明星梦

一年一度的招生考试又开始了。3月20日,北京电影学院成了无数青年人做梦的地方,3000名考生和一部分送子赴考的家长,几乎把电影学院变成了一个人的海洋,望过去,满眼都是一双双充满兴奋和期待的眼神。经过2两天的初试,大约1000多人拿到了复试证,公榜那天早上,黄榜下,有人欢喜有人流泪。从四川绵阳来的陈丹和他的伙伴,早晨5点钟就起床,从十几公里以外的旅馆赶到学校看榜,他说,幸亏有这么多同伴老乡,否则一个人孤零零地,真觉得凄凉啊。陈丹和他的同伴谢媛媛、冯娜田军都过了初试关。     

中国科学家徒步穿越“人类最后的秘境”

20世纪70至80年代,地理学家杨逸畴、大气物理学家高登义、植物生态学家李渤生不畏艰险,先后6次联合进入世界最大的雅鲁藏布大峡谷,进行无比艰险的科学考察。经过科学论证和测量,雅鲁藏布大峡谷的最深处达6009米,比以前一直被称为“世界第一大峡谷”深为2133米的美国克罗拉多大峡谷,还要深3876米;雅鲁藏布大峡谷全长为504.6公里,比此前认为世界最长的美国克罗拉多大峡谷还长56公里。深度与长度均居世界第一,这是中国科学家对世界的重大的地理发现(本刊曾在1997年第3期“发现了世界第一大峡谷”一文内作过详细报道)。雅鲁藏布大峡谷还有90公里无人区核心河段,人类从未沿河徒步穿越过,被称为“人类最后的秘境”。1998年9月,由中国科学院牵头联合新闻界、企业界合作进行举世震惊的考察,为了揭开这个“人类最后秘境”的面纱,徒步穿越了37天,行程近600公里,艰苦卓绝地在生命极限上进行了拼搏,终于实现了20世纪末人类科学探险考察史上一次伟大的壮举。     

达坂城的风

达坂城位于乌鲁齐市南70公里,总面积不到5000平方公里,居住着维、汉、哈、回等民族共2万多人。乘汽车或者火车经过达坂城路段时,远远地就能看到在两山之间的开阔荒滩上数十个整齐排列的白色“巨人”,最引人注目的是它们头顶上不紧不慢地转动的风轮。这就是达坂城的风力发电机,这里有一     

访"笔名大王"陈玉堂

一个盛夏黄昏,上海喧闹的西藏南路旁边的一所老房子。沿着昏暗陡峭的楼梯拾级而上,笔者走进了“笔名大王”陈玉堂的家。老人已年近八十,虽然事先已看到过照片,但他的清癯还是令我有些吃惊。“是老乡啊,快请坐”,老人的热情使我很快摆脱了拘束感。 “我住在这里50年了,这个房子差不多也有100年了,据说是红顶商人胡雪岩后代的。这间临街房子,汽车喇叭声不断传来,不过外边再闹,我耳朵听不见。”老人说,“听见也无所谓,还是照写我的书。”这口气颇有些“结庐在人境,而无车马喧”的境界。     

法国汉语教学史浅论

如果说世界上不少国家都出现了“汉语热”的话,那么法国可谓是其中熊熊燃烧的一个“大火炉”！汉语教学在法国已有相当长的历史了,它不但触及面极广而且形式丰富多样,学习汉语的人数量多。在最近几年,中国文学翻译的中心也转移到了法国。我们首先要分析一下“汉语热”的“热”字:我们认为这一词不是说明性的,而是描述性的。事实上“汉语热”或“时髦”是一种持久的“热”或经久不衰的“时髦”。我们不能只看到表面现象,而必须对它们的内涵进行深刻的分析。     

成都草堂拜谒"诗圣"

多少年来一直想去杜甫草堂这个文学圣地拜谒“诗圣”,然而由于方方面面的原因未能成行。直到最近,当我浪迹天涯几十年之后回到四川故乡,终于了结这个夙愿。一大早起来,便兴冲冲驱车向草堂赶去。从四川崇州驱车80公里来到杜甫草堂,首先映入眼帘的是一条弯弯环环宛若玉带的溪流。     

举世无双的越南古芝地道

前不久因公去了一趟越南,工作之余,朋友向我推荐一个特别的旅游景点西贡的古芝,说在当今世界上绝无仅有。从地图上看,古芝是个不起眼的乡村小镇,距离西贡市中心60多公里,但越南有这么一句话:你没到过古芝,就算没来过西贡;没钻过古芝地道,你就不认识越南,不认识越南人民。     

外语媒介体系让南京更开放——南京广电移动电视开播英语节目

“以前南京没有过这种英语节目,挺有意思的,包装也很精致,给人耳目一新的感觉,为市民在乘车途中增添了一份乐趣。”7月27日,从事IT行业的陈峥在南京地铁里看到了一档全新的移动电视英语节目——《英语随身看》。     

另一只眼睛看华尔街

来到华尔街,在西入口不远处,我一眼就看到了华尔街的标志——铜牛。美国纽约的华尔街,有“美国金融中心”之称,这条全长不到1公里,宽仅11米的街道周围,高楼大厦林立,汇聚了全球闻名的“纽约证券交易所”“纽约期货交易所”等金融机构以及美国摩根、杜邦等大财团开设的银行、     

雄哉千碉之林——川西北阿坝州石碉石寨趣谈

阿坝州之旅结束了,这是一次文化苦旅。“老夫聊发少年狂”,苏东坡当年自称“老夫”之时,才37岁,我已是年近退休的人了。旅行结束,司机给我看了汽车路码,6500余公里,从成都出发开始计程,行行止止,走的地方实在不少,感受很多。回到家中,我觉得非写点文章不可了。 在四川西北部阿坝州有一座著名的神山,叫作“嘉莫木尔多山”,这一地域被称为“嘉莫查洼绒”简称“嘉绒”,住在这里的藏族被称为“嘉绒”藏族,主要从事农耕。在这里,我们不断地看到雄伟的石碉建筑,像忠诚的卫士守望着这里的山村。后汉书记载,青藏高原东南边沿的崇山峻岭中,早在秦汉以前就形成了绵延千里的高碉文化带了,今天能见到的石碉,大部分是明清以来的建筑。片石层层堆砌而成的巨大建筑,是阿坝州高原的独特建筑景观,这些石碉一般高达30余米,是古代藏族大     

What Becomes of Undergraduate Dance Majors?

This paper examines the earnings, work patterns, and work histories of individuals employed in the field of dance using data from a survey of graduates of the Five College Dance Department. The respondents to our survey include not only those currently working in dance, but also some who never entered the profession and many others who entered but later left the field. We find that graduate education in dance, age, and prior dance experience are highly correlated with employment in the field of dance. Our findings are similar to those of other studies on artists, in showing that the returns to dance are low and that many of those employed in dance rely on non-dance jobs to supplement their dance earnings.     

Reassembling the Cultural

The central argument in this paper is that actor-network theory (ANT) does not do ‘cultural economy’ symmetrically: it has had a lot to say about economy but much less to say about culture. This rejection of culture is ontological and epistemological: culture appears in ANT largely as an artefact of modernist thought rather than as an empirical aspect of agents' performances. And yet if ‘economy’ can be critiqued and reinstated as performative, so too can ‘culture’. To explore this, we focus on objects of concern that – unlike the financial markets that have formed the core of ANT-inspired thinking about the economy – are assembled by actors in and through what they themselves understand to be cultural materials, cultural calculations, cultural processes, cultural institutions. In such examples, ‘culture’ is continuously invoked and enacted by actors in constructing their actions, whatever critical sociologists might have to say about its ontological status. It seems paradoxical that a theoretical approach that makes sacrosanct the associations constructed by agents who assemble their own world, generally discusses ‘culture’ only from the point of view of critical epistemology. Bearing all this in mind, we argue that it is time for us to ‘reassemble’ the cultural.     

中国舞龙源于磐安

龙是中国的象征,关于它的传说,一直可以追溯到公元前2500年的夏朝。 相比之下,中国民间的舞龙风俗源于何时何地,传说的版本缤纷呈现。最近,一个新的版本在网上盛传：中国舞龙的发源地在金华磐安。记者立即跟着香港的阳光卫视摄制组匆匆赶到了磐安,探寻这个现实中的民间传说。     

浦江舞龙:舞出精彩世界

每年春节,中国各地各式各样的舞龙平添许多热闹。在浙江中部的浦江县,舞龙舞出了大世界——2012年下半年,浦江民间艺术团参加了第62届法国第戎国际民间艺术节。其间,浦江乱弹、民间舞蹈、古典舞等节目让国外观众大饱眼福。特色舞龙项目《滚地龙》作为演出的压轴大戏,博得外国友人的满堂喝彩。     

Willingness to Pay for Submerged Maritime Cultural Resources

Many consider salvage value and tourism expenditures as the only economic values of a historic shipwreck. This paper looks at one alternative, the non-market value generated by management of shipwrecks as submerged maritime cultural resources. We consider the question: How much are people willing to pay to maintain shipwrecks in their pristine state? The contingent valuation method was implemented during summer 2001 as part of a telephone survey to households in eastern North Carolina. We find that households are willing to pay about $35 in a one-time increase in state taxes. Willingness to payis internally validated by expected relationships with prices and income but fails to pass the scope test. We speculate that we inadvertently succumbed to the well-known “birds” problem. The double-bounded willingness to pay questions are not incentive compatible and are subject to starting point bias, despite efforts to minimize these effects.     

Black Swan,Cracked Porcelain and Becoming-Animal

The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process?     

Making architecture compete: open-ended accumulation meets objectification and singularisation in the UK construction industry

Sociologists over the last two decades have taken inspiration from actor-network theory to suggest that competition, like ‘the market’, takes place through a dynamic of detaching objects from one set of relations and reattaching them within another: objectification and singularisation. Yet there has been little theorisation of how competition differs between situations. To approach this question, we can ask how competition, as a process of objectification and singularisation, interacts with other patterns of movement. Ethnographers have described one such pattern in the everyday work of architects. Here a building emerges from an ever-increasing number of ‘versions’, images and models, in an open-ended accumulation. This study considers the interaction between, first, the objectification and singularisation of competition and, second, the open-ended accumulation of architectural work. To do so, I examine architectural competitions in the UK. I draw from document analysis of one competition for a school in northern England, as well as interviews with architects about their work on competitions. This study concludes that architectural competitions repeat the multiplicity of architectural work but in a more delimited form. Multiplicity is not ‘cut-off’ so much as winnowed down through an explicit process of selecting images and blocks of text.     

The internet as a celestial TiVo: What can we learn from cable television adoption?

It appears that the Internet is soon going to fulfill its potential to become a giant on-demand repository of television shows (and movies) available asynchronously, greatly increasing the variety of shows available at a moment in time. As companies such as Netflix and Hulu increase their activities in this sphere, there are many unanswered questions about the impacts of this transition. In this paper, we attempt to foretell the impact of Internet-induced increased variety on the amount of time individuals devote to viewing television. We use cable and satellite television’s impact on viewing as a proxy for the likely impact that future Internet transmission of programs will have. Using country-based panel data going back to the mid-1990s, we find that the increased variety brought about by cable and satellite has had virtually no impact on the amount of time devoted to television viewing. We discuss the import of this finding for Internet business models of television transmission.     

《红楼梦》英译缩写本在国外

为译《红楼梦》竞折腰 上世纪90年代初,我远在澳大利亚墨尔本拉特罗布大学（La Trobe University）亚州研究院读研究生,暑假期间趁回国度假的机会,到母校四川师范大学拜望外语系黄新渠教授。那是一个雨后乍晴的午后,校园里雨滴淋着一丛丛浓密的芭蕉林,知了的欢唱灌入耳膜。黄新渠先生特地沏了上好的四川特级茉莉花茶款待我。     

The Evaluation Scale: Exploring Decisions About Societal Impact in Peer Review Panels

Realising the societal gains from publicly funded health and medical research requires a model for a reflexive evaluation precedent for the societal impact of research. This research explores UK Research Excellence Framework evaluators’ values and opinions and assessing societal impact, prior to the assessment taking place. Specifically, we discuss the characteristics of two different impact assessment extremes – the “quality-focused” evaluation and “societal impact-focused” evaluation. We show the wide range of evaluator views about impact, and that these views could be conceptually reflected in a range of different positions along a conceptual evaluation scale. We describe the characteristics of these extremes in detail, and discuss the different beliefs evaluators had which could influence where they positioned themselves along the scale. These decisions, we argue, when considered together, form a dominant definition of societal impact that influences the direction of its evaluation by the panel.