我国旅游产业综合竞争力:理论分析、测度体系与实证评价

本文在厘清旅游产业潜力和竞争力关系的基础上,将二者纳入统一的分析框架,通过构建适当的测度体系对旅游产业综合竞争力进行实证评价。研究发现,我国旅游产业综合竞争力包含了竞争绩效、产业潜力和技术效率三个维度;旅游产业综合竞争力及其维度基本呈现出东部较强、中西部较弱的态势,这一分布状态也基本与当前我国经济和社会综合发展状况的分布态势相吻合;旅游产业综合竞争力三个维度中,技术效率对旅游产业综合竞争力的挖掘和未来发展具有最为突出的推动性和影响力。     

试论钱穆与胡适的交谊及其学术论争

在中国现代学术思想史上,钱穆与胡适是两种不同类型的学者,一个是新文化运动的领袖,西化派的代表人物;一个是传统史学派的大家、文化民族主义史学的代表人物。本文以钱穆眼中的胡适为切入点,分析了不同时期两人的学术关联及其文化观的异同,认为钱穆对胡适的评价经历了一个由尊崇到疏离再到公开批评的转变过程,研究这个转变过程,对于20世纪的中国学术思想史而言,应是一件有意义的事。     

Revisiting the South Korean developmental state after the 1997 financial crisis

This study reassesses the conventional wisdom surrounding the developmental state of South Korea (hereafter Korea) since the 1997 Korean financial crisis. The conventional wisdom is that, as a result of the continued structural reforms prompted by the crisis, the Korean developmental state, inherently characterised by active or direct state intervention, strong economic and industrial policies, the chaebol-oriented economic policy, and labour exclusion, has finally begun to dissolve in earnest. In this study, we have considered whether that is really the case and also which theoretical implications can be drawn from this consideration. Analysis of the Korean developmental state following the 1997 crisis has indicated that, quite contrary to conventional wisdom, the developmental state has continued to prevail as a core policy framework of the Korean administrations even after the crisis. There is no doubt that the continued structural and market reform after the crisis certainly undermined the Korean developmental state to a certain degree, but that does not mean the beginning of the end of the Korean developmental state at all. For much evidence strongly indicates that the Korean developmental state still remains intact and strong despite the structural reforms, on account of the successive Korean governments’ assiduous and deliberate efforts to maintain and reinforce it. Even after the crisis, the Kim Dae-Jung and post-Kim regimes have hardly abandoned many of their market interventionist policies. Such market interventionist policies, which were routinely practised under the military regime in the 1960s and 1970s, diametrically contravene the argument that the Korean developmental state has begun to dissolve as a result of structural reform after the 1997 crisis. Contrary to conventional wisdom, the Korean developmental state persists as usual. All this information, then, suggests that path dependence is in action in the case of the Korean developmental state, and this suggests a further hypothesis that the Korean developmental state is very likely to persist in the future as well, despite increasing globalisation pressure, given the strong path dependence.     

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.     

南宋著名诗人范成大“陂陀天海”砚考

家藏古砚中有一方墨渍满面的歙砚,镌＂持节风霜十九年＂铭,刻苏武牧羊像和＂山中＂＂居士＂印款的石砚。清洗观赏后方感到砚石的纹理奇而美,便萌生考证之念。     

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.