Network Location and Policy‐Oriented Behavior: An Analysis of Two‐Mode Networks of Coauthored Documents Concerning Climate Change in the Great Lakes Region*,†

This study explores how a scientist's location in science‐based policy networks can affect her policy‐oriented behaviors. In particular, we hypothesize that those scientists who fill structural holes in their networks will be more likely than others to engage in policy‐oriented behaviors. The network data are defined by scientists' coauthorship on policy documents regarding climate change in the Great Lakes. We employ a two‐mode network analysis to identify clusters of scientists who coauthored similar documents, and relative to those clusters, we identify those who fill structural holes by bridging between clusters. We find that those scientists who bridged between clusters were more likely to engage in policy‐oriented behaviors of policy advocacy and advising than were others in the network. This is an example of a link between network location and policy‐oriented behavior indicative of the broader phenomenon of how individuals exert agency, given structural constraints.     

“乞休”与“挂冠”:晚明弃官现象与政治文化嬗变

在明代君臣关系中,君权一直处于强势地位,并左右着官员进退。明中后期,这种情况出现了微妙的变化。时值万历朝出现大范围缺官,以京官为首的文官群体以此为契机,引发了群体性的致仕乞休现象,不惜以影响政府的正常运作为代价,孤立皇帝,从而扭转了在致仕问题上长期处于被动的局面,并由此引发了官员对于君臣关系、权力分配及仕隐哲学的再思考,影响了主流舆论的变化以及政治力量在中央与地方之间的转移等。这种主动弃官的现象所折射出的理性精神和反传统思想在一定程度上催生了晚明政治文化的进步因子,并为中国日后具有近代意义的民主政治发展奠定了基础。     

FORESTATION PROJECT IN SHIGATSE PREFECTURE

Tlbetan legend has it that many years ago the Qinghai-Tibet Plateau was originally an extensive ocean.One day,a vicious fiveheaded dragon entered this ocean and brought catastrophe to all local creatures.So Heaven sent five fairies to conquer the vicious dragon.Forming a long-term strategy to prevent any catastrophe which might be brought about by the vicious dragon,the five fairies forced the ocean to retreat and converted the eastern part of what was once the ocean to a primitive forest and the western...     

古代水利工程与水利遗产现状调查

中国特有的地理位置和自然环境决定了水利是中华民族生存、发展的必然选择。可以说,水利与中华文明同时起源,并贯穿于其整个经济社会发展进程中。在漫长的历史时期,历代各朝都将兴水利、除水害作为头等国事,兴建了各类水利工程,留下了大量具有重要科学价值的水利文化遗产。这些遗产中不仅有水利工程设施这样的物质文化遗产,还有治水理念、水管理文化、农村防洪抗旱灌溉互助合作制度等非物质文化遗产,     

Using hearths for temper: petrographic analysis of Middle Woodland charcoal-tempered pottery in Northeast Florida

Charcoal-tempered pottery is uncommon in North America, but was produced with notable frequency in Northeast Florida from ca. AD 300–600. Thirty-six thin sections of pottery were analyzed by petrographic analysis and compared to 10 clay samples in order to characterize the paste of charcoal-tempered wares in terms of charcoal and mineralogical composition and abundance, assess the number of clay sources used to make the pottery, identify the species of wood represented in charcoal inclusions, and infer techniques of ceramic production. This analysis identified four temper categories, three texture groups, and three distinct clay resources used to make charcoal-tempered pottery, all of which were likely local to Northeast Florida. Identified wood taxa include pine (Pinus sp.), cedar (cf. Juniperus sp.), cypress (cf. Taxodium sp.), and sassafras (Sassafras albidum), with pine suspected to be the most common. These genera of charred wood, which exhibit minimal shrinkage in the samples, along with the prevalence of bone and grog inclusions, indicate that hearth contents were processed as temper, sometimes in combination with quartz sand. Potential reasons for the use of hearth contents as temper are considered.     

宁夏固原西郊汉墓出土摇钱树及相关问题研究

宁夏固原一座汉代墓葬中出土了一件青铜鎏金摇钱树,枝叶上有朱雀等祥兽与人物雕塑,表现了四灵、乐舞杂技与西玉母神话等图像内容,对研究汉代摇钱树的内涵与分布影响有一定意义。     

合浦汉墓出土绿柱石宝石珠饰的科学分析

采用便携式拉曼光谱仪对广西合浦出土的新莽(8—23年)和东汉(25—220年)晚期的宝石珠饰进行了原位无损分析,新发现了一批在外观上极易被误认为各色水晶的绿柱石族矿物(如海蓝宝石和透绿柱石)制作而成的浅蓝色和无色透明珠饰。利用手持式显微镜对绿柱石宝石珠饰的穿孔形状、孔径大小及其内部微痕特征进行了观察分析,参考南亚和东南亚同时期石质珠饰的钻孔工艺及钻具研究成果,认为这批绿柱石珠饰采用了钻石钻头双面对钻钻孔工艺。结合南亚地区宝石资源、出土绿柱石宝石珠饰及其钻孔工艺和加工作坊等情况,认为这批绿柱石宝石珠饰是由南亚经海上丝绸之路输入的舶来品。研究结果为探讨汉代中国南方与南亚和东南亚的经济和文化交流提供了有益信息,有助于提高对古代海上丝绸之路这一贸易网络在传播珍贵物品的认识。     

From Nihewan to Zhoukoudian: Cultural Evolution Pattern in the Paleolithic Age of Northern China

Nihewan and Zhoukoudian are important areas where early humans and cultures originated and reproduced in northern China and even East Asia. Geologically, both site groups belong to the Haihe River valley; chronologically, the Nihewan sites date to ca. 1.7 million years ago, and the Zhoukoudian sites date to ca. 0.5 million years ago; and culturally, both are dominated by the small-flake-tool culture. Thus, it is speculated that the early culture in the Zhoukoudian sites came from the migrants from the Nihewan Basin who facilitated cultural diffusion in the area; in turn, it also affected the culture in the Nihewan area during the subsequent development. This paper proposes the development path of the Paleolithic culture in northern China, that is, early humans in this region roughly experienced three stages of subsistence from lake-dependent to cave-dependent and then to river-dependent.     

WHEN ARTS MET MARKETING

This article argues that arts marketing theory is embedded in the existing context of the nonprofit arts sector – that is, Romantic belief in the universal value of the arts and producer authority over the consumer. As “a set of techniques” and “a decision‐making process”, marketing was able to sit comfortably in the nonprofit arts context during the 1970s and 1980s. However, recent recognition of marketing as “a management philosophy” has brought out incompatibilities between the customer orientation of the marketing notion and the Romantic view of artistic production. This article demonstrates that arts marketing writings embrace Romanticism through the following: generic marketing concept; relationship marketing approach; extended definition of the customer; extended definition of the product; and reduction of marketing to function. Such findings suggest that persistence of the existing belief system and the embeddedness of the market be considered when marketisation in the arts sector is analysed.     

Creative shifts and directions

The availability and “readiness” of culture as a mode of governmental control makes cultural policy a matter of great importance in any contemporary society. This is true not only in liberal democracies with established arts councils or cultural policies, it is also proactively pursued by a technologically advanced yet illiberal regime like Singapore, eager to position itself as the global “Renaissance City” of the twenty‐first century. What this “renaissance” model entails remains highly cryptic, not least because cultural terms and political markers are often elusive, but also because the very concept of “cultural policy” shifts along with the political and economic tides in Singapore. Drawing on a rarely cited essay by Raymond Williams, this article offers an historical look at cultural policy in Singapore – from its first articulation in 1978 to its present standing under the rubric of “creative industries” (2002). It considers some of the problems encountered and the societal changes made to accommodate Singapore’s new creative direction, all for the sake of ensuring Singapore’s continued economic dynamism. This article contends that cultural policy in Singapore now involves extracting creative energies – and economies – out of each loosely termed “creative worker” by heralding the economic potential of the arts, media, culture and the creative sectors, but concomitantly marking boundaries of political exchange. In this regard, culture in Singapore has become more than ever a site for governmentality and control.