跨文化交际中体态语礼仪功能之文化差异

在跨文化交际中,生活在不同文化背景中的人们因各自特有的礼俗文化和礼貌原则,在交往中往往会产生各种障碍和困难,这方面除语言因素外,还有非语言因素。了解和掌握非语言交际形式之一的体态语在不同文化中的礼仪功能,对不同文化背景中的人们相互沟通、理解与和睦相处具有重要的意义。     

高光谱图像系统应用于模糊印章的提取研究

传统书画作品中存在有大量模糊不清的印章,对此类印章尚没有很好的手段进行提取和鉴别。为解决这一问题,本工作采用一种用高光谱图像系统采集书画中模糊印章的光谱-图像信息,采用最小噪声分离变换(MNF)处理光谱图像数据,提升了模糊印章的可辨识度。结果表明,采用该方法能够有效的将模糊印章的信息提取出来,有利于印章的鉴别和研究,为书画的文物价值和真伪鉴别的研究提供了科学有效的手段。     

从创新成果管窥文物科技保护发展趋势

中国文物科技保护工作起步于20世纪50年代,始终紧跟我国社会经济和科学技术的发展,以应对文物保护及其保存和开放展示环境面临着的诸多挑战为导向,聚焦基础研究、保护技术与装备研发、保护制度与规范标准研究、保护技术平台建设等展开多项科技攻关,取得了一系列成果。本文着重从文物保护科学和技术创新成果进行梳理,阐述了我国文物科技工作的发展趋势。结果表明,我国的文物保护科学研究从闭门研究、各自为战到资源开放、互相合作、凝练共性、共克难关;从随意性到标准化,建立共同话语体系;以问题为导向,支撑作用日益显著;由抢救性保护向抢救性保护与预防性保护并重转变,基本实现了“十三五”规划提出的在理论、技术、装备、标准建设等方面取得系统突破的目标。     

微波技术在砖石质文物含水率检测中的应用

水是造成砖石质文物劣化的主要因素之一,因此探明其在文物内部的分布、运移规律是开展保护研究的重要基础。微波技术在检测材料内部的水分含量方面表现出较好前景,但在文物保护领域还未普遍应用。基于此,本研究首先介绍了微波技术的理论基础和相关仪器,并选取山西省的长春玉皇庙为对象,针对砖石材料的内部含水率开展了室内样块检测和现场墙体检测。结果表明,微波技术能够较为准确地揭示出文物内部的空间含水率分布规律,这对于研究其病害成因等具有重要作用。此外,与其他多种无损检测技术相比,微波技术检测材料含水率的优点更多,值得文物工作者进一步研究与应用。     

福建省自然文化遗产管理经验及其对全国的启示

近年来,自然文化遗产管理的市场化改革在我国成为普遍趋势。许多省市的改革出现了偏差,而福建省的改革则相对成功。福建省在改革中通过“五纳入”等措施形成了管理效果较好、机制较为健全的管理模式,其特点是法规开路、一区一主、规划预防、有限经营、首长保驾、立体监督等。在自然文化遗产管理的行政资源约束长期存在,资金、管理、经营、监督机制难以从法制层面规范的情况下,“福建模式”较好地兼顾了遗产的保护、服务和经营目标,可供我国自然文化遗产管理第一阶段的改革借鉴。     

The changing identity of the Central European city: the case of Katowice

The issue of diverse identities imprinted on the urban landscape as the result of political changes and the struggle for power between different social and ethnic groups is analysed here using the example of Katowice, the capital and largest urban centre in Upper Silesia, Poland. Basing their conclusions on systematic investigation of the most important changes and features in the cityscape in five clearly distinct historical periods, the authors explore the conditions and mechanisms of the creation of the city’s symbolic landscape and its links with urban identity. They argue that Katowice represents a peculiar model of urban identity formation in Central and Eastern Europe that has to date not been researched in any depth, in which each successive historical period represents a rupture with the foregoing values and ideas and an attempt to make a new, lasting imprint on the material outlook of the city. The development of such a model of identity is the result of the complex interplay between the city’s changing geopolitical context and its economic and functional development path.     

Industrial spaces for grassroots creative production: spatial,social and planning facets

Former industrial premises provide material and symbolic resources for grassroots creative production, but planning is complex as these sites are transitory and excessive intervention may stifle creativity. This paper analyses the transformations of La Ribera (Bilbao), a mixed-use peninsula waiting to be redeveloped, where, in the meantime, creative-based grassroots projects have settled. Drawing upon relevant planning documents, documentary material and interviews with key actors, the paper explores (i) the spatial and built form advantages of these spaces, (ii) their impact on neighbourhood life and (iii) the contradictions faced in the planning process. The analysis suggests that spatiality plays a critical role, but it is threatened by market pressures, local governments’ interest to encourage the city's reputation and neighbours’ mistrust for the changes they may trigger. As a result, we contend that art spaces’ institutionalization in the neighbourhood is decisive for their sustainability, but the conflicts that arise for the symbolic appropriation of space should be considered. Regarding policy, governance approaches that preserve users’ autonomy and spaces’ built form and atmospheric qualities are rather suitable responses if they are part of a comprehensive agenda that includes local socio-economic conditions and neighbours’ aspirations.     

Remembrance as remaking: memories of the nation revisited

This article revisits Anthony Smith's landmark collection Myths and Memories of the Nation (1999) from the perspective of recent developments in cultural memory studies. It argues for a more clearly demarcated distinction between myths and memories which acknowledges cultural memory as a site of new experiential perspectives that often work against the authority of myths, seen as the unquestioned truths about the collective past. Drawing on studies of modern memory cultures, it presents a dynamic and generative model that construes memory in terms of cultural practices of remembrance. It shows that memory is not an unchanging legacy but rather a malleable resource for making shared stories about the past. Where Halbwachs (1925) presumed that social frameworks precede and shape memory, remembrance is presented here as a cultural force that helps to redefine social frameworks and to create links between hitherto unconnected imagined communities.     

Reversing the view of ‘political pilgrims’: re-examining Italian travelogues about China in the 1950s

Scholars often consider the mostly positive representations of China by Italian visitors in the 1950s as the false and embellished depictions of political pilgrims. This article challenges this oversimplified interpretation. Based on evidence from commonly cited travel accounts, this article argues that Italian writers’ leftist political sympathies did not necessarily lead to self-censorship or intentional embellishment of China, nor did the host country’s control and surveillance over foreigners simply make Italian visitors willing to cooperate or produce positive feedback. Putting these travel accounts in their social and historical contexts, the article shows that Italian intellectuals’ positive representations of China in the 1950s, as well as the severe criticisms that were raised in the 1960s and 1970s, were rooted in reality and reflected the radical changes in Chinese society and Sino-Italian relations over the course of the Maoist era (1949–1976).     

Cultural policy and revolutionary music during China’s Cultural Revolution: the case of the Shanghai Symphony Orchestra

This paper examines the relation between the cultural policy of the Chinese Communist Party (CCP) and the music of model plays (yangbanxi 样板戏), especially music produced by Western symphony orchestras, during the ten-year Cultural Revolution in China. It takes the Shanghai Symphony Orchestra (SSO) as the focal point of this historical episode. Model plays of the Cultural Revolution promoted communist and revolutionary themes. All aspects of their performance were examined for conformity to Maoist thought. This paper explores how the CCP’s ideology and its cultural policy were embodied in revolutionary music, using one of the model plays, Taking Tiger Mountain by Strategy, as an analytical case study. Most of the historical materials cited in this research are held by the SSO Archive. The SSO played a crucial role in creating and performing the music for Taking Tiger Mountain by Strategy. The academic value of its archive has long been overlooked. This paper provides a new perspective on the Cultural Revolution, one viewed through policies of a Western symphony orchestra, and it suggests that scholars apply the term ‘cultural policy’ more deliberately in future studies of the Chinese Cultural Revolution.