三、第13届国际档案大会学术规划筹备工作简介 第13届国际档案大会将于今年9月2～7日在北京亚运村国际会议中心举行。本届大会的主题是:“本世纪末的档案工作——回顾与展望”(“The Archives At The End oF The Century:Takingstock A...三、第13届国际档案大会学术规划筹备工作简介 第13届国际档案大会将于今年9月2～7日在北京亚运村国际会议中心举行。本届大会的主题是:“本世纪末的档案工作——回顾与展望”(“The Archives At The End oF The Century:Takingstock And Looking Ahead”)。大会期间将举行四次全体会议。四次全体会议的主报告、辅助报告的题目和报告人如下: 第一次全体会议: 主报告:“自1910年布鲁塞尔大会以来国际档案界的合作”(“International Archival cooperation Since the Burssels Congress in 1990”)(注:该题目现改为:“从布鲁塞尔到北京”——“From展开更多
The institutional environment in China has quite evidently changed during modern socio-economic transitions.Driven both by local government and by marketing force,urban social space was redistributed after the reform ...The institutional environment in China has quite evidently changed during modern socio-economic transitions.Driven both by local government and by marketing force,urban social space was redistributed after the reform of urban land and real estate policies.Urban renewal makes for wide differential rent and therefore gentrification is occurring in China.This paper analyzes the background and institutional environment of gentrification in China,and further discusses the process,characteristics and evolutionary mechanisms in the case of Nanjing,through investigation of the attributes of 1075 residential communities built during the 1998-2008 at a macro level,and interviewing the residents and analyzing questionnaires in 6 different and typical communities at a micro level.As a socio-spatial course of two-way interaction,gentrification is divided into 3 stages of incubation,occurrence and fast development,according to the time of landmark events and policy reform on the leasehold of land in Nanjing during socio-economic transition.In terms of the socio-spatial characteristics of gentrification in Nanjing,the gentrification process under the trajectory of urban renewal makes urban social space present a new circle-layer structure;the rise of quite a number of gated communities results in the fragmentation of social space and privatization of public space;the management mode of modern communities and the change of life style have aggravated the indifference of neighborhood relationship of gentrified communities.Based on the empirical evidence of this study,this paper indicates that gentrification is quite different between China and western countries with respect to spatio-temporal order,dominant forces,paths of realization and spatial expression,and it further reveals the dynamic mechanism of gentrification developing in China at the present stage.展开更多
This paper would investigate the Moving Image Archive at the Cinema Museum in Tehran to highlight the importance of new media in Iran after the 1930s and the changes that were brought about by the birth of cinema in t...This paper would investigate the Moving Image Archive at the Cinema Museum in Tehran to highlight the importance of new media in Iran after the 1930s and the changes that were brought about by the birth of cinema in the existing geopolitical conditions. It would look very closely at the first silent film made in Iran titled Haji Agha, the Cinema Actor （1933） by Ovanes Ohanian. While reflecting on the socio-political relation of the film to its era, this paper would also bring to attention the process of filmmaking and screening in 1930s Iran--the production and restoration of footage, posters and publicity for the film, and the screening venue. The cinema in question used to be called TamashaKhaneh when it was simply a projection room in Tehran where people would keenly take their seats to view the same film over and over again in some cases. The author would investigate the advent of cinema as a foreign concept in Iranian life and try to reflect upon the way in which it has been gradually adopted as a national treasure over the years. Haji Agha, the Cinema Actor is one of the most important reflections of the social transition that has occurred in Iranian history. Here, through the hundred-minute black and white footage, Ohanian depicts the tense political climate following the coup of Mossadegh, as well as the ban on traditional clothing during the last monarchy of Iran; at the same time, the film represents tradition and modernity as two supposedly opposite stances that, in fact, complemented each other in this era. The title combines Haji Agha, a religious man who has visited mecca, with the English words the Cinema Actor, to further express the complementary relation between old and new. Ohanian very professionally depicts the role of family as a core part of the religious boundaries for men and women that unfold throughout the film due to their encounter with cinema and filmmaking. He uses issues like sex and taboo to push the boundaries and map a certain cultural modernity within Iranian society.展开更多
文摘三、第13届国际档案大会学术规划筹备工作简介 第13届国际档案大会将于今年9月2～7日在北京亚运村国际会议中心举行。本届大会的主题是:“本世纪末的档案工作——回顾与展望”(“The Archives At The End oF The Century:Takingstock And Looking Ahead”)。大会期间将举行四次全体会议。四次全体会议的主报告、辅助报告的题目和报告人如下: 第一次全体会议: 主报告:“自1910年布鲁塞尔大会以来国际档案界的合作”(“International Archival cooperation Since the Burssels Congress in 1990”)(注:该题目现改为:“从布鲁塞尔到北京”——“From
基金Under the auspices of European Commission under 7th Framework Programme (No ECUBS–230824)
文摘The institutional environment in China has quite evidently changed during modern socio-economic transitions.Driven both by local government and by marketing force,urban social space was redistributed after the reform of urban land and real estate policies.Urban renewal makes for wide differential rent and therefore gentrification is occurring in China.This paper analyzes the background and institutional environment of gentrification in China,and further discusses the process,characteristics and evolutionary mechanisms in the case of Nanjing,through investigation of the attributes of 1075 residential communities built during the 1998-2008 at a macro level,and interviewing the residents and analyzing questionnaires in 6 different and typical communities at a micro level.As a socio-spatial course of two-way interaction,gentrification is divided into 3 stages of incubation,occurrence and fast development,according to the time of landmark events and policy reform on the leasehold of land in Nanjing during socio-economic transition.In terms of the socio-spatial characteristics of gentrification in Nanjing,the gentrification process under the trajectory of urban renewal makes urban social space present a new circle-layer structure;the rise of quite a number of gated communities results in the fragmentation of social space and privatization of public space;the management mode of modern communities and the change of life style have aggravated the indifference of neighborhood relationship of gentrified communities.Based on the empirical evidence of this study,this paper indicates that gentrification is quite different between China and western countries with respect to spatio-temporal order,dominant forces,paths of realization and spatial expression,and it further reveals the dynamic mechanism of gentrification developing in China at the present stage.
文摘This paper would investigate the Moving Image Archive at the Cinema Museum in Tehran to highlight the importance of new media in Iran after the 1930s and the changes that were brought about by the birth of cinema in the existing geopolitical conditions. It would look very closely at the first silent film made in Iran titled Haji Agha, the Cinema Actor （1933） by Ovanes Ohanian. While reflecting on the socio-political relation of the film to its era, this paper would also bring to attention the process of filmmaking and screening in 1930s Iran--the production and restoration of footage, posters and publicity for the film, and the screening venue. The cinema in question used to be called TamashaKhaneh when it was simply a projection room in Tehran where people would keenly take their seats to view the same film over and over again in some cases. The author would investigate the advent of cinema as a foreign concept in Iranian life and try to reflect upon the way in which it has been gradually adopted as a national treasure over the years. Haji Agha, the Cinema Actor is one of the most important reflections of the social transition that has occurred in Iranian history. Here, through the hundred-minute black and white footage, Ohanian depicts the tense political climate following the coup of Mossadegh, as well as the ban on traditional clothing during the last monarchy of Iran; at the same time, the film represents tradition and modernity as two supposedly opposite stances that, in fact, complemented each other in this era. The title combines Haji Agha, a religious man who has visited mecca, with the English words the Cinema Actor, to further express the complementary relation between old and new. Ohanian very professionally depicts the role of family as a core part of the religious boundaries for men and women that unfold throughout the film due to their encounter with cinema and filmmaking. He uses issues like sex and taboo to push the boundaries and map a certain cultural modernity within Iranian society.
