日本的产业技术扶持政策与实施手段 以太阳能产业为例

日本经济的核心是日本企业以持续技术革新为基础的国际竞争力。日本企业之所以能持续进行技术革新是与日本政府的政策引导和支持分不开的。本文指出日本政府在国家总体目标之下,利用自身的信息优势和资源优势,根据时代的变迁,制定不同的产业技术政策,通过政策引导,使企业能够明确技术革新的方向,并通过对市场的增进为新技术提供需求,从而促进新兴产业的发展。     

旅游产业集群网络结构及其空间相互作用研究——以杭州国际旅游综合体为例

旅游产业集群的网络构成分为核心网络与外围支持网络。旅游产业集群网络由主体、旅游资源以及旅游活动三部分组成。论文把旅游产业集群网络结构分为原子式、单核式、多核式、混合式等4种形态。论文把旅游产业集群网络结构空间相互作用分为三个层次:第一层次是核心旅游企业之间及相关旅游企业之间的竞争与合作;二是旅游企业和研究机构、地方政府、旅游中介机构及旅游投资机构之间的空间作用;三是旅游产业集群内部主体,主要是旅游企业与旅游产业集群外部成员之间的交流与互动,并以杭州国际旅游综合体为例对这三个层次的空间相互作用进行了分析。     

生产网络演化视角下的城市产业升级路径研究——以汕头市纺织服装行业为例

如何根据自身经济活动所具有的空间组织特征和演化轨迹来选择升级路径,是城市政府需要解决的重要问题。本文以粤东城镇群区域中心城市汕头为例,选择具有传统优势的纺织服装产业,整合经济地理关系范式和演化范式的方法构建分析框架,运用访谈获得的企业关系数据和相关资料,分别对汕头纺织服装行业生产组织的历史路径以及当前在区域生产网络中的地位进行分析,提出汕头纺织服装行业未来进行升级的路径选择。本文在城市产业发展规划如何借鉴西方经济地理新理论范式方面进行了尝试性探索。     

河南省城市化与产业结构演变互动研究

文章在分析河南省城市化发展阶段性特征的基础上,对城市化和产业结构之间的变动关系进行了对比分析、相关分析和回归分析,并用Arcgis9.3以"产业结构演变城市化响应系数"为指标绘制地图,反映了河南省城市化与产业结构之间作用强弱的空间差异,分析表明,河南省城市化与产业结构存在严重偏差,原因在于城市化与产业结构的非协调发展和产业结构与就业结构的不合理发展;河南省的产业结构演变城市化响应呈现"西高东低"、"北高南低"的地理分布特征。最后针对问题提出了对策。     

中国特色革命理论和中国特色社会主义理论的形成及历史启示

中国共产党在88年的奋斗历程中,创立了两个特色理论：中国特色革命理论、中国特色社会主义理论。这两大理论的形成和发展既有深刻的时代背景,又有一个逐步形成的历史过程。两个特色理论,不仅内涵丰富博大精深,富有中国特色,而且赋予我们深刻的历史启示。     

意大利工业区与华人的双重挑战

论文分析了全球性竞争压力对工业区适应机制的影响及工业区的竞争优势以及工业区内部形成的华人经济的潜在威胁,探讨了在新的条件下将这种威胁转化为新的发展机遇的可能性。认为华人经济的特殊优势使华人企业越来越活跃,但却使当地企业日益萎缩。这反过来又促使当地经济整体进行转型;华人企业家的某些优势在于其跨地区和跨国网络;华人移民对其祖籍国潜在商业伙伴的能力和品德有深度了解,如果能发挥中介作用,意大利当地企业就能使其工业生产及产品销售国际化。     

新石器时代中国玉器的区域特征

新石器时代我国辽河流域、黄河流域与长江流域三个地区的玉器,在材质、造型和纹饰方面表现出强烈的区域性特征:辽河流域的玉器多采用岫岩玉为原料,长江流域的玉器则多用透闪石一阳起石制成,而黄河流域多见绿松石制成的器物;辽河流域的玉器纹饰简单风格朴实,长江流域的玉器器形和纹饰都很特别,黄河流域则多生产工具且光素无纹.此外,玉器反映了新石器时代中晚期辽河流域内渔猎经济和宗教在社会中居于主导地位,长江流域中下游地区则可能进入了王权、军权和神权一体化的方国阶段,而世俗权力的独大在黄河流域普遍存在.世俗权力在这一地区社会政治生活中占据了主导地位.     

“Peace is Our Only Shelter”: Questioning Domesticities of Militarization and White Privilege

Abstract: This paper traces how Los Angeles peace activists tried to make visible the grave domestic effects of Cold War militarization. Women Strike for Peace went beyond a focus on the productive relations between the state, military and industry captured by the term “military–industrial complex” to analyze how reproductive spaces were part of this complex. In opposing war, they challenged what I am calling militarized domesticities: how war‐making shapes the ‘home front’ and home as the spaces national security states claim to protect. I build on feminist antiracist intersectionality theories to situate the military–industrial complex per se within broader processes of the militarization of society and daily life. The questions become how do gendered processes of militarization—that work in conjunction with relations of white privilege—produce and connect differently situated “private” spaces or home places? How might strategies for dismantling the military–industrial complex emerge from the contradictions of these processes?     

Music in factories: a twentieth-century technique for control of the productive self

This paper discusses the historical use of music to produce more efficient, more committed, industrial workers. First emerging in academia early in the twentieth century, psychological interest in the industrial application of music had grown into a topic of popular interest and government investigation by the 1940s. Catalysed by the need for vast increases in production and the desire to cultivate ‘citizenship’ amongst industrial workers which the Second World War produced, consideration of how music could be employed as an affective soundtrack in factories—to raise employees' work rates, to increase their efficiency, to combat fatigue and boredom, to improve morale, to access and manipulate their emotions and loyalties—became a prominent area of psychological research. This paper examines that psychological research and its largest scale application in the BBC radio show Music While You Work, broadcast daily to millions of British factory workers from 1940 until 1967. The paper focuses particularly on conceptualizations of music's affective power and its utilization to exert ‘emotional control’ over spaces of work and the working self. This paper is centrally concerned with the practice of Music While You Work as a programme broadcasting specifically for factory spaces, and how this confronted the BBC's music policies for a national and domestic audience, impacting on the radical nature of the affective soundtrack to work which was produced.