上海国资引领战略性新兴产业发展

上海国资在战略性新兴产业发展中有其独特的优势，同时也存在一系列问题。明确提出上海国资发展战略性新兴产业的战略目标、战略定位，正确选择上海国资战略性新兴产业的重点发展领域，系统论述上海国资引领战略性新兴产业发展的具体路径，提出六种发展模式和七大产业平台建设，以及上海国资引领战略性新兴产业发展的主要配套政策措施等。     

Establish a Glorious Century of Maintaining Life＇ s Dignity

现今的世界上,有许多人由于内战、贫困与饥饿、环境破坏等威胁,迫使他们的生命及尊严处于危险状态,也有大批人仍然饱受着人权侵害、种族歧视的痛苦。为和平、人权、人道的奋斗,绝不是低层爬到高山的顶峰就可以达到终点那样。重要的是要创建一股一代接一代、谁也阻挡不了的滔滔洪流,并日积月累地把它发展和扩大。这就是我们为了建设一个和平未来的不断挑战。     

扩大上海文化消费研究

扩大上海文化消费包括文化消费规模的扩大和文化消费结构的优化两方面,这对上海转变经济发展方式、扩大内需、提高人口素质、社会稳定和增强城市软实力均具有重要意义。扩大上海文化消费,关键在于树立都市文化消费品牌,发展文化消费价值链或集聚带,提升文化内涵和形象;重点是抓好"三网融合",大力推进信息服务的基础设施和大众文化基础设施建设;不断创新机制,培育原创文化,吸引文化人才,建立文化高地;推进文化产业与文化事业的协同发展。     

Disposable waste,lands and bodies under Canada’s gendered nuclear colonialism

ABSTRACT

Nuclear colonialism, or the exploitation of Indigenous lands and peoples to sustain the nuclear fuel cycle from uranium mining and refining to nuclear energy and weapons production and the dumping of the resulting nuclear waste, occurs in many parts of the world and has generated considerable protest. This article focuses on a contemporary and ongoing case of nuclear colonialism in Canada: attempts to site two national deep geological repositories (DGRs) for nuclear waste on traditional First Nations land in Southwestern Ontario near the world’s largest operational nuclear power plant. Through histories of the rise of nuclear power and nuclear waste policy-making and their relationship to settler colonialism in Canada, as well as actions taken by the Saugeen Ojibway Nation (SON) and white settler anti-nuclear waste movements, the article explores how gender is at work in nuclear colonialism and anti-nuclear waste struggles. Gender is explored here in terms of the patriarchal nuclear imperative, the appropriation of Aboriginal land through undermining Aboriginal women’s status and the problematic relationship between First Nations and white settler women-led movements in resistance to nuclear waste burial from a feminist decolonial perspective     

At the intersection of globalization and ‘civilizational originality’: cultural production in Putin’s Russia

ABSTRACT

This special issue originates from a transnational collaboration of scholars in philology, comparative literature, social theory, sociology, anthropology, ethnography, and media studies. The collection strives to advance a research agenda built on the nexus of three intellectual and academic domains: post-Soviet ‘Russian cultural studies’, the research paradigm put forward by Cultural Studies, as well as empirical methods developed in sociology. The collection illustrates the importance of expanding the experience of Cultural Studies beyond its established spheres of national investigation, while it also speaks to the necessity to re-evaluate the hegemony of the English-language academic and cultural production on the global scale. The collection offers insights into the gamut of cultural practices and institutional environments in which Russian cultural production happens today. It shows how cultural industries and institutions in Russia are integrated into the global marketplace and transnational communities, while they also draw on and contribute to local lives and experiences by trying to create an autonomous space for symbolic production at personal and collective levels. Through diverse topics, the issue sheds light on the agency, i.e. practitioners and participants, creators and consumers, of Russian cultural production and the neoliberal practices implemented on creative work and cultural administration in Russia today. The Introduction outlines the development of academic studies on Russian cultural practices since 1991; describes main political developments shaping the cultural field in Putin’s Russia; and, finally, identifies the Cultural Studies debates the editors of the collection find most productive for investigations of Russia, i.e. the instrumentalization of culture and culture as resource. Relocated in an analysis of a post-socialist society, these conceptualisations seem increasingly problematic in a situation where local and federal policies governing cultural and creative work focus simultaneously on marketization and on nationalism as the main tools of legitimizing the federal government.     

战略性新兴产业的发展模式与市场驱动效应

战略性新兴产业代表着产业发展的方向，发展战略性新兴产业已成为我国立足当前、着眼长远的重大战略选择。国内外新兴产业发展经验表明：本土需求是新兴产业发展的动力；“母国市场效应”可促进现有制造业的成功转型；国内市场规模及市场潜力为新兴产业企业带来持续创新和升级的压力；产业选择范围大可以带来标准多元化优势。促进我国战略性新兴产业发展，应利用我国市场特殊性突破“微笑曲线”的枷锁，促进供给侧为主的产业政策转型，获取粘性信息降低新兴产业企业市场风险；适当防止对外直接投资对本国市场的侵蚀。     

略论欧盟的文化政策及文化创意产业的发展

文化事业离不开文化创意产业的发展,因为后者的产品渗透着并体现着一个国家或一个地区文化和文明的精髓。欧盟文化软实力的提升必须要有文化创意产业的硬实力作为基础。为此,欧盟在促进域内文化和文化创意产业发展方面制订了较为明确的政策。欧盟试图将各成员国的文化政策统一置于同一平台之上,并注重文化项目的连续性和多样性。欧盟在发展文化创意产业时既注重其经济效果,也注重其社会效果,并特别强调文化创意产业应定位于内容的独特性和不可复制性。     

工科院校产学研合作模式的探索与实践

产学研结合是国民经济建设发展的需要,是高等教育发展的必由之路。水利水电工程专业结合专业优势和条件,与兄弟单位相关学科的专业团队相融合,以产学研结合为发展战略,以强强联合的学术梯队为技术支撑,在人才培养模式、科技成果转化、产学研合作的覆盖面、人才梯队建设等多方面进行产学研结合创新,推动了科技成果向生产力的转化,产生了良好的经济和社会效益,为工科院校产学研合作的创新之路探索了有效的发展途径。     

文化创意与传统产业、传统文化、现代文明的融合模式研究

文化创意是创新、创造、创意及文化的作用日益凸显和经济文化一体化的产物。文化创意对推动文化与经济的融合具有非常重要的作用。要以传统文化、现代文明优化文化创意,并以文化创意推动传统产业的提档升级,努力实现文化创意与传统产业、传统文化、现代文明的大融合。实现这一融合,首先要找到利用传统文化、现代文明优化文化创意的路径,其次要找到借助文化创意来推动传统产业提档升级的路径。     

东北亚安全格局的新变化与中国对策

2010年,东北亚安全格局发生了微妙的变化,包括日美安保同盟重新定位,＂天安＂号事件,延岼岛炮击,朝鲜半岛的紧张局势与韩国推迟收归军事指挥权,日本民主党政权回归现实主义的对美政策,朝鲜推进核聚变技术,中日撞船事件等。2011年3月的日本核泄露事故又为东北亚的局势增添了新的变数。美国不仅继续主导东北亚地区的安全事务,而且,仍在东北亚地区发挥着强大的政治、经济和军事等综合影响力。除了美国以外,其他东北亚地区各国也都依据自身经济和军事实力成为东北亚安全格局中的变量。面对复杂的东北亚安全格局,中国必须认识到本国的全局利益和长远利益。在反对美国舰队演习等问题上当谨慎行事,重视政治大局,维护东北亚的稳定和现状,树立和平发展,公益、道德、正义的国际形象,重视大国关系的协调与合作。今后能否理性对待这类问题,是对中国外交是否具有长远战略的一个重大考验。