试论民族社会工作者文化能力的培养

文化能力是社会工作者必备的专业能力之一,在社会工作专业关系的建立与维持,界定案主的问题与需要方面发挥着重要的作用。民族社会工作是社会工作的一个分支学科,民族社会工作的主要服务对象是带有独特文化的民族成员。因此,民族社会工作者的文化能力在民族社会工作实务过程中显得尤为重要。如何培养并提高自己的文化能力,提高服务的质量成为民族社会工作者必须要考虑的问题。本文围绕民族社会工作者文化能力培养这一主题,从文化能力的概念与内涵、培养文化能力的必要性、文化能力的理论基础与基本假设以及文化能力的培养途径等四个方面探讨了民族社会工作者的文化能力培养问题。     

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中国南海作为作为国际航道,拥有丰富的油气资源和多样的水下文化遗产,国家立法对这些沉船、淹没的古城、港口等水下文化遗产保存着的地域历史和海洋文明缺乏有效保护,通过文献梳理和比较评述,对中国、越南、泰国、马来西亚、印度尼西亚、菲律宾等国家相关的立法现状与发展进行分析。研究认为,海外非法跨境贩运走私和拍卖使国家法律制度在保护水下文化遗产方面面临巨大挑战,水下文化遗产所有权的复杂性导致南海区域合作保护中产生主权问题,南海区域的政治分歧与经济竞争给国家层面保护水下文化遗产带来困难,中国南海沿线水下文化遗产区域合作机制的建立有深层的必要性;随着一带一路战略的全面开展,中国与南海沿线各国应在国家立法层面探索水下文化遗产保护的区域合作策略,沿线国家应建立合作机制,缔结关于水下文化遗产的协议或行为准则,应互相沟通和合作挖掘水下文化遗产,进行水下考古学管理和保护方法的学术培训,应建立南海区域水下文化遗产数据库,提供关于共同的水下文化遗产信息,每个国家有义务与区域中的其他国家分享信息,有将水下文化遗产的发现和活动报告和通知给其他国家的义务,还应有协调国家计划,磋商与协调南海沿线国之间的合作方式与内容并作出决定。     

民国宁波籍编辑家群体的文化贡献与文化精神

宁波港开埠较早,伴随着“西风东渐”,宁波地域文化基因使得宁波籍文化人在民国这个特定历史时期,兴办报刊、经营书业,传播新思想、新文化,涌现出一批编辑家:出版奇才张静庐、技术改良之父鲍咸昌、乡贤文献刊刻者张寿镛、诗人出版家邵洵美、为民众喉舌报人金臻庠,等。他们敢为天下先的文化创新精神、见利思义的文化自觉与责任担当以及救亡图存的爱国情怀,给当代出版人以启迪。     

WHAT MAKES THE LOCAL? A BRIEF CONSIDERATION OF THE REJUVENATION OF HONG KONG IDENTITY

This paper ascertains what makes the local and why the local is important, in the context of change in Hong Kong due to the political transition to PRC sovereignty.In doing so, I hope to pose a modest polemical challenge to cultural studies' tendency to overlook seemingly simplistic empirical information. The return of Hong Kong to China in 1997 has led to a contraction of the political sphere, as the convergence of political structures curbed the development of local identities. The label or category ‘Hong Kong people’ was then appropriated with a specific meaning for the local to resist encroachment of the national. It was true that the high intensity of dominant national discourses during the political transition created a favourable atmosphere for re-nationalization. However, as soon as the political transition was over, Hong Kongers re-adhered to their own label in their struggle for cultural autonomy.Their strong cultural affect toward various national icons during the transition quickly diminished. This multiyear discourse study (1996–1998), which utilizes social scientific methods in conjunction with cultural theories, illustrates important political and methodological impulses necessary for the formulation of a socio-political approach to cultural studies within the Hong Kong context.     

SCALING GOVERNMENTALITY

This article explores contemporary uses of museum co-production for public policy through a sustained theoretical engagement with Tony Bennett's work on museums as an ‘object of government’. The specific focus is a theoretical discussion of the ‘logic of culture’ as it relates to new UK policy uses of participants' ‘experience’ as the desired site of authenticity at the very same time as the process of expressing this authenticity is located as a site for reform. It is argued that Bennett mobilizes two techniques of scale (fixing the analytic lens of governmentality and drawing on a strong scalar correspondence of power) in order to secure a relatively disciplinary reading of governmentality and to foreclose the resistant possibilities of cultural politics. Drawing on the differences between practices associated in UK museums with ‘access’ (which works through the dis-intensification of the difference between the museum and everyday life) and with ‘social impact’ (which requires a re-intensification of this difference in order to increase the visibility of effect), this article concludes by countering Bennett's more disciplinary uses of Foucault with the Foucault of ‘The Subject and Power’. It is argued that the ‘logic of culture’ can be calibrated to varying intensities in considering the coming-into-relationship between the museums and those-to-be-involved. It is specifically argued – following Foucault's spatializaton of ‘thought’ as distance (limit-attitude) and ‘counter-conduct’ as proximity – that the ‘logic of culture’ might be actively re-calibrated to use the spatialized dynamic of distance and proximity to create spaces which might allow the museum and its associated policy – not just those involved – to be affected by the co-production encounter.     

THE POPULAR IN THE POLITICAL SYSTEM

This paper suggests a systems theoretical re-reading of popular communication and the Popular in the political system. Luhmann' anti-humanist notion of communication helps to reframe the discussion of the Popular: it is not defined by an en- or decoding instance, but by a particular mode of ‘connectivity'. Drawing from heterogeneous material (Mars Attacks!, crowd psychology, theory of democracy), it is argued that the problem of the Popular arises when a functional system has to represent something that transgresses the system' universality. That which the system has to exclude to become a system re-emerges as ‘grotesque hybrid’, thus pointing at a universality that is, on the one hand, an opportunity for a further universalization and, on the other, a threat to the very universality of the system. The ‘Popular’ thus acquires a hybrid position by articulating these two dimensions.     

Can ‘art Professions’ Be Bourdieuean Fields Of Cultural Production? The Case Of The Architecture Competition

The difference between ‘artistic and literary fields’ and universes such as architecture usually recognized as ‘art professions’ but which enjoy a far lesser ‘degree of autonomy’ than such fields seemingly constitutes an obstacle to the broader application of the notion of a ‘field of cultural production’ sought by Bourdieu in his Rules of Art. The author of this paper overcomes this obstacle by employing his notion of the ‘field effect’, with the architecture competition serving as the test case. Following Bourdieu, the author replaces the notion of profession with that of the field, for the former is a representation fostered by professional groups themselves. Architecture is a field, but, because architects require clients to construct and realize their works, one unlike the artistic and literary fields, which are markets of symbolic goods where ‘distinterest’ reigns and an autonomy unthinkable elsewhere is enjoyed. However, much like artists and unlike any other ‘professionals’, architects enter competitions, suggesting that this practice is an analytically relevant indicator of the field effect. After defining several of the elements of Bourdieu's relational conceptual matrix (field, illusio, collusion, doxa and space of possibles) and demonstrating that the Baptistery competition in Florence (1401) conforms to Bourdieu's historical beginning point for the process of 'autonomization' of artistic production, I examine a number of competitions from 1401 to 1989 (Berlin Jewish Museum) along with the general properties of competitions (structure and organization, publication and exhibition of results, competitors' economically irrational behaviour, practices of designers and jurors and the associated universe of beliefs), analysing them as those of an artistic field. It is concluded that when architects enter competitions, architecture, at least provisionally resembles an artistic field, for there is a field effect shown by a high degree autonomy, disinterest and the creation of an upside-down world.     

喧哗与骚动中的成长危机--论“文革”童年叙事的人文反思

在由“五四”发端的现代童年书写进程中,集中而深刻地表现童年成长危机的是以“文革”为历史背景的童年叙事。这类书写立足于个体意识和生命意识,着意于揭示童年生命在无理性的政治喧哗的历史年代中的成长困境并凸现其内在的骚动和迷乱,从一个天真而又不乏智性的维度深入拓展了关于“文革”的历史反思和主体生成的道德与人性关怀层面。     

伯明翰学派文化观念的反思与展望

1964年英国伯明翰大学当代文化研究中心成立以来,伯明翰学派便开始登上历史舞台,针对当代文化发展提出了一系列先进理论,其中最具代表性的就是对于文化的重新定义。然而由于对于民众的过高看重和对现代社会的不清醒认识,伯明翰学派逐渐走向了文化民粹主义的理论发展困境。认识到自身研究存在的不足,并借鉴其他学派的先进思想,伯明翰学派一定可以走出理论发展的误区,再一次对世界文化理论的发展做出贡献。