文化产业发展中的风险防控机制研究

文化产业风险是指在文化产业发展中遇到的不确定性.实施文化产业风险管理目的就是在损失事故发生前预防损失、损失事故发生时减轻损失、损失事故发生后弥补损失.在文化产业兴起的今天,建立行之有效的风险防控机制是极为必要的.健全的文化产业风险防控机制应该包括防控策略、防控主体、防控手段三个方面.     

民间叙事中的符号控制与驱病避邪

疾病是人类最大的天敌。古人认为，导致疾病的重要原因之一是“邪”，所谓“邪”，包括妖鬼、秽物、邪气、精怪等，于是，驱邪便与疾病的治疗联系在一起。长期以来，如何避邪便成为蒙昧时代人们疾病控制的重要主题，而符号控制就是那一时代驱病避邪的重要方式。这种符号控制大致可分为两类，一种是书写符号控制，     

“天人合一”与“性心合一”——朱熹“心性论”与社会控制思想

本文认为,朱熹心性论的重要特点,在于从哲学本体论上提出以“性”为载体、以儒家伦理纲常为基本内容的先验的本体论证明,为建立人的主体道德自觉提供哲学上的论证。本文由此分析了朱熹的人性发生论及人性中封建道德品性的至上性、本体性、泛众性特点,指出朱熹“心性论”是将形而上先验之“性”(即“四德”)与人类社会中形而下的纲常伦理(“三纲”)有机结合,使以“心性论”为核心的本体论作为一个抽象的、有伦理意味的思辨体系,由此改变了汉代儒学“天人合一”的粗陋的本体论思想。     

The Effects of Self-Construal and Perceived Control on Argumentativeness and Communication Apprehension

This study investigates the relationships between self-construal, perceived control in communication interaction, and communication predispositions (e.g., argumentativeness and communication apprehension [CA]). The results indicate that the independent self-construal constitutes a significant predictor of perceived internal control in interaction, whereas the interdependent self-construal constitutes a significant predictor of perceived external (chance and powerful others) control in interaction. Moreover, the findings of this research indicate that perceived internal control constitutes a significant predictor of argumentativeness, whereas perceived external control is a significant predictor of CA. Contrary to expectations, the interdependent self-construal also constitutes a predictor of perceived internal control, which in turn constitutes a significant predictor of CA.     

我国古代是如何预防和抗击流行病的

传统史籍对流行病记载时所用的名称有疫、疾疫、疫病、疠等,而一般统称为疫,合称疾疫。明代传染病学家吴有性的《瘟疫论》说:“疫者,以其延门合户如徭役之役,众人均等之谓也。”由此可知,在中国古代,凡是具有高传染性的疾病都被归为疫类。《中国疫病史鉴》记载西汉以来的两千多年里,中国先后发生过321次疾疫流行,由于中医的有效预防和治疗,在有限的地域和时间内控制住了疫情的蔓延。两千多年前的医著《黄帝内经》中就有预防疫病的记载。     

高淳的祠山大帝信仰与治水活动

一、祠山大帝与祠山信仰祠山大帝是长江中下游地区最具有代表性的冶水神,祠山信仰是以崇拜和祭祀祠山大帝为中心的民俗信仰活动。其流传地区主要在皖东南、苏南、浙北一带。     

Where Magic Lives: Disney's Cultivation,Co-Creation,and Control of America's Cultural Objects

The Walt Disney Company today is a veritable cultural machine, churning out new products and recycling old in ways that build and maintain a consumer base that spans generations. Although it is true that Disney's contemporary box office success is subject to significant competition, the company has a distinct advantage: A strategic grasp on key cultural objects-characters the American public has grown to hold quite dear-and the means with which to maintain and promote them. Disney products thus serve as both memory takers and memory makers, absorbing original works and forming a cultural heritage that is reinforced and reproduced cooperatively between Disney and the American public.