基于多维属性整合的古村落旅游发展模式研究——以历史文化名村为例

不同发展阶段的古村落应采取不同的发展模式,开发模式的选取必须依据其潜力与现状的组合状况,潜力代表未来的可能与希望,现状则表明目前发展的状态,二者的组合可以说明现状与潜力的差距以及对古村落所处可持续发展的阶段类型;选取7个村落,依据市场吸引力和坚固性双指标,对其潜力分析;构建可持续发展评价指标体系,利用FoxPro软件及SPSS软件对其可持续发展现状进行分析,根据组合状况划分可持续发展类型:从每一类型中选取一个,在指出保护区模式、城镇化模式以及社区参与模式特点后,归纳判别标准作为模式选择的重要依据,采取相关人士评价的方法,计算其遗产保护、旅游开发和社区发展的指数,辨别出时间轴上不同阶段的历史文化名村应采取的旅游发展模式,以期对古村落多维属性持续发展提供借鉴。     

西方现代劳动力地理学研究进展及对中国研究的意义

劳动力地理学研究有助于理解全球化背景下劳动力作为当前国际国内经济转型和产业区位的一个重要因素及其发生作用的内在机制,对指导劳动力市场调节、促进地方劳动力市场发展具有重要意义。本文总结了国外劳动力地理学理论研究的起源,认为其理论演变经历了由新古典经济地理学区位理论,到马克思主义新经济地理理论,到近年来"文化、制度转向"的劳动力市场地理发展历程。介绍了近年来地方化劳动力市场地理理论和实证研究领域,及其对产业空间组织的影响等方面所取得的最新进展。在对当前的研究进行评述的基础上,指出不足和未来方向。与西方学术界相比,我国相关理论研究较为欠缺,尤其是文化、制度等因素对我国劳动力市场影响的研究有待进一步加强。     

近代城市历史文化街区文化景观演变研究——以大连旅顺太阳沟为例

以大连市旅顺太阳沟为例,采用新文化地理学的观点,借鉴后殖民主义相关理论,考察了殖民地时期、原苏联红军接管时期和现代社会三个时期下文化景观的表征变化,得出三个结论:①话语和权力是景观表征的主要决定因素,日俄殖民者、原苏联红军、军队和政府及开发商是三个时期景观表征的权力主体;②利益相关者在景观和空间的塑造中也扮演了重要角色;③殖民城市有屈辱历史,但不代表有屈辱文化。保护太阳沟文化景观刻不容缓,首要任务就是进行体制创新;太阳沟应大力发展文化产业。     

女性工作场所的身份认同与阶层生产——以某高校食堂为例

本文在劳动过程理论和女性地理学研究的理论成果上,对学校食堂进行研究,分析两种类型女工在工作场所的分工等级与认同机制。首先,劳动过程理论的意义在于解析了资本主义在发展过程中,如何制造服从的员工和稳固的分工等级关系;但是本文研究表明,当部分女工没有被完全纳入生产的中心环节时,她们进入工作场所之前的性别身份就起到了重要的预设作用。籍此,本文试图推动社会-空间作用双层机制研究,尝试推动微观空间尺度内自我身份在劳动过程中认定与生产的理论建构。     

论旅游立法中非物质文化遗产保护的完善

随着旅游业的繁荣和世界各国对非物质文化遗产保护的重视,在旅游过程中如何促进作为重要旅游资源的非物质文化遗产的保护,实现旅游与非物质文化遗产保护的双赢与互动显得尤为重要。非物质文化遗产与旅游契合于文化性。在依法治国的背景下,以旅游法为载体,通过旅游法的体系化实现对非物质文化遗产的保护是可行而科学的。我国应通过制定旅游基本法、行政法规与部门规章、省级地方旅游法规等法律,实现对非物质文化遗产从宏观到微观多方位的保护。     

电影旅游集群的文化空间生产研究

作为电影产业与旅游产业相互融合的产物,电影旅游受到越来越多国家和地区的重视。本文在分析国内电影旅游发展的现状问题的基础上,通过对电影旅游的内涵和类型进行辨析,指出电影产业与旅游产业的深度融合是影响电影旅游发展的关键。通过分析产业集群的内涵与组织成因,指出我国影视基地和影视城等电影旅游地理集聚体存在的产品多样化不足是影响集群网络形成的原因。电影旅游产品的多样性主要体现在文化多样性上,而文化空间就成为电影旅游集群发展的重要维度。通过对文化空间的相关研究成果进行分析,指出文化空间超越了地理空间与产业空间的限制,具有开放性和动态性特征,在生产文化产品的同时,也不断生产着新的文化空间。电影旅游集群的文化空间生产需要建立政府、企业和社会的互动机制,这是电影旅游集群进行文化空间生产的关键,也是电影旅游可持续发展的保证。     

后消费时代城市文化资本空间生产状况解析

近年来,以文化资源为消费目标的空间克隆生产逐渐成为我国城市营销发展的重要手段。本文从新马克思主义视角切入,以消费社会大众心理研究为基石,以"文化资本"为理论依据,探索文化进入市场循环生产的模式,并结合当代中国文化消费空间生产性状况,揭示其"异质的同质化"与文化认同偏差的弊病:一方面推崇所谓异质多样的空间以迎合大众消费心理;另一方面市场经济体制下文化与资本的结合,使文化不可避免地沦为市场的奴隶,最终导致文化断层。文章最后在简要对比国内外文化资本空间生产状况的基础上,套用资本循环理论探讨其症结之所在。     

无酸纸的发展及其在文物保护中的应用

无酸纸是很重要的一种馆藏文物保护载体.本文对无酸纸的发展现状及在文物保护中的应用进行了总结.同时指出,根据我国文物保护的需要,研制文物保护专用无酸纸并建立相关的评价标准是无酸纸的发展趋势.     

2. THE VICTIM'S VOICE AND MELODRAMATIC AESTHETICS IN HISTORY1

Saul Friedländer's recent Nazi Germany and the Jews: The Years of Extermination offers a brilliant new literary mode for historical representation of extreme events such as the Holocaust. He has produced an authoritative historical narrative of the Holocaust, within which he integrates the victims' authentic voices, as recorded (mostly) in their contemporary writings. This article offers a comparative assessment of Friedländer's achievement with regard to the integration of Jewish sources into the historical account. It begins with a contextualization of Friedländer's book within a framework that compares the ways in which Jewish sources are addressed by different historiographical approaches. In the second part it seeks to contextualize analytically and critically Friedländer's concept of “disbelief”—a concept by which he defines the role of the “victims’ voices” in his narrative. I claim that in our current “era of the witness,” set within a culture addicted to the “excessive,” the voices of the victims and the witnesses appear to have lost their radical political and ethical force. They seem no longer to bear the excess of history, and can thus hardly claim to be the guardians of disbelief. Excess and disbelief have thus become the most commonplace cultural topos. In our current culture, I contend, the excessive voices of the victims have, to some extent, exchanged their epistemological, ontological, and ethical revolutionary function for an aesthetic one. They operate according to the pleasure principle in order to bring us, the consumers of Holocaust images, the most expected image of the “unimaginable,” which therefore generates a melancholic pleasure and involves the narrative in melodramatic aesthetics. The article concludes by briefly suggesting some guidelines for an alternative approach to the study of contemporary Jewish Holocaust sources.     

ALL THIS HAPPENED,MORE OR LESS: WHAT A NOVELIST MADE OF THE BOMBING OF DRESDEN1

Kurt Vonnegut's novel Slaughterhouse‐Five (1969) was a popular and critical success when it first appeared, and has had a notable impact on popular perceptions of “the bombing of Dresden,” although it has been criticized by historians because of its inaccuracy. This article analyzes the novel's quirky, comic style and its generic mixture of science fiction and testimony, showing how Vonnegut consistently used ingenuous understatement as a way of imaginatively engaging his readers with the horrors of war. The article argues that the text's aesthetics are closer to those of graphic novels than of realist narratives and that, accordingly, we can understand its cultural impact only by approaching it as a highly artificial linguistic performance with present‐day appeal and contemporary relevance, and not merely by measuring the degree to which it gives a full and accurate mimesis of past events. The article uses the case of Vonnegut to advance a more general argument that builds on recent work in cultural memory studies: in order to understand the role that literature plays in shaping our understanding of history, it needs to be analyzed in its own terms and not as a mere derivative of historiography according to a “one model fits all” approach. Furthermore, we need to shift the emphasis from products to processes by considering both artistic and historiographical practices as agents in the ongoing circulation across different cultural domains of stories about the past. Theoretical reflection should account for the fact that historiography and the various arts play distinct roles in this cultural dynamics, and while they compete with one another, they also converge, bounce off one another, influence one another, and continuously beg to be different.