泉州闽台馆馆藏木质类文物的保护处理

福建泉州闽台关系史博物馆多年来收藏的大批木质类文物,不少遭虫蛀和霉菌侵袭。为了不让这些滋生虫菌的文物带到新馆,对这些文物进行了保护处理。先采用溴甲烷常压熏蒸方法杀灭木质文物体内和体表的成虫、虫卵和菌丝。再用软毛刷对木雕文物表面灰尘等物进行小心刷除,然后用水或25%酒精或酒精和丙酮混合液仔细擦拭清洁处理。再用Sparpec 08木材防蛀防腐剂进行渗透处理。保护处理结果表明,本方法技术简单、快捷、易于掌握、实用性强,适用于大批量藏品的杀虫灭菌保护。     

Connotations of Sanxingdui as a Theocratic Civilization

The discoveries of the Sanxingdui culture, including the magnificent ancient city, the splendid bronze ware clusters, the original characters, the great art, the grand ritual center, and other material civilizational elements, contain the essential and structural characteristics of the institutional civilization and spiritual civilization of the ancient Shu civilization and reflect the theocratic regime of the Sanxingdui civilization. As a symbol to command the ethnic groups from southwestern China, the ivory sacrificial ritual in the Sanxingdui culture played a significant role. The discoveries of silk residues and silk proteins at Sanxingdui provide important evidence for the historical records of the Shushan Clan and Cancong Clan, as well as the splendid clothing of the Large Standing Bronze Figure at Sanxingdui, and even the relationship between the Sanxingdui culture and the Southern Silk Road.     

Is technology the enemy of culture?

This article examines how changes in technology affect the strategies various national governments have adopted to protect their respective cultures. The focus is primarily on national policies toward film and television. National quota systems that limit the import of American entertainment products will soon be made impossible to enforce, thanks to new digital and satellite technologies. Economic incentives will still make American products attractive to proliferating private television channels, but narrow‐casting and cable distribution will offer new opportunities for locally produced shows and movies. Increasingly, those countries that wish to continue to protect their cultures from the homogenizing trends of global markets dominated by American films and television programs, will need to move away from quotas and toward subsidies. Moreover, they will have an interest in promoting technologies that are favorable to the promotion of national culture. Financial instruments that reduce risk to local producers may also be appropriate.     

The social value of culture: learning from revolutionary Cuba

As the tide turns against econometric calculations of cultural value, scope exists for careful reconsideration of the social value of culture. In Cuba after 1959, culture was placed at the heart of a society undergoing radical transformation. This article examines the socially orientated initiatives to which this revalidation gave rise. It shows that substantial changes were wrought in professional circles as art was acknowledged as a form of social production and remunerated accordingly. It also outlines the sustained efforts that were made to diminish the gap between creative intellectuals and the rest of society, by encouraging widespread appreciation of, and participation in, creative activity. This comprehensive programme was underscored by ideas around democratisation and emancipation that remain vital to contemporary discussions.     

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.     

Arts and culture in an era of austerity: key stakeholder views on the current and future Australian context

The arts and culture sector in many countries faces major challenges, as a consequence of ongoing austerity measures and changes in the ways in which the arts are experienced. In major nations such as the United States, the United Kingdom and in several European countries, there is considerable pressure to look for new ways of surviving in an age of consumerism, accountability and rapidly changing technologies. On the other hand, many Asian countries have invested heavily in building their arts and culture sector as part of the new twenty-first-century economy. The arts and culture sector in Australia faces serious challenges at present, including ongoing fiscal pressures, an absence of any national cultural policy and disruption as a consequence of changing governments. In order to explore these issues, interviews were held with 22 key leaders from a range of Australian organisations associated with arts representation, funding, policy and advocacy. The findings highlight both the challenges and opportunities facing Australia towards what may be considered the next wave of innovation and change.     

The Image of the Sámi in Finnish Visual Arts before the Second World War

Abstract

This article examines how Finnish artists depicted the Sámi people in their paintings from the beginning of the nineteenth century to the Second World War. In the first paintings that represented the Sámi, the attitude was very romantic and artists were not interested in knowing the Sámi culture or even in encountering the Sámi people. In the nineteenth century, nationalism required building an image of the Finns, thus most Finnish artists were not interested in the Sámi. The French philosopher Hippolyte Taine's writings influenced the young artist Juho Kyyhkynen, who started to depict the Sámi culture. In the 1920s and 1930s, Sámi were thought to be primitive or Mongolian, so Finnish artists painted relatively few portraits of Sámi. All this time it was only Finnish painters who depicted the Sámi, as the voice and ideas of the Sámi themselves did not become prominent in Finland until the 1970s.     

Oral/Past Culture and Modern Technical Means in the Literature of the Twentieth Century in Greenland

Abstract

The present article takes as its starting point a short story from 2001 and relates it to the development of the Greenlandic literature in the twentieth century. The Greenlandic literature evolved around 1900 and mirrors the socio-political trends and the stages of nation building through the twentieth century. The overall tendencies of the century start with a striving towards more knowledge of and competence in European culture (including technical know-how) before 1950. Then a feeling of overwhelming impact from Danish culture followed during the Danification policy of the 1950s, 1960s and 1970s and this resulted in a protest movement in the 1960s and 1970s and Home Rule from 1979. However, if we read the literature in details and supplement it with the contemporary newspapers a much more diverse picture of an appropriation process (i.e. a conscious adaptation of selective parts of the impact from outside) emerges. The present article focuses on how these sources give us glimpses of an ongoing debate already in the first half of the twentieth century i.e. in colonial times: the Greenlandic population was not just passively under colonial domination. The history of the twentieth century is the history about a fairly well functioning appropriation of technical means and cultural impact from outside up till 1950, and then – after three decades of heavy modernization and Danification –-a process from 1979 on towards more and more agency in a “ glocalized” Greenland.     

Domestication,Reindeer Husbandry and the Development of Sámi Pastoralism

Abstract

A recurrent topic in ethnographic, historical and archaeological research has been the origins of Sámi reindeer pastoralism. The article discusses how prevailing theories have been influenced by general conceptual schemes, apriori constructed models and an extensive use of taxonomies. The debate has centered around how and when domestication took place, presupposing a paradigmatic change from hunting to pastoralism. However, there has probably never been an abrupt change; hunting and herding have both been parts of a multifaceted adaption existing up to the nineteenth century. What did change was the social organization of herding when a pastoral economy became the norm at that time. Such a change also had qualitative consequences in terms of new values and economic strategies.     

Culture and Politics,Behavior and Biology: Seeking Synthesis among Fragmentary Anthropological Perspectives on Hunter-Gatherers

Hunter-gatherers define humanity's Pleistocene evolutionary past. Yet, hunter-gatherer societies in the 20th–21st centuries are examples par excellence of cultural marginalization, domination, and resilience. This review of six recent works on hunter-gatherers—spanning Paleolithic archaeology, bioarchaeology, behavioral ecology, and cultural anthropology—underscores that human forager diversity can be explained neither by culturally embedded political processes nor by ecologically situated evolutionary factors alone. Yet, theoretical bridging frameworks remain elusive, with a narrowing but persistent culture-biology divide. Recent developments in evolutionary life-history theory provide a robust biocultural foundation for understanding human sociality and the symbolic constitution of embodied cultural practice.