法兰克福学派大众文化批判探析

本文以文化、大众与大众文化的厘清和界定作为切入点,试图对法兰克福学派大众文化进行批判与解读,以求达到对其批判精神的真正把握。     

Re‐gendering consumer agency in mid‐nineteenth‐century America: A visual understanding

The re‐gendering of consumer agency in the middle decades of the nineteenth century, from being a male to an increasingly female prerogative and responsibility, marked an important milestone in the history of American consumer culture. Art from this period can provide a visual understanding of this ideological and social transformation. Accordingly, this paper examines the lives and selected works of two intriguing genre painters, Francis W. Edmonds (1806–1863) and Lilly Martin Spencer (1822–1902), using concepts and methods from art history, visual culture, and postmodern theory. Implications for household consumption history and theory are also discussed.     

Brand familiarity and product knowledge in customization

I adopt Hotelling's model with two firms. Each consumer has a most preferred variety and possesses a certain level of category‐specific knowledge. When a firm offers customization, consumers must interact with the firm to create their products. Consumers familiar with the brand can do this seamlessly, whereas consumers unfamiliar with the brand have difficulty expressing their individual needs (the difficulty decreases with consumers' knowledge). The firms first simultaneously decide whether to customize, then engage in price competition. Although customization makes the products less differentiated, the frictions caused by consumer co‐design activities relax price competition. Customization by one of the firms occurs in equilibrium.     

Anti-consumption discourses and consumer-resistant identities

This article presents the analysis of two dominant anti-consumption discourses (the voluntary simplicity discourse and the culture jammer discourse) to show the importance of anti-consumption practices in the construction of consumer identities. Specifically, two consumer-resistant identities are presented: a hero identity and a project identity. Each resistant identity is produced by, and produces, overreaching cultural discourses against consumer culture, namely resistance to exploitative consumption and resistance to positional consumption. In addition, each identity expresses resistance either in terms of political consumption for an outer change or in terms of creative consumption directed toward an inner change. By stressing the importance of hero resistant identities and project resistant identities, this article offers the concept of identity formation as central rather than peripheral to the development of consumer resistance.     

文化固本与开新：舜文化研究的意义与任务

舜帝是我国最具影响力的人文始祖，也是最有研究价值的史前人物。“舜文化”作为一个“文化代号”，有着极为丰富的内涵，是中华民族早期智慧的集中体现。舜文化中的一些精神和价值观念在历史长河中发扬光大，哺育了一代代华夏儿女，积淀为一种民族心理，构成了生生不息、薪火相传的中华民族最基本的文化精神，至今仍在产生着广泛的影响。对舜文化的研究，既是文化固本的需要，也是文化开新的需要。作为一项具有重大意义而又十分浩大的研究任务，需要热心此事的全体同仁团结协作，共同努力，从多角度、多层面展开研究。     

客户型文化促进了企业创新吗?——来自中国制造业上市公司的经验证据

客户型文化是市场经济环境下企业重要的文化维度,是企业内部控制环境的组成部分,促使企业和客户之间的隐性契约得到较好地履行,有利于合作创新的开展.文章对客户型文化促进企业创新进行理论分析,并以2010-2017年A股制造业上市公司作为样本,实证检验了企业客户型文化对创新绩效的影响以及其中的中介路径.研究结果表明:(1)企业客户型文化对企业专利申请数有明显的促进作用;(2)降低大客户的波动性、增加客户的异质性和缓解企业的融资约束是客户型文化促进企业创新的中介路径.     

经济全球化背景下的深圳公共文化建设

深圳公共文化包括公共文化设施、文化场所、文化活动,它具有文化性、公益性、社会性、地域性。目前准确把握公共文化的基本特性,在经济全球化背景下卓有成效地开展深圳公共文化建设,对促进经济和社会发展,具有十分重要的意义。     

从文化要素的设计视角谈 旅行社专线产品同质化现象的解决之道

此文从文化要素的角度重新审视了旅行社专线产品,在分析了旅行社专线产品的同质化现状和文化要素的内涵后,明确了注入文化要素在旅行社专线产品设计中的重要性,并面向实践针对性地提出了产品设计中文化要素的选择策略。     

Programming for the Internet and Experiential Learning: a New Approach Incorporating a Constructed World

This paper reports on a novel approach taken by the author to the teaching of an Internet programming course targeted at final year diploma and second year degree students. The uniqueness of engineers and their identity is discussed, as is the self-constructed world and ways of knowing in which humankind operates. The novel approach to teaching a software-coding course, and this course’s underlying philosophies of learning, the approach taken in class-contact time, and the methods of interaction with the students are presented, along with the conventional structure, quantitative measures, outline, and assessment of the course. The effects and observations of approaches employed are discussed, and the quantitative outputs achieved are presented alongside the unquantifiable impressions, comments and positive feedback.     

浅谈传统文化与艺术设计

平面设计是利用视觉图像、符号来传达意图的设计形式,由于表现方式限于于平面,只通过视觉认知传达,因此有一定的局限性,但并不是说平面设计所表达的内容会因此减少和单薄,相反,在有限的表达方式下却能传达出丰富多彩,变幻莫测的意义.如果完全背离传统艺术形式,一味模仿西方的现代艺术,惟西方现代艺术马首是瞻,简单地挪用西方现代艺术形式,将使我们的艺术丧失民族的个性.