Pourquoi seules les villes sont-elles qualifiées d'intelligentes? Un vocabulaire du biais urbain

Since 2010, the term “smart city” has become a buzzword, used in a vague way to denote the increasing integration of information technology into city management processes and to describe the social and community processes they enable. The adjective “smart” is, however, only applied to cities: by implication non-cities (i.e., rural and peripheral regions) are not smart. In this paper we describe how the term “smart city” is used, and show that processes similar to those that make cities smart also occur outside cities. Reserving the term “smart” for cities therefore reflects a bias, similar to the bias that associates creativity and innovation with cities. As geographers we have become aware of our colonial and sexist biases: in this paper we argue that our urban bias is alive and well, and call attention to it.     

Measuring Religious Preferences in Nineteenth-Century Urban Areas

The author applies David Galenson's work on the life cycles of modern artists to the study of the paintings of old masters, from about the early fifteenth to the late seventeenth centuries. Both the potential use of technical examination of paintings and the role of drawings for preconceiving compositions are explored as means for interpreting artistic behavior among pre-modern artists. Using a study of illustrations in texts to establish a list of canonical painters and the relative dates in which they are believed to have contributed their most important paintings, the author then analyzes a series of old master painters' working methods, demonstrating how their creative behavior corresponds to what their respective life cycles would suggest. Thus, the study of artists' life cycles could anticipate the use of optical and other mechanical devices for the production of premodern paintings based on such studies.     

战国时期玉器制作工艺的若干探讨

战国时期是中国玉器发展史上的又一个高峰。本文在玉器制作工艺方面作一些探讨。初步总结了以下工艺特点：多种工艺综合使用,镂空工艺尤其得到广泛应用,金银器工艺与玉器工艺结合的相当完美,玉器纹饰种类繁多,逐渐以谷纹为主体。并且探讨了铁质工具应用于玉器制造的可能性。对于缺乏治玉工具的发现的原因也有所探讨。     

再论“失蜡工艺不是中国青铜时代的选择”

本文从技术史的理论角度论述了“没有需求就没有发明(No need,no invention)”、“没有需求就没有发展”等技术产生发展的客观规律,指出,中国古代(青铜时代)在发达而成体系的青铜范铸技术环境里是不可能孕育发展出“熔模铸造体系”的,并以曾侯乙尊盘的铸造工艺及相关的模拟实验结果作进一步的论证;同时,对中国古代“失蜡工艺”起源于商周青铜器“焚失法”的观点提出质疑,并指出,“失蜡工艺”是在佛教传入中国之后,为铸造“西洋风格”的佛像传入我国。     

‘The Claims of Asia and the Far East’: India and the FAO in the Age of Ambivalent Internationalism

If any nation were poised to actualize the developmental promises that the Food and Agriculture Organization (FAO) extended to the international community, it was India. India's independence came in the wake of devastating famine in Bengal and the fears of its recurrence, and the nationalists who had midwifed India's freedom staked their legitimacy to the promise of food for all. Yet from independence, the FAO played only a marginal role in India's agricultural development, its projects reflecting a winnowing scale of ambition. From early investigations into the improved cultivation of basic food grains, the FAO's projects grew increasingly modest by the time of the Green Revolution, revolving around modest improvements to capitalist agriculture, from wool shearing to timber and fishery development. Instead, India drew more substantively upon resources made available by the Ford and Rockefeller Foundations, the United States Technical Cooperation Mission and occasional Soviet largesse. Meanwhile, the Indian most associated with the FAO, B.R. Sen (Director-General, 1956–1967), struggled to align the Organization's capacities with India's scarcity crises, even as his own understanding of famine drew upon his experience as India's Director of Food during the Bengal Famine.     

华侨华人创业的模式及其影响因素分析——基于上海市的调查

本文以上海为实例,依据创业模式的相关理论,分析了华侨华人在大陆投资创业的主要模式划分、基本特点以及创业模式选择的影响因素。结果表明,华侨华人成功创业与其选择正确的创业模式密切相关,创业模式的选择与行业的关联程度较高,同时,创业模式的选择也与创业者对物质资本、技术资本及人力资本的拥有量密切相关。