社会记忆散论

已有的社会记忆研究成果集中在三个方面：一是关于记忆概念的界定,不同学者从不同的角度分别提出集体记忆、社会记忆、历史记忆等概念,并对其内涵进行界定;二是关于社会如何记忆的探讨;三是针对＂社会记忆什么＂,即社会记忆的选择问题。社会记忆是人类学、社会学、历史学等不同学科的分析工具,掌握学界关于社会记忆的研究动态对开展相关研究和丰富社会记忆理论意义重大。     

关于C语言教学中内存分析的几点思考

介绍了在C语言程序设计过程中内存和变量的关系,对集中内存的分区进行了说明,然后分析了内存泄漏的原因,并提出了相应的预防措施.     

花灯与族源记忆

花灯是一种流行于我国西南诸省的民间歌舞小戏。以往对于花灯功能的认识主要局限于它的娱乐性和仪式性,田野调查发现,花灯的表演还具有传递族源记忆的功能。云南的某些少数民族村落,在汉化后,借助花灯中的戏剧妆扮来实现对族源记忆的传承。     

社会记忆视域下高校档案人员角色定位与职责要求

口述档案是对个体记忆的输出和整理,是联系个体记忆和社会记忆的桥梁,它扩宽了保存历史、回忆过去的途径,使得社会记忆层次更立体、角度更多元。构建社会记忆的大背景下,高校档案人员应诠释好"口述参与者、记忆守护者、资源整合者、服务创新者"的全新角色定位,不断加强意识思维、知识结构和专业技能的自我提升和完善。     

口述档案研究的可视化分析

本文通过对国内外口述档案研究的对比分析,可以了解国内外相关研究的差距之处,并且可以根据研究热点的变化,在一定程度上推测出国内外今后的研究方向和趋势。以中国知网(CNKI)和Web of Science为数据来源,基于Citespace软件,从年代分布、作者、发文机构、关键词等角度对国内外口述档案的研究进行分析。通过分析发现,在总体发文量上,国内关于口述档案的研究要低于国外,作者之间和机构之间的合作程度也是同样趋势。此外,国内外在口述档案领域的热点主要集中于口述档案与社会记忆相结合。因此,围绕"记忆、社会记忆"开展的口述档案研究可能是国内外共同的发展趋势。     

面向全民抗疫记忆构建的疫情防控档案专题数据库建设研究

新冠肺炎肆虐,疫情期间形成了丰富的档案资料,疫情防控档案分散和类型多元化等特点显著,疫情防控档案的整合对于助力应急管理、助力医疗一线和稳定公众情绪等方面具有重要意义。基于此,文章梳理了疫情防控档案专题数据库建设目的与思路,探讨了数据库规划与设计、系统架构等内容。疫情防控档案专题数据库的建立,可为今后疫情预防与防治工作奠定基础,在应对重大突发公共卫生事件时发挥借鉴与参考作用。     

大学本科力学类课程的公式辅助记忆方法研究

力学课程作为工科专业的重要基础课程,有大量公式需要学生记忆和掌握,从而给学习带来了一定困难。文章作者从力学课程的特点出发,结合多年的教学实践经验,针对多门力学课程,总结出了多种辅助记忆公式的方法,并取得了良好的授课效果。     

Culture without “world”: Australian cultural policy in the age of stupid

In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.     

A lonely and beautiful country: reflecting upon the state of oblivion in Turkey through Nuri Bilge Ceylan's Three Monkeys

Abstract

Through an in‐depth analysis of internationally acclaimed Turkish director Nuri Bilge Ceylan's 2008 film Three Monkeys (Üç Maymun), this article discusses the politics of Ceylan's cinema against the backdrop of the current memory debate in Turkey. Turkey has a troubling relationship with its past. The process of the foundation and the early development of the Turkish nation‐state included traumatic events during which ethnic and religious minorities were massacred, deported, or encouraged to migrate. There have also been several violent incidents in Turkey's subsequent history that include massacres, mass killings, political assassinations, as well as military coups. It is a widely held opinion that social memory in Turkey is based on forgetting and denial, that is, Turkish society deals with the troubling events in its past by turning a blind eye to them. Drawing upon the question of how it may be possible to make the traces of forgetting and silence observable, this paper argues that Ceylan's film, despite its seemingly apolitical story, has indeed profound political connotations since its narrative and visual organization serve to display the prevailing mood of silence, oblivion and complicity in Turkey.     

The camera in pain: memories of the Cold War in East Asian independent documentaries

Abstract

This article begins with a discussion of the changing topography of cultural production in East Asia over the last 25?years, especially as it concerns the genre of independent documentary film, and then it turns to three independent documentaries filmed in Japan and North Korea, South Korea and Japan, and China, respectively: Yang Yong-hi's Dear Pyongyang (2005 Dear Pyongyang. 2005. Directed by Yang Yong-hi. Busan International Film Festival. [Google Scholar]), Mun Jeong-hyun's Grandmother's Flower (2007 Grandmother's Flower. 2007. Directed by Mun Jeong-hyun. Busan International Film Festival: [Google Scholar]), and Wang Bing's He Fengming: A Chinese Memoir (2006). Erased from the official historical record and excluded from public commemoration, the alternate history of pain traced by these documentaries resubmits the Cold War to examination from deep inside its most private wounds. In the process, the filmmakers encounter not only the memories of the earlier generation that lived through the most violent episodes of the Cold War, but also come to question their own history and identities within the process of the Cold War's decomposition.