基于快递物流测度的区域流动空间特征——以江苏省为例

在信息技术推动下,流动空间作为新时期的新空间形式在带来时空压缩效应的同时不断地强化着区域城市间联系,推动着社会经济资源的城际流通。快递物流是互联网交易的虚拟流与快速交通实体流交互产生的物质流动,其代表了流动空间的虚实二元性,是研究流动空间网络特征的有效切入点。以江苏十三个城市为研究区域,以六家物流公司的网站数据为数据来源,采用权重分析法和重力模型方法建立起区域城市的快递物流水平、城市间流动空间连接度及城市快递物流总体评价等三项指标,结合区域流动空间的指标分析发现区域流动空间具有网络一体化、去中心化、扁平化、等级化及点轴式等五大特征,基于流动空间的可视化研究发现江苏省区域城市间关系显示出了一个具有等级特征的多中心扁平化点轴网络,围绕南京、苏州、徐州的都市圈一体化发展态势成为提高区域流动空间流动能力的重要突破方向。     

基于GIS的沈阳旧城区叙事空间研究

20世纪60年代,叙事学作为一门学科始于西方历史学、文学领域。直至20世纪末,叙事学开始转向空间领域研究形成空间叙事学,并被逐步应用到城乡规划中,尤其是城乡空间结构等领域。空间叙事学不仅关注城市发展中的物化要素,更加注重物化要素所代表的城市文化和城市记忆等非物化要素的深入挖掘,是探究场所本体与场所精神的重要研究思路。本文从空间叙事学出发,基于GIS平台运用核密度及K函数对古代、近代、现代三个时期沈阳旧城区人工叙事要素和人文事件叙事要素进行点模式量化分析,得出沈阳旧城区叙事空间的总体结构,以及叙事点核、叙事廊道、叙事簇群等叙事空间结构单元,指出沈阳旧城区叙事空间的动态发展性、功能多样性和历史传承性特点,探讨了叙事空间的经济驱动、自然要素、城市定位和交通发展四大演变机制。从人文地理学的视角出发,结合叙事空间理论对沈阳旧城区叙事空间进行分析,结果具有文化地理和城市地理双重属性,丰富了城市研究在该视角下的研究成果。     

Urban commons are more‐than‐property

Urban commons are characterised in the literature as collectively shared property in the city shaped by a context of scarce resources, population density, and the interaction of strangers. In the broader commons literature, commons appears as a verb, a noun, and a process made by practices of commoning—albeit still with a focus on property. In this paper, I argue that an understanding of urban commons as more‐than‐property is needed to recognise how present but elusive urban commons are. I use examples from interviews and observations conducted at a Women's Library to discuss how the access, use, benefit, care, responsibility, and ownership of this urban commons bring it into being through particular practices of commoning. By questioning current ways of defining urban commons, urban scholars gain a grounded understanding of the role of property, and other practices, in maintaining an urban commons over time.     

A journey to Mars: John Dewey’s lectures and inquiry in China

ABSTRACT

Instead of the framework of influence–acceptance commonly used in previous studies, the author uses new sources to reexamine John Dewey’s visit to China from the perspective of interactive experience. This study presents Dewey’s lectures in China as the result of interrelationships among a variety of elements – Columbia University, different hosts and audiences, the media, all levels of the Chinese government, the domestic situation in the United States, the international situation, and Dewey’s expectations and work – against the general background of China’s New Culture Movement and new educational reforms. Dewey’s speeches on democracy, science, and new education were remarkably successful in the first year of his visit to China, but began to meet with resistance from some students beginning in June 1920. Because of the Red Scare in the United States, Dewey had to stay in China. In the second year of his visit, he gave warmly welcomed lectures on the same topics in Jiangxi, Fujian, and Guangdong Provinces. With a deeper understanding of China, Dewey not only identified himself with reform plans but also began to pay more attention to China’s economic problems. His inquiry into the problems confronting China is a good example of what he advocated in his lectures: seeing democracy, science, and new education as a way of thinking and carrying out actions and making intellectual choices while moving forward.     

刘铭传的海防思想与实践——兼论台湾省在中国海防中的战略地位

刘铭传以武将而跻身于封疆大吏之列，其一生之建树重在“事功”而非“理论”。正因为如此，他虽然也曾就海防及其相关问题有过全面系统的论说，但其认识水平显然不及同时代之佼佼者。关于台湾在中国海防中的战略地位，他也是在领导抗法保台、建台的过程中逐步加深认识的，并以首任台湾巡抚之地位不遗余力地将其思想主张付诸实践，开创了包括海防在内的台湾近代化新局面。刘铭传加速台湾建设、加强台湾海防的初衷是为了抵御日本的侵略，不料数年之后，台湾竞因北洋海防的崩溃而落入日本之手。这绝不是刘铭传个人的悲哀，实乃国家民族之大悲剧。     

The Armada Tapestries in the Old Palace of Westminster

The tapestry series of the ‘Defeat of the Spanish Armada’ was a national artistic treasure which hung in the old Palace of Westminster from the mid 17th century until the fire of 1834. This article outlines the creation of the tapestries in the 1590s and covers the major treatments of them in illustrations of parliamentary interiors and in John Pine's 1739 engravings; it ends with a short account of the curious episode of the tapestry which escaped the conflagration. In the absence of any known historical record of how the tapestries were displayed, suggestions are offered about how many and in what order they hung in the two chambers occupied successively by the house of lords (before and after 1801), and about how they were physically supported on the walls of the Parliament Chamber.     

Jaume Cabré's Viatge d’hivern and the Short Story Cycle

Critics have been uncertain as to the genre of Catalan writer Jaume Cabré's 2000 book, Viatge d’hivern. The confusion, I argue, is due to the fact that the volume is a short story cycle, a literary form situated midway between the novel and the short story collection. Forrest Ingram differentiates among composed, arranged, and completed cycles, and Cabré's comments in his Epilogue to Viatge d’hivern indicate that the book is an example of the third category. While he composed its fourteen narratives over a period of years, when he revised them for inclusion in a single volume he discovered that various threads, some secret and others more obvious, connected the stories. In this essay I examine ways in which theme, structure, and motifs, as well as recurrent imagery and wording, form a web of associations among the individual units of Viatge d’hivern.     

Illegible ethnicity and the invention of Scots-Irish narratives on the stages of Belfast and Appalachia

Theatrical stages have long been home to performances of identity, creating and sustaining legible visions of various peoples and groups for their audiences. Indeed, in the nineteenth century, the playwright/actor Dion Boucicault popularised the “stage Irishman” for Irish and American audiences alike, thus contributing to the invention of “Irish-America”. This paper examines a similar attempt in the late twentieth and early twenty-first centuries to query the definition of a distinct group of Irish-Americans: the Scots-Irish. Productions from Belfast, Northern Ireland, as well as from the southern Appalachian Mountains, demonstrate how the illegibility of the Scots-Irish – in other words, their status as a non-recognisable, incoherent segment of the white population in the USA – allows for narratives about this group to be highly malleable. Contemporary productions of the Scots-Irish story demonstrate the ways in which ethnic identities emerge as constructions of past and present, memory and history, and politics and culture.     

Participatory video drama research in transitional Vietnam: post-production narratives on marriage,parenting and social evils

Based on two years of participatory video drama (PVD) research with men and women in the city of Hu?, this article explores perspectives on, and experiences of, socio-economic transition and its influence on domestic life in Vietnam. Through a combination of output analysis, group screening sessions and individual interviews, it concentrates on the themes of marriage, parenting and ‘social evils’ which emerged in the PVD. It demonstrates how familial tensions collectively identified in the workshop and told in a single video-narrative are complicated by the more nuanced discourses that emerge from co-produced analysis in the post-production period. These illuminate a greater plurality of voices towards the liberalisation of the Vietnamese economy and the new life choices that this brings.