集体狂欢的写作——关于《兄弟》（上）的创作

余会的《兄弟》（上）以狂欢化的视角,观察了刘镇人在政治和世俗生活的种种表演;从主题的世俗化、集体讲述的喧嚣、语言的调侃化等方面挖掘出官方文化下民间的力量和价值。《兄弟》（上）在宣扬民间价值的中心地位时,打破了既有文化模式的束缚,带来了认识和情感解放的快感。     

博弈性融合——政务微信传播实践的场域视角

以布迪厄的场域理论为出发点,基于对南方Z市政务微信编辑的深度访谈,本文研究认为,政务微信生产实践宜理解为新闻场域与政治场域两种文化逻辑之间的融合与冲突,理解为其间各行动主体之间的博弈。具体地,政务微信的融合形态有四,即,"忠"且"传","忠"而不"传","不忠"而"传","不忠"且"不传"。融合中的冲突性元素源于各自相异的场域逻辑,显现为融合中的行动主体--行政领导与微信编辑--在投入与效果、有为与无为、代际差异三方面的博弈。不过,两大场域在目标上可能的一致性,即,政治安全前提下的市场致效,使得政务新媒体仍存在有机融合的空间。基于此,本文尝试性地将我国政务新媒体实践概括为"博弈性融合"。     

宋代知县、县令带兵职能研究

宋代的知县、县令,也有兼一县兵马的职责。朝官知县兼领一县兵马,被称为兵马都监;京官知县和幕职州县官县令兼领一县兵马,被称为兵马都监;畿县知县兼领一县兵马,称为签书兵马司公事。宋代知县、县令兼领兵马,一是镇压民间的反抗活动,二是抵制异族的进攻。宋代的知县、县令始于宋初;神宗革新,实行将兵法,专门别置教官训练军队,罢黜知县、县令兼领一县兵马之权;到南宋恢复知县、县令兼兵权,知县、县令带兵制几经变化……     

厦门马拉松、广州马拉松、深圳国际马拉松官方微信公众平台信息传播研究*

近年来我国马拉松赛事蓬勃发展,各个城市纷纷举办马拉松赛事,利用官方微信公众平台传播赛事资讯,服务跑者。以厦门马拉松、广州马拉松和深圳国际马拉松三家官方微信公众平台在赛前6个月和赛后3个月推送的信息为研究对象,运用文献资料法、内容分析法、比较研究法等其信息推送总量、信息主题、信息传播形式、互动情况等进行比较分析。研究发现,订阅号比服务号更适合马拉松赛事信息的传播;受众最关注赛事资讯的发布;存在的主要问题是信息推送频率低且不规律;推送时间不固定,个别推送时间不合理;赛时推送时效性不强;首页版块设置不完善;互动性不强,缺乏良好的沟通和交流。     

第11届世青赛中国队与其他球队进攻能力和失球原因的统计与分析

通过对九场小组赛以及第二阶段的十一场淘汰赛进行了比赛录像分析,对19支球队的射门方式、攻入前场30米区域的次数、定位球(角球和前场任意球)以及失球原因等数据进行整体统计分析,发现青年队普遍存在这样的规律:定位球战术在比赛中运用不成熟、青年球队中强队和弱队的层次划分没有成年队明显、青年球队技战术发挥不稳定。球队之间对比分析表明,中国队的整体进攻存在一定问题:定位球战术效率低、远射能力与其他强队有差距、尽管边路突破次数较多,但是突破后的战术运用不合理等等。发现和解决这些问题有助于我们总结出球队在此次大赛中的经验与教训,寻找中国队与同年龄段世界强队之间的差距与不足,并提出了相应的发展对策,使备战08年奥运会的足球训练的更具针对性。     

中国历代武举制度述略

运用文献资料法,通过对武举起源的探讨和对历代武举制度发展的研究,认为武举制度起源于"武选",开创于唐,完备于宋,衰亡于清,为封建统治阶级选拔了一定数量的武艺人才,对巩固中央集权、维护国家统一和安定起了一定的积极作用。     

“斋厨索然,日食杞菊”的仕宦人生最美——苏东坡《后杞菊赋并序》主旨别解

宋神宗熙宁八年(1076)秋,苏东坡在密州太守任上,作《后杞菊赋》。他以自我嘲笑式的设问、动人情理的回答来揭示他忧患仕宦人生的难言之隐。东坡把人生看得淡然,以为不论什么样的身价人物,最终"归于一朽"。面对严重自然灾害和政治漩涡,东坡仍以超然的情怀,从杞菊的民生滋味中吸取了儒佛道的治政哲理,透视人生,造福一方;从而铸造了他"斋厨索然,日食杞菊"的仕宦人生美。     

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.     

人文关怀:高校图书馆发展建设之价值取向

网络化数字化应用于高校图书馆的建设,为图书馆的发展注入全新理念,并充分拓展其服务空间。当我们探讨网络化数字化对高校图书馆发展建设整体影响与作用的同时,有必要对高校图书馆之服务主体——读者,以及读者在这一服务过程中所获得的服务效应进行理性的分析与判研,从而为图书馆今后可持续发展提供清晰明确的方向。     

庾信乐府诗创作与北朝历史文化之关系

庾信乐府诗创作是在北朝社会历史和文化的直接影响下完成的。庾信的郊庙、燕射歌辞是北周礼乐制度建设的产物;道士步虚词的创作和北朝仙道思想的流行有密切关系;其他乐府诗亦洗去了南朝宫体诗的流靡格调。