换鞋与换路

一位哲人与门徒雨后走在土路上,他的新布鞋上沾了许多泥点儿. 穿了雨鞋的门徒问他:"出来时为什么不换双鞋呢?"哲人望望连着村子与外界的泥泞的路,意味深长地说:"换鞋不如换路呀."门徒顿觉心头一震.后来,在哲人的带领下,大家一块儿硬化了路面,从而一劳永逸,不必再受"换鞋"之苦.     

安踏:"四道"管理之道

要了解安踏,必须把进光追溯到20年前. 1987年,丁志忠说服父亲并接过1万块钱,换成600双鞋,只身到北京推销,开始了安踏的传达之旅.他,就是今天的安踏总裁.     

环游世界心宠 10件新潮尚品 环游世界心有所属

一副炫酷墨镜,一双舒适的鞋,一套齐全的洗漱用品,一个实用又时尚的旅行箱……列数夏日环游世界的10件单品,带上明媚的心情上路吧。     

廉洁文化的实践创新

在教育功能上,注重保健效应和惊雷效应。要立足于＂防病＂,坚持教育在先、防范在前,经常打预防针、敲警示钟,防患于未然,提高免疫力,增强抵抗力,做到＂常在河边走就是不湿鞋＂,真正发挥廉洁教育保健防疫的作用。     

廉洁文化的实践创新

在教育功能上,注重保健效应和惊雷效应。要立足于＂防病＂,坚持教育在先、防范在前,经常打预防针、敲警示钟,防患于未然,提高免疫力,增强抵抗力,做到＂常在河边走就是不湿鞋＂,真正发挥廉洁教育保健防疫的作用。     

几人识得樱花情——情僧文学家曼殊

正澄潭空碧似的画面,细烟迷蒙般的情怀,是曼殊的代表作《本事诗》,便也成了他人生的喻示:春雨楼头尺八箫,何时归看浙江潮?芒鞋破缽无人识,踏过樱花第几桥!曼殊的一生处在近代中国的风雨年代。他曾为志士,为僧侣,为作家,也是伶人情种。他用三十五年的光阴,演绎了一场"奇人奇行"的戏文,终局换来西湖孤山墓茔前的一片凄清。     

“我为鞋狂”：网络鞋迷社群的认同与社交研究

球鞋文化是一种小众的青年“自组织”圈层文化。由于近几年“炒鞋”事件的接连曝光,鞋迷群体成为众矢之的,受到媒体连篇累牍的挞伐。实际上仅通过“炒鞋”现象并不能准确地呈现网络环境下鞋迷的生存状态,鞋迷在购买、收藏球鞋的过程中,与线上其他鞋迷和圈层内各主体积极互动,在网络社交活动中形成了稳定的线上网络文化社群。这个过程形塑了社群内部成员的审美方式、消费行为和互动模式,鞋迷因而在网络上建构起专属文化身份与群体认同,网络鞋迷社群成为共享“我们”意识的网络文化共同体。     

中国古代的鞋及其称谓

中国古代的鞋相对于其他服饰来说,产生较晚。其功能也多在于装饰和礼教上。从丰富的古代典籍和出土文物中得以证实,鞋产生较晚,但早在夏商时期就出现了比较完整的履制。通过鞋的名称和种类,不仅能够了解到鞋的质料和样式,还能了解到穿者的身份和地位。     

冯掌柜与京味茶馆

冯建华是开张不久的京味茶馆的掌柜。他特喜欢“京味儿”这个词,他本身就是个京味儿十足的主儿。您瞧他那身穿戴,对襟的上衣、灯笼裤、一双小圆口的“老头鞋”,再看他铜壶一提,一条白毛巾往肩上这     

给予比接受更快乐

一天,学生和教授一起散步。他们在小道上看到了一双旧鞋子,估计这双鞋是属于在附近田间劳作的一个穷人。学生转向教授说:"让我们给那人来个恶作剧吧——把他的鞋藏起来,然后躲到树丛后面,这样就可以等着看他找不到鞋子时的困惑表情。""我年轻的朋友,"教授回答道,"我们绝不能把自己的快乐建立在那个穷人的痛苦之上。但是因为你有钱,你或许可以通过那个穷人给自己带来更多的乐趣,在每个鞋子里放上一枚硬币,然后我们躲起来观察他发现这件事后的反应。"     

从郁达夫文学奖说开去

"故事富有想象力,情节荒诞而又真实。层层推进的梦境和焦虑,无处安放的身体和灵魂,使这篇性情写作的寓言作品颇具郁达夫小说之风。"这是主办方为甫跃辉获短篇小说提名奖的作品《巨象》写的授奖词。这位28岁的男孩,看起来瘦小甚至有点弱不禁风,笑起来,眼神中,还藏着一丝忧郁。同是获奖者的东君在一旁"羡慕"地说:他真的有点郁达夫的味道呃。     

演百姓爱看的曲艺——中国曲艺牡丹奖四朵金花花落浙江

9月15日,在江苏南京举行了第八届中国曲艺牡丹奖揭晓暨颁奖系列活动新闻发布会。公布了七大项共51个奖项。让人惊喜的是,其中有四席获奖者来自浙江,他们是＂杭州滩簧＂牡丹奖节目奖《美丽的眼睛》表演者冯小娟、朱丽君;浙江省非物质文化遗产温州鼓词代表性传承人陈忠达;另两位则是刚刚三十出头、崭露头角的＂新人奖＂得主,杭州滑稽艺术剧表演家董其峰和绍兴莲花落表演家施金裕。作为中国曲艺界的国家级最高奖项,两年评选一届的牡丹奖含金量非常高,有人称之为＂曲艺界的奥斯卡＂。是什么力量,让浙江曲艺发展花团锦簇;又是什么力量,让浙江的年轻表演者人才辈出？带着这样的问题。     

英美文学专家袁可嘉

2008年11月9日,我在做一些去东北三省的准备,把新买的几本书插入书架。不知咋的,“啪”的一声,一本放在书架里的书掉了下来,拾起一看,是袁可嘉先生签赠的《九叶集》。一个星期后,我从东北回来,快速浏览已经积累了厚厚一叠的报刊,当翻到《文汇读书周报》第二版时,突然,一个标题钻入我的眼帘：“九叶诗人、翻译家袁可嘉辞世”。     

Metafictive Geography

Abstract

The imagining of space has been an important topic in recent geographical studies. Especially in the geographical study of literature, ‘literary geography’, the manner of contesting the frames of ‘fact’ and ‘fiction’ has aroused more and more attention during recent years. Metafiction, consciousness of a text’s own imaginativeness and the discourses behind it, has not yet been explicitly discussed in the field of literary geography, although some tangential approaches have been applied. The main purpose of this paper is to discuss how the metafictive reading of literature functions as an alternative way of approaching the imagining of space, offering an original ‘methodological’ viewpoint for perceiving space, culture and society. The specific focus is on how space becomes metafictive through literary ‘means’ such as divergent narrative and textual strategies, exceptional typographies and ironic writing. At the same time the paper considers how the metafictive continuum between the frames of ‘fact’ and ‘fiction’ may function as a tool for delving more deeply into the discursiveness of the human imagination.     

MATERIAL,LITERARY NARRATIVE AND CULTURAL ECONOMY

In this paper I argue that thinking about the material in cultural economy has much to gain from culture itself. Specifically, I explore the potential of literary narrative for conceptualizing and writing material within a performative cultural economy. Drawing on the industrial short stories of Primo Levi (The Periodic Table, The Wrench, A Tranquil Star), I provide a literal reading of these works, highlighting their foregrounding of material encounters, the importance of process (and not just product), and materials’ instability in process, and their connections to theorizations of economies as assemblage. The paper also explores how Levi writes material to presence using the techniques of narrative discourse, particularly mimesis. The paper concludes by arguing that narrative is a means to writing a performative cultural economy and that cultural economy needs to rekindle the arts of story-telling. Paying attention to literary narrative shows how this might be achieved.     

Expert judgements and the demand for novels in Flanders

This paper analyses the effect of literary prizes and nominations on the subsequent market success using a panel dataset of Dutch-language titles from January 2003 to June 2005. The analysis indicates winning a prize generally has a positive effect on the ensuing sales, whereas nominations do not generate additional sales. The precise effect differs depending on the particular prize. Winning a “home” debut prize has a significant positive effect on sales, and, to a lesser extent, “established” literary prizes have a significant positive effect on the sales of the winning title, but winning a debut prize in the Netherlands, the neighbouring country, has no effect on sales in Belgium.     

Reading against culture in Edward Said’s Culture and Imperialism

Edward Said is the literary critic most cited by American anthropologists, but there has been relatively little anthropological examination of his concept of culture. Apart from an isolated attempt by Lila Abu‐Lughod to ‘write against culture’, most anthropologists have ignored Said’s approach. In Culture and Imperialism, Said draws on Matthew Arnold’s ‘best of the best’ definition, while American anthropologists owe their holistic culture to fellow Victorian Edward Tylor. Claude Levi‐Strauss is praised by Said, but other major anthropological approaches to culture are ignored. Said assumes anthropology is on the wrong side of the colonial divide, although he holds out hope for those who are now reading the work of literary and cultural critics. In this essay I compare Said’s reading of anthropology, exemplified by Kipling’s Colonel Creighton, to the influence of Bronislaw Malinowski and Franz Boas on ethnographic method.     

Ginzburg in Harlem: History,Structure and the Politics of Primitivism

Abstract

The historian Carlo Ginzburg is renowned for his critique of modern, scientific reason and his articulation of an alternative form of knowledge which he labels ‘conjectural’. This form of knowledge, supposedly more attuned to the historian’s interest in the singular and specific fragment, as opposed to the abstract and universal concept, is so rooted in the practices of the prehistoric hunter that Ginzburg sometimes describes it as a ‘venatic’ form of deduction, binding ‘the human animal closely to other animal species’. In this essay, I explore the ramifications of this alternative form of knowledge, attending especially to its relationship to the modernist theme of ‘primitivism’. I do so by juxtaposing Ginzburg’s critical appraisal of Arthur Conan Doyle’s most famous literary invention, Sherlock Holmes, and Rudolph Fisher’s own literary invention, John Archer, the physician who sometimes aids criminal investigations in African American Harlem. I argue that the differences between Archer and Holmes draw attention to some troubling implications of Ginzburg’s historiographical argument. Folding this analysis on itself, however, I also suggest that what might be at stake, when Ginzburg insists so troublingly on the importance of the singular, venatic trace, is the evocation of Walter Benjamin’s understanding of the historical ‘event’.     

Recognition and renown, the structure of cultural markets: evidence from French poetry

This article explores the organization of cultural markets through the case of French contemporary poetry, distinguishing the market for recognition and the wider market for renown. The market of poetry is made of large-scale and reputed publishers and a wide range of smaller firms, which serve as testing grounds for new authors and innovation. How can the movement of an a priori narrow-appeal literary genre from small publishing houses to large-scale firms be explained? It is argued that if the status of firms is remarkably stable, artists may move from small publishers to large-scale ones. Statistical evidence is used to illustrate this passage, shedding a new light on the structure of cultural markets and the role of reputation in organizing commercial circuits. Future directions for research are offered.     

Imperial Cartography and Victorian Literature: Charting the Wishes and Anguish of an Island-Empire

This essay is inspired by Benedict Anderson's theorisation that communities are products of collective imagination. Literature and cartography, as Anderson points out, exert considerable influence in marking the imaginary contour of a specific community. To Anderson's theorisation, this essay will add a few notes, suggesting that literary mapping and cartographic writing convey dialectic messages and thereby chart contending communities. Through an examination of Victorian adventure stories (The Coral Island, King Solomon's Mines and Kim), domestic novels (Wuthering Heights, The Way We Live Now and The Sign of Four), an imperial map and a fictional treasure map, this essay will unfold the ideological underpinnings of writing and charting, analyse the rhetoric of wish and anguish in both acts, and interrogate Britain's conflicting doctrines of global imperialism and insular nationalism. The ultimate aim is to argue that literary mapping, analogous to cartographic writing, captures a Britain that is at once an invincible empire flexing its muscle worldwide and a vulnerable island besieged by the Atlantic Ocean, Irish Sea, English Channel, and North Sea. Between Britain's wishes and anguish, Victorian writers sketch in their contemporaries' imagination a contour of the British Empire in which the centre itself is decentred.