REVIEW ESSAY     

《Journal of Cultural Economy》2013,6(3):361-377

This paper interrogates the concept of cultural intermediaries through an analysis of the New Zealand designer fashion industry, an industry composed of small networked enterprises which offer a wide range of educational, aesthetic and business services. The authors argue that ‘cultural intermediaries’ can no longer be thought of in terms of particular occupations, spaces or events. Instead, cultural mediation is more productively understood as a function of the multiplicity of activities and relationships organised around the new economic spaces of the fashion industry, all of which are subject to the exigencies of capital accumulation. Moreover, the proliferating activities that comprise the New Zealand fashion industry are profoundly gendered, both in terms of women's numerical dominance and the gendered skills and attributes that these activities mobilise. These women are all producing, mediating and consuming fashion, making up the complex economic and cultural networks which comprise the fashion industry and also supporting the industry through their own fashion consumption and the creation of a broader fashionable sensibility. It is in this context that the authors ask ‘Who needs cultural intermediaries indeed?’  相似文献   

On the Symbolic Production of Digital Markets for Cultural Goods     

《Journal of Cultural Economy》2013,6(2):131-144

This paper proposes and mobilizes a cultural economic framework to study the dynamic formation of digital markets for cultural goods. Adapting Hayek's theory of price to recent developments in the field of cultural sociology, it proposes the idea that an effective price system condenses information dispersed in society, and then enters into a performative process of symbolic communication that is perceived as ‘authentic’ by the consumers. After analyzing ‘artificial’ and ‘authentic’ current strategies aimed at producing digital markets for cultural goods, which are especially sensitive to the symbolic dimension of price, the article suggests the hypothesis that the digital market has been constructed as a zero- or quasi-zero-price economic space, and that it is the offline and material market of cultural products the one that collects the higher revenues derived from the ‘authentic’ generation of value taking place in the digital marketplace.  相似文献   

The audiovisual action plan: a new audiovisual policy for Ireland     

Maria O’Brien 《Cultural Trends》2019,28(5):417-428

ABSTRACT

This article analyses the recent plan for the audiovisual industries introduced (after some delay) by the Irish Department of Culture, Heritage and the Gaeltacht. The Audiovisual Action Plan (“the Plan”) sets out the Department’s approach to the audiovisual industries and is, it is contended, evidence of a marketization of culture consistent with a creative industries perspective. The analysis of the Plan in a wider policy context identifies key issues shaping audiovisual production in Ireland. Using a thematic analysis approach from Braun and Clark (2005, 2019) a number of themes are developed from analysis of the relevant policy documents, broadly conceived around the increasing instrumentalism of culture. Taking a political economy perspective allows for development of themes around the commodification of the nation-state through the provision of policies that actively encourage a certain type of audiovisual production. Building on Mosco’s work on political economy (Mosco, 2009) the concept of spatialization from Lefebvre (Lefebvre, 1991) is used to interrogate the production of and commodification of space through Specifically, this article interrogates the policy norms underpinning the Audiovisual Action Plan introduced by the Department of Culture, Heritage and the Gaeltacht in Ireland in 2018 as part of Culture 2025, the national cultural policy framework. It identifies the key proposals which affect the audiovisual industries. It is concluded that the Plan (and other relevant policy documents) support a spatialized, commodified view of the audiovisual industries as primarily industrial in nature, paying scant attention to the consideration of such industries as cultural forces.  相似文献   

创意产业价值链知识整合初探   总被引：1，自引：0，他引：1  

程蕾  程鹏 《图书情报工作》2010,54(22):121-125

在探讨创意产业概念的基础上,结合产业价值链理论分析创意产业价值链的构成,并对创意产业价值链知识整合的内容进行初步研究,提出创意产业价值链实现的本质是知识整合与创新的过程,其中包括知识的社会化、外部化、组合化和内部化相互转化。阐释创意产业价值链知识整合的制约因素和保障策略。  相似文献   

基于地平线图的北京市优势产业的判断及其演变     

滕飞  刘毅  郭腾云  董冠鹏 《中国科学院大学学报》2012,29(5):614-620

基于地平线图法,从内部需求和外部需求的角度,利用北京市1997、2002、2007年投入产出表,对北京市2007年优势产业进行判断,并分析1997—2007年北京优势产业的演变情况. 研究显示:1997—2007年间,北京优势产业不断增加,资本技术密集型的制造业和知识密集型的生产性服务业逐渐成长为优势产业,而劣势产业主要是资源依赖性和劳动密集型产业.  相似文献   

论共享发展理念与体育强国的价值建构     

郭维刚 《成都体育学院学报》2021,(2):78-83

运用文献资料、逻辑分析等研究方法,对共享发展理念、体育强国理论与实践进行研究。研究认为,面对人类社会发展面临的困境和挑战,我国顺应世界发展潮流、着眼长远利益、创造性地提出了"五大发展理念",为破解全球发展难题提供了中国方案,贡献了中国智慧。共享发展的核心内涵是解决社会发展公平正义、实现人民美好生活的问题,与体育强国的价值目标相契合。体育强国作为我国新时代的体育发展的战略任务,体现了中国共产党以人民为中心的体育发展理念和中国特色社会主义体育发展的根本要求。共享发展是我国体育发展的出发点和落脚点,是建设体育强国的必由之路和目标方向。体育强国的价值建构要符合共享发展理念,其理论和实践应坚持体育发展的公共性特点,体现全民共享、全面共享、共建共享和渐进共享的发展内涵,体现以人民中心的发展思想、满足全体人民对美好生活的需求、体现体育发展的均衡性、公平性、普惠性的价值原则、以文化自信作为根本动力,同时要反映我国体育发展与世界的互动,体现我国体育发展的世界贡献和服务全人类的根本理念,强调体育全球协同共享发展新秩序的建设,使体育成为构建人类命运共同体的重要组成部分。  相似文献   

支化产业背景下的制播分离解析——以上海文广新闻传媒集团的制播分离为例     

范育富 《新闻界》2010,(4)

本文结合2009年10月上海文广传媒集团的制播分离,分析了制播分析的产业经济理论及现实来源,通过梳理中国广播电视新闻业的体制及现实,认为中国广播电视行业已经走向了一个更加纵深发展的阶段——电视台内部把节目制作与播出机构相对分立,在成本核算的基础上模拟市场运作。  相似文献   

牵引电机试验系统设计与仿真研究     

陈胤  张磊  赵少伟 《兰州石化职业技术学院学报》2009,9(2):29-31

牵引电机试验台是针对电力机车中牵引电机试验提出的。该试验台主要完成电力机车大修规程所要求的空载试验、小时温升试验、速率试验、换向试验和超速试验。文中给出了主控电路的设计,并采用Matlab/Simulink方法对实际系统进行仿真,给出工程设计和实际系统之间产生差距的原因,有助于在实际中设计出较优的系统。  相似文献   

试析近代以来贵州人才流动     

刘维民 《教育文化论坛》2009,1(2):114-117

近代以来,贵州人才流动呈现了阶段性的特征：新中国成立前,人才流动单一,本省“出”外省“进”比较明显;新中国成立后,人才流动经历了从政府主导型到市场趋向型、人才流动由缺乏自主性到自主性越来越强的变化。历史地把握人才流动特点和规律,适时地调整人才战略,因势利导,科学合理地利用人才,是贵州经济社会发展的当务之急。  相似文献   

以社会主义核心价值体系引领企业价值观建设   总被引：1，自引：0，他引：1  

霍广田 《商丘职业技术学院学报》2009,8(6):3-4

企业价值观在企业文化建设中的核心作用及企业价值观在建设中所存在的问题,要求必须发挥社会主义核心价值体系在企业价值观建设中的引领作用。“马克思主义指导思想,中国特色社会主义共同理想,以爱国主义为核心的民族精神和以改革创新为核心的时代精神,社会主义荣辱观”构成了社会主义核心价值体系的基本内容,对企业价值观建设具有指导性作用、目标性作用、动力性作用、规范性作用,从而有利于先进企业价值观的形成。  相似文献