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。     

人流联系和经济联系视角下区域城市关联比较——基于手机信令数据和企业关联数据的研究

手机信令数据所代表的人流联系与国内外研究常用的企业关联数据在测度城市关联存在何种差异,尚缺乏明确的研究。本文以江西省北部地区为研究对象,分别以手机信令数据、企业关联数据测度城市关联,比较了两种城市关联与城市之间空间距离、人口规模的关系,比较了两种城市关联网络的层级、结构、腹地。主要研究发现：人流联系不仅集中在城市周边地区,而且集中于较高等级城市之间;经济联系则主要集中在较高等级城市之间。人流联系、经济联系受到城市人口规模影响均较小。人流联系显著地符合幂函数空间衰减规律。手机信令数据和企业关联数据是两种不同的城市关联数据,但可互为补充,较为全面地反映城市关联。     

Smells like politics: planning and the inconvenient politics of intensive peri‐urban agriculture

Intensive farming is an increasing part of Australian agriculture, including in the multi‐functional landscapes at the edges of Australian cities. The example of intensive “broiler” poultry production reveals the tensions that arise when sites of hyper‐productivity conflict with social change in rural areas. Planning processes for intensive farming in the Australian state of Victoria are predicated on stability and consensus: on assumed static and uncontroversial ideas of agriculture, its place, and the primacy of agricultural productivity. Yet concerns about the industrialisation of agriculture are live political issues at the local level, especially in dynamic peri‐urban locations. This paper explores the emergence of a politics of place outside the bounds of planning consensus through an analysis of planning appeals and associated media relating to planning permits for intensive poultry developments in Victoria over 2011–2016. We highlight tensions that exist in relation to technical planning assessments and categorisations used to assert farming as the orthodox use of rural land, especially when new forms of farming look and feel demonstrably different. Using Mouffe's problematising of the negation of antagonism and Rancière's notion of the risks of a false consensus democracy, we argue that planning processes for intensive farming illustrate critical issues in participatory planning. While ostensibly post‐political decision‐making narrows the politics of place and food systems to decisions about policing the boundaries and buffer distances placed around intensive poultry developments, alternative representations of rural life persist. The certainty offered by code‐based planning does not negate the ongoing (if inconvenient) politics of intensive peri‐urban agriculture.     

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.