The Gordon-Hey Reflex

Nowadays, a neurologist, even in many years of practice, rarely sees a patient with Sydenham's chorea. Things were quite different during the period ±1850–±1950, when ‘chorea minor’ was the subject of hundreds of publications. In those days, the practising neurologist stood a good chance of coming across patients with such a degree of muscular hypotonia (a characteristic feature of severe Sydenham's) that he was inclined to infer the presence of paralysis. Those instances used to be denoted as chorea mollis or chorea paralytica. According to textbooks then considered to be authoritative, any doubt regarding the diagnosis of Sydenham's chorea was largely removed if one succeeded in eliciting Gordon-Hey's reflex. This eponym turns out to be as fascinating as the question of its still largely unclarified pathophysiology. In spite of that, mention of the reflex has wholly disappeared from the textbooks of neurology since circa forty years.     

Claiming ‘creativity’: discourse, ‘doctrine’ or participatory practice?

Drawing on empirical work with a third sector community organisation in the UK and the young NEET adults (16–20 years old, ‘not in employment or education or training’) they ‘creatively’ work with, this paper explores the practices and meanings of creativity as they emerged through a project funded through public and third sector organisations. The paper argues that there is an increasing disjuncture between creativity as a process or method, evidenced in the approaches, practices and ethos of the community organisation I worked with, and the notion of creativity as productive outcome seen in wider policy. This is having an impact on the practices and values of community organisations, particularly as they are pushed to rationalise processes as a result of austerity measures. Indeed, in the era of wider public and third sector cuts, creativity as a process or method is becoming harder to sustain on a day-to-day basis.     

The ‘Cultural Turn’ in Australian Regional Economic Development Discourse: Neoliberalising Creativity?

Regional economic policy‐makers are increasingly interested in the contribution of creativity to the economic performance of regions and, more generally, in its power to transform the images and identities of places. This has constituted a ‘cultural turn’, of sorts, away from an emphasis on macro‐scale projects and employment schemes, towards an interest in the creative industries, entrepreneurial culture and innovation. This paper discusses how recent discourses of the role of ‘creativity’ in regions have drawn upon, and contributed to, particular forms of neoliberalisation. Its focus is the recent application of a statistical measure — Richard Florida's (2002) ‘creativity index’— to quantify spatial variations in creativity between Australia's regions. Our critique is not of the creativity index per se, but of its role in subsuming creativity within a neoliberal regional economic development discourse. In this discourse, creativity is linked to the primacy of global markets, and is a factor in place competition, attracting footloose capital and ‘creative class’ migrants to struggling regions. Creativity is positioned as a central determinant of regional ‘success’ and forms a remedy for those places, and subjects, that currently ‘lack’ innovation. Our paper critiques these interpretations, and concludes by suggesting that neoliberal discourses ignore the varied ways in which ‘alternative creativities’ might underpin other articulations of the future of Australia's regions.     

近代日本高等教育的形成与发展--以国家主义教育体制的确立为中心

以日本江户时代的教育发展为基础,明治时代以来的日本最终树立了自身的国家主义教育体制,在这样一个近代化的过程之中,日本始终保持了自身的主体性的、连续性的发展轨迹。而且,这一近代化的发展历程也充分地反映了日本文化的复合性与创造性的根本特征。     

INTRODUCTION TO GEOGRAPHICAL ECONOMIES OF CREATIVITY, ENTERPRISE AND THE CREATIVE INDUSTRIES

This special issue brings together creativity and enterprise through the geographies of the creative industries. In recent years the focus of academic debate has privileged business and corporate economies, and so this issue seeks to contribute both empirically and theoretically to the burgeoning literature of creative industries. Economic geography offers a rich domain through which to engage with these debates, exploring the nuances of creativity and enterprise. Our aim, as well as bringing together a set of interesting papers, is to contribute critically to understanding the organization and spatial structure of creative industries and the broader creative economy.     

论我国国民经济创造力的提升

国民经济创造力是生产力的核心。三次产业革命证明：在民主制度建立、实行自由经济体制、保障个人权利以及促进教育事业发展的条件下,国民经济创造力就得以开发和发挥。因此,我国必须坚持走改革开放的道路,促进国民经济创造力的形成和提升。     

Situated Creativity: A Way out of the Impasse of the Heidegger-Cassirer Debate

Summary

This paper criticizes the dualism of “thrownness” and “spontaneity” in Peter Gordon's interpretation of the Heidegger-Cassirer debate and shows that American pragmatism and other currents of thought offer an alternative in the form of a conception of situated creativity.     

Poesis and Immediacy: A Reply to Davis

Abstract

It is argued here that the Christian doctrines of Trinity and creation make imperative the notion of "mediation" as God's mode of existing in himself and toward us, as well as our mode of existence in God's grace. This is the case in Saint Thomas's account of grace, and it is also the basic configuration of Sergei Bulgakov's sophiology. Josh Davis's understanding of grace, by opting for immediacy as our mode of dependence on God, ultimately fails to give a full account of human cooperation, and in so doing establishes a competitive relation between human and divine agency.     

中华民族精神在汉代的发展

中华民族精神既有其核心的内容,又有在不同历史阶段多样的表现,研究者应当从历史进程中深入探讨民族精神的提升和发展.在中华民族进化史上,汉朝是一个富有活力的重要时期,中国的民族精神在这一时期获得了重大发展,研究这个问题内涵丰富,意义深刻.其中较为突出的三项是:一,汉代社会呈现出蓬勃的创造力,显著地表现在社会经济迅速发展和各方面有作为的人物大量涌现.二,汉代政论家为了国家民族的利益,"引义慷慨",勇于建言,毫无忌讳地对重大问题提出切中要害的批评.三,汉代人物如董仲舒、司马相如、司马迁等人建构的学说体系,撰写的宏文典册,为推进国家统一和民族关系的发展作出了卓著贡献.