朝四个方向飞的柏拉图--义海诗歌镜像烛微

江苏省第四届紫金山文学奖得主、中年诗人义海的诗歌创作其实已有三十年。在博士、院长、教授、翻译家等一堆称号中,义海最喜欢的还是诗人这个称谓。作为学院派诗人,他一直坚持智性写作,以酒神精神的张力,以语言学狂欢的哗然,以唯美主义的深情,以构架中西文化交流桥梁的自觉,构成当代华语诗坛的独特景观。     

提升河北历史文化遗产影响力的研究

河北人文历史底蕴深厚,有着极为丰富的历史文化遗产。珍视这些历史文化遗产,深度挖掘其文化底蕴,弘扬其人文价值和独特魅力,使其在现代文明和社会发展中发挥重要作用,不仅是文化产业发展的需要,也是对历史文化遗产进行保护和传承的需要。河北建设文化强省,需有效利用历史文化资源,将历史文化优势转变成产业优势,大力提升历史文化遗产的社会影响力。     

文学概论课程教改中实践性教学方法实施路径探析

新时期以来,以增强学生的理论实践性为目的的教学改革,成为文学概论课程教改的一个重要方向。文学概论课程的实践性教学包含了学生理论认知实践和理论应用实践两个方面,无论哪个方面的改革努力,都必须强化"以学生为中心"的教学理念,力求以一种开放、民主、多元、对话的态势,切实调动学生自觉学习、能动学习的积极性,从而增强学生的理论理解能力和文学批评实践能力。     

论现代化过程中民族“文化血型”的传续——以西双版纳地区傣族制陶为例

文化是人类积极适应生存环境、改造生存状态的成果表现。傣族传统制陶反映了傣族传统社会形态,衬托出傣族人家的生活状况,渗透着傣族人民的民族心理和审美情趣。傣族传统制陶受到现代产业结构、生活方式和工艺的冲击,积极吸收先进制陶工艺,添加新的民族元素和地域特色,同时保留下了傣族传统文化的精粹,凝聚着现代性和民族性的合力。     

中西方同性恋观的跨文化比较研究

同性恋现象由来已久,同性恋文化在中西方社会的发展具有共同点也存在着差异。本文探讨了中西方文化下的同性恋现象的显著共同点以及明显差异,并从文化视角探究其共同性与差异性的历史文化根源以及文化意义。     

国际大都市科技文化创新融合的经验研究

藉由科技创新推动文化创意的发展进而促进城市经济转型与创新实力提升,已成为智慧浪潮中国际大都市迎接竞争的选择路径。在智慧时代,信息通讯产业及其价值链的上游——数字内容产业,几乎成为各大都市践行文化科技创新融合的最佳领域。纽约、伦敦、巴黎、东京、新加坡及台北这六个国际大都市在文化科技创新融合方面的实践经验为我国城市的转型提供了部分借鉴思路。     

广西南宁市实施全国文化信息资源共享工程存在的问题及对策

通过对南宁市“全国文化信息资源共享工程”的实施状况进行调查,得出南宁市“文化共享工程”的建设存在的问题,并为南宁市今后“文化共享工程”的继续实施提出相应的对策。     

大学英语教学中的文化双向交流--大学英语四六级考试新题型的思考

大学英语教学中文化导入是一项重要的内容。大学英语四六级考试中翻译新题型的出现,反映了教学中文化双向交流的必要性。本文旨在指出教学中中国文化导入的缺失,探讨了文化双向交流的方法。     

“文化诗学”与中学语文教学--以《面朝大海，春暖花开》为例

“文化诗学”的研究方法包涵三个要素：审美、历史文化语境和文本细读,这三个要素都可以运用在具体的中学语文教学实践中。以《面朝大海,春暖花开》为例,“文化诗学”方法的应用不仅会加深教师和学生对这首诗复杂意蕴的准确理解,也会充实课堂教学内容、充分调动学生对语文课文学习鉴赏的积极性。     

Measuring creativity: A case study in the UK's Designer Fashion sector

Since before the 1997 General Election, New Labour has repeatedly emphasized the importance of the creative industries in underpinning the national economy and as an engine of economic growth. The Creative Industries Task Force Mapping Documents of 1998 and 2001 sought to define and quantify in broad terms economic activity across 13 distinct creative industries. More detailed estimates have been published by the Department for Culture, Media and Sport (DCMS) in successive annual Creative Industries Economic Estimates.

An assessment is provided of the way in which the creative industries have been measured using the Office of National Statistics' Standard Industrial and Standard Occupational classifications (SIC and SOC). These classifications have themselves been revised since the early 1990s, and further revisions are in prospect from 2007. In this analysis particular focus is given to the ‘Designer Fashion’ sector, illustrated by a number of tables and data analyses.

These actual and proposed revisions have helped in documenting the rapidly emerging creative industries, which have reportedly grown at two to three times the rate of the UK economy as a whole. However, as the Regional Culture Data Framework published in 2002 records, serious problems remain in providing valid assessments of the creative industries sectors from ‘official’ published sources, even for the UK as a whole, let alone at the regional level emphasized by the Regional Culture Data Framework's regional sponsors. In any case, often the ‘scaling factors’ applied to official SIC codes to define creative industries appear arbitrary.

Many of the Regional Culture Data Framework's recommendations, notably the adoption of a more comprehensive ‘supply-chain’ approach to documenting the cultural sector, make further demands upon the existing official structural classifications and the data bases underpinning them. Even where all elements in the ‘supply chain’ are well documented, there are still questions about the validity of this approach. For example, should wholesale and retail distribution of creative industry products be regarded as part of the ‘Cultural Cycle’?

In conclusion, it is suggested that the ‘official’ data has marked limitations in documenting the creative industries and does not realistically or adequately capture the more interesting and dynamic elements of an industry like ‘Designer Fashion’. This is disappointing in a context where central government has placed increasing emphasis upon evidence-based policy to support the development of the creative industries, and where the British ‘Designer Fashion’ sector has lamented the lack of central support in comparison with the French or Italian industries. It is suggested that a more customized approach to collecting data about the creative industries is needed if the results are to usefully inform the further development and profile of these sectors.