中央苏区廉政教育经验与当代大学生廉政文化教育

在中央苏区开展的以理想信念为核心的革命理论教育、党内民主与政策教育、反腐专项斗争与防腐专项教育相结合、加强反腐防腐制度的宣传教育、干部廉政作风率先垂范是中国共产党在廉政教育中的宝贵资源,具有本源性教育功用和德育时代价值。总结提炼苏区廉政教育经验,运用其廉政文化教育价值,对推进当代大学生的廉政信念、廉政精神、廉政价值观、廉政制度、廉洁作风教育具有重要的意义。     

美国华盛顿大学研究生培养对交通运输工程学科的借鉴

对美国华盛顿大学研究生培养的特色进行了总结和介绍,按照“如何做研究-研究选题-研究方法-成果展示”四个步骤进行了详细阐述。为提高交通运输工程学科研究生的培养质量,从引入《Transportation Seminar》、学科交叉培养、出国交流、课程设置和面对面讨论5个方面进行了具体讨论,以期为交通运输工程学科研究生培养提供借鉴和参考。     

Professional mobilities in the creative industries: The role of “place” for young people aspiring for a creative career

Within creative industries policy, two themes have been situated as central to the needs of the creative economy: the economic importance of place and the role of education in delivering a better-equipped workforce. However, these themes have rarely overlapped in either policy thinking or academic research, and so this article focuses on the relationship between place, education and professional aspirations for young people. Using the findings from qualitative interviews with media studies students within higher education (HE), this article analyses how the perceived attributes of some locations may provide industry credibility and the promise of enhanced professional mobility. It examines the tangible and symbolic value of place within young people's career development in the creative industries. The findings highlight how the links between place and education can influence the professional process, and how place shapes young people's perceptions of and opportunities for work in the creative industries. Finally, this research emphasises how current theories on creative industries policy and HE provision need to be extended to take greater account of the ways in which the attributes of localities can be used as a catalyst for individual professionalism amongst young people, and the ways in which certain places (mainly rural) may be disadvantaged in the current policy trajectory.     

Culturalisation and devices: what is culture in cultural economy?

Theorisation of culture is often absent from research on production in the creative and cultural sector. Further, cultural production has been largely untouched by the insights of the cultural economy approach. Culturalisation is a means of addressing the question of what constitutes culture and thus a cultural (economy) approach. It is the process by which culture and cultural production combine in the ‘operationalisation of the real.’ Culturalisation underpins much scholarship in this journal by posing the (economic) real as a problem of definition in order to illustrate the operations involved in its temporary resolution. The implications of this position need further addressing. There is a feedback between culture as a problem of definition and a cultural approach. Devices can interrogate the relationship between processes of cultural definition and the conceptual parameters of a cultural economy approach. Workshopping, projects and events are put forward as cultural devices emerging from a 10-month ethnography of literary performance in Bristol, England. This illustration shows firstly, how culturalisation occurs in a designated cultural sector to contingently realise culture; and secondly, the implicit logic of cultural economy as culturalisation, typified by the device as method, so as to open a debate concerning its implications.     

Creative labor as moral and ethical subjects and its limitation: Creative City Yokohama,Japan

This study aims to reconsider and re-evaluate the rapid circulation of global creative city policy from the viewpoint of its creative workforce by focusing on the case of Yokohama, Japan. To shed light on this workforce’s everyday experiences and labor subjectivity, this investigation draws ideas from recent research trends of “creative labor” from the field of media and cultural studies, sociology of work, and political economy of communication. Based on in-depth interviews and participant observations, this research focuses on how the ethical and moral dimensions of labor subjectivity in creative work are prominently important in explaining Yokohama workers’ everyday living and working experiences as creative labor. Unexpectedly, this study found that these moral and ethical sentiments and actions, which take on the role of retaining their labor motivation, actually limit the development of political subjects who can resist given precarious working conditions and thereby hinder them from building a collective solidarity as “workers.” Thus this investigation concludes that the creative worker’s subjectivity retreats to solely a moral dimension rather than to a political one. Through this finding, this study explores whether the articulation of moral-political and social values in the course of cultural work can evolve from creative workers’ moral and ethical sensitivities and actions.     

Transformation and job creation in the cultural and creative industries in South Africa

The cultural and creative industries (CCIs) have been hailed as offering great potential to create jobs and to be socially inclusive. Since artistic success is defined by individual talent, or merit, the CCIs should be one sector that is especially open to, and appreciative of, social diversity in terms of race, class, cultural group and gender. However, as expected, recent studies in both the UK and the US have revealed that employment in the CCIs is heavily dominated by the middle classes, and is not as diverse in terms of other characteristics. Since the advent of democracy in South Africa in 1994, transformation of firm ownership, previously dominated by white people, to include more black, coloured and Indian/Asian-origin South Africans, has been an important part of achieving greater economic equality and social cohesion, as well as being more representative of the cultures of the majority of the population. Using data from a survey of 2400 CCIs firms in South Africa, this paper examines the extent to which the CCIs in South Africa have transformed in terms of ownership and employment. Comparisons are also made across the six UNESCO [(2009). Framework for cultural statistics. UNESCO Institute for Statistics. Retrieved from http://www.uis.unesco.org/culture/Pages/framework-cultural-statistics.aspx] “Cultural Domains” in terms of ownership, average monthly turnover and the number of full-time, part-time and contract employees. Results show some diversity in the industry, but significant differences between the Domains. Statistical analysis demonstrates that CCI funding policy in South Africa is sensitive to advancing the transformation agenda in that more transformed firms were shown to be more likely to have received some form of government grant as part of their income.     

Designing policy: collaborative policy development within the context of the European capital of culture bid process

ABSTRACT

How do ideas become policies? What route do they take from inception to implementation and what criteria are used to evaluate one set of proposals against another? This paper examines the development of the Creative Work Fellowship policy proposal in Limerick, tracing the origins of the idea, itself a contended and negotiated object, from discussions between academics and policy-makers through to scoping, pitching and scaling the policy to its eventual users. This policy idea was designed during the Intelligence Unit (IU) commissioned by Limerick2020 as part of the city’s bid to become European Capital of Culture in 2020. The IU took the form of a policy think-tank, tasked with generating insights, ideas and policy proposals into the place of culture within Limerick city and region. The IU structure created a set of actors and an epistemic community capable of both generating and using ideas effectively, chiefly through two mechanisms. The first involved a robust critique and rebuilding process that every element of the policy was exposed to; the second involved feedback from interested parties at specific stages in the process. This created a series of “policy entrepreneurs” capable of taking a fully costed and modelled policy suggestion to government. The findings presented in the paper include an analysis of the collaborative nature of this policy development process, Based on this framework, we also consider the role of the European City of Culture bid process as catalyst for policy development in a regional context, and present findings on this subject.     

‘The Winner Takes it All’: Values and Benefits of Israeli Sports Gambling Advertisements

Sports gambling is a well-established practice in Israel, whose beginnings can be traced to 1951. In recent years, the activities of the Israel Sports Betting Board (ISBB), also known as the ‘Toto Commission’, have become extremely popular with the public at large, and especially with sports fans. The study examines the changing advertising messages and creative appeals featured in the ISBB’s various advertising campaigns throughout Israeli history, and specifically the broad social meanings that can be inferred from these campaigns. The findings illustrate how significant structures of meaning in advertising function as reflections of the state of sports and society in Israel and as representations of some of the most salient phenomena in these domains. For example, for many years advertisements have been dominated by male presence, reflected primarily in the featured characters and language representations. Also prominent are representations of militarism as well as global biases, which are illustrated by the use of English in the local Israeli gambling brand name (‘Winner’), for example.     

“互联网+”视域下中国冰球运动泛文化发展研究

摘要：“互联网+”成为新时期体育文化建构和产业延伸关键词,“互联网+体育”逐渐形成。冬奥会申办的成功给我国冬季运动发展带来契机,但冬季项目尤其是冰球运动的文化根基和发展现状而言,我国与北美传统优势强国之间存在较大差距。基于上述背景和发展要求,主要采用文献资料法、例证比较法等研究方法,运用胡塞尔“视域”概念及《冰雪运动发展规划（2016—2025年）》,借鉴北美冰球运动泛文化发展现状,提出适于我国“互联网+”和冬奥项目自身发展要求的拓延策略,最终提出3点建议,即群众参与的前提是政策助力,希望有关冬季项目政策能够出台更多有利于泛文化发展和全民普及的相关内容;媒体报道需更进一步加强,目前新闻类内容较多,文化类内容仍有待挖掘;借助产业链发展形态,促进冰雪产业与其他产业、国际合作等交流接轨,实现全球化的文化传播样态和理念。     

“Make every Indian a creator of intellectual property”: Mumbai's casual labour as a creative class

Abstract

When the Government of India declares its plan to convert Mumbai's Kala Ghoda art district into India's equivalent of Times Square, it does something that many Asian countries are doing in their understanding of the needs of the creative industry. In Mumbai's case, however, such an act has several additional historical echoes. This paper proposes that the origins of the so-called ‘creative class' lie in the failure of the city's historic 1982 textile strike, which saw the return of an artisanal practice to the city, often practiced by a class of casual labourers being forced to turn into low-end entrepreneurs without financial security. Such an artisanal entrepreneurship has had a far more complex relationship with industrialization than most theories recognize, and today's cultural industries are effectively replaying a longer history of this class in Bombay that may go back to pre-colonial and colonial times. The paper explores both the colonial and developmental interventions into this artisanal class as essential histories to understanding their new relationship to the ‘creative’ economy into which they are being presently inserted.