摆脱学校德育工作中所面临的困境,则必须探索产生这种困境的内在原因,只有这样,才能把握学校德育工作的方向,提高德育工作的质量和实效性。     

博物馆与学校素质教育

随着学校由“应试教育”向“素质教育”的转变,博物馆应力求进一步充分发挥其社会教育功能、体现其社会存在价值。     

现代博物馆管理模式探析

公益性文化事业管理模式的创新是当前文化体制改革的重要内容。博物馆作为公益性文化事业的重要组成部分,一直缺乏有效的管理模式,造成社会文化资源、经济资源巨大的浪费。本文以国外非营利组织和博物馆管理模式为借鉴,结合我国现状,提出了中国社会主义市场经济体制下现代博物馆管理模式的构想。     

历史类博物馆藏书结构及利用分析──以河南博物院为例

博物馆藏书结构与博物馆业务研究密切相关。本文分析了河南博物院图书室的性质、作用和藏书结构与业务研究的关系,提出了如何解决现有矛盾的对策。     

Art Museums,Old Paintings,and Our Knowledge of the Past

Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to preserve works of art. Skepticism deserves attention, for such varied influential commentators as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans‐Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valéry hold this pessimistic view of museums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepticism is indefensible, I argue, because it fails to take account of the continuities in the history of art's display. But Intentionalism is also deficient because it is ahistorical. In presenting the history of Piero's painting, The Travels and Tribulations of Piero's Baptism of Christ shows that we can re‐identify the original significance of Piero's work and the recognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art.     

The role of museums of contemporary art in the re‐telling of historical accounts in Lithuania and Latvia

Museums of History and Art provide accounts of the past and the transition of nations into their current situation. They follow a certain line of interpretation of past events which reflect the dominant belief system in a nation. These narratives told in this process leave room for interpretation. Which particular string of the available narratives is followed while neglecting the others, and is influenced by the current self‐understanding of a nation and its political considerations. Latvia and Lithuania, two Baltic Nations, were planning to set up museums of contemporary art in 2009 and in 2011, respectively. Due to the financial crisis at this time, however, both projects have been put on hold. Based on interviews with key personnel and experts, the paper shows how the museums in both countries interpret their Soviet past and align it with the new European master narratives.     

论藏品信息

藏品信息是博物馆藏品工作的新课题。本文从宏观的角度,分析了藏品信息的意义、要素、结构、分类、著录规则和标准化等一系列问题。     

Examining the Olympics: heritage,identity and performance

A major aspect of Ireland's history is the continual problems of a sectarian nature, yet the issue of 'the troubles' gets scant consideration in the permanent exhibitions mounted in Northern Ireland's museums, and is only beginning to emerge in more temporary exhibitions and statements about museums. In addition, the belief that cultural heritage plays a significant part in conflict resolution in Northern Ireland has long been expressed in statements on education policy and local government programmes. However, the concept of using museums for exploring this history for a positive outcome has not, despite the scale of the political problem, been a high-profile issue in Northern Ireland's museums nor has it had a great deal of academic attention. This paper is a contribution to this gap. It assesses the role that Northern Ireland's museums play in the current political context. It evaluates the reasons why, since their foundation, museums in Northern Ireland have largely chosen to avoid controversial issues in their displays. It considers how attitudes are changing and how museum professionals are tentatively beginning to engage with political issues and enter into dialogue on subjects such as cultural and political identities in Northern Ireland.     

The sound of music heritage: curating popular music in music museums and exhibitions

A significant amount of previous academic research into popular music museums centres on critiques of the content, design and layout of predominantly authorised institutions. Throughout much of this research, authors consistently criticise the use, or rather, the perceived misuse, of music played within music museums, arguing that the music itself, rather than artefacts, constitutes the most significant part of popular music exhibition. This article seeks to counter this trend by exploring the challenges of incorporating recorded sound into popular music exhibits as understood by curators and exhibit designers. Utilising interviews conducted within 14 authorised and DIY museums devoted to popular music, the researchers demonstrate a distinct contrast between current academic critiques of music use in these museums and the attitudes of the people who create them. The result is a varied discussion surrounding sound in the museal space, including issues of sound bleed, technology and the creation of balance between artefacts and sound. This account draws attention to curators’ intentions of telling the story of popular music history by engaging with both the visual and aural memories of museum patrons, and suggests a new understanding of the purpose underpinning popular music museums in modern contexts.     

Strategic management for visitor-oriented museums

Abstract: Strategic management is a familiar concept in for-profit organisations but is relatively new to museums. This paper presents and discusses a model of strategic management for visitor-oriented museums that aims to be more comprehensive than current approaches. It shows how museums can overcome the tension between the strategic demand to develop visitor-oriented museum services and the duties and social mandate of museums as public institutions that are defined by cultural policy—enabling access to cultural heritage, promoting broad cultural participation and providing informal education. Visitor-oriented strategic museum management is concerned with attracting a variety of visitors as well as the development of museum services that are appropriate to diverse museum audiences. The model presented here emphasises the comprehensive strategic management concept. Audience research and evaluation are shown to be valuable analytic and revision tools for strategic management in visitor-oriented museums.     

通明的实相 深邃的精神——金陵八家画展侧记

南京古称金陵,人们习惯上将活动在南京地区明末清初的一群画家称之为“金陵八家”。根据南京博物院2008年度展览策划安排,于2008年8月4日-9月4日在该院古代书画陈列馆（现傅抱石艺术馆）推出“金陵八家”画展,遴选院藏龚贤、高岑、樊圻、吴宏、邹拮、吴宏、叶欣、胡懂、谢荪八家45件书画精品,作为重点展览项目,对外集中展示八家的艺术成就。