凌家滩玉器纹样现实转换与重现路径构设

距今5800—5300年位于巢湖流域的凌家滩聚落是中国史前文化的高峰之一,其出土玉器在制器理念、造型设计、工艺技术、艺术表征、文化内涵等方面都不同凡响。彰显和解读凌家滩遗址玉器纹样独树一帜的意象表现和内涵情结,并融合性开展现实转换与再设计应用,对于系统研究和传承弘扬凌家滩玉器文化意义鲜明,对于当下古今融通式的设计实践和文化创新助益匪浅,对于追溯中华五千年文明史价值显著。因此,文章在深度挖掘和凝练凌家滩遗址玉器纹样艺术文化特质的基础上,构设出思想理念的共鸣与融通、艺术因子的诠释与重构、精神意识的遥感与呼应、审美追求的碰撞与对话四条现实转换与重现路径,并从当代文创产品、景观小品、标志、宣传海报等四个方面分别予以对应性设计,以翔实鲜明的设计案例剖析凌家滩玉器纹样的现实运用,以此有效促进其与当代文化创意、旅游、传媒等产业的跨界融合及新式发展。

边疆民族地区国家认同的多维空间与空间构设

基于国家疆域的地理空间、共同利益的价值空间、历史文化的情感空间、制度结构的规范空间,体现着边疆民族地区国家认同空间的多维属性。在王朝国家与民族国家阶段,边疆地区国家认同空间的构设,呈现为文化主义与族际主义、国家整合主义与区域主义的价值取向与行动逻辑。当代中国由国家主导,边疆社会、内地社会、民族自治机关、民族精英及域外力量共同参与、相互作用下的边疆地区国家认同空间构设,深受传统疆域观的制约与影响。各构设主体间的关系也存在着合作、博弈、冲突等模式,并表现为一定程度的国家认同问题。在国家建设的关键时期,通过社会管理的完善、社会发展与民生保障、以"合"为取向的中华历史叙事与文化建设、以"法"为中心的边疆治理体系革新,当是边疆民族地区国家认同多维空间构设的必然选择。

Analysis of the Criticizes for Zootechnics Development in a Mountain Area of Italy

The paper considers the main causes of the difficulties of zootechnics in Friulian mountains （Italy）, evaluating different approaches. From the methodological point of view, there were analyzed the different aspects that causes the present crisis in this territorial contest and that, contextually, at the same time, prevent its recovery. The procedural pathway followed these steps： analysis, synthesis, comparison, deduction and induction. The results showed that there are technical, social, environmental, political and infra-structural aspects that cause this stated economical emergency for the compartment. A ＂new rural paradigm＂, in particular, the multi-functionality of the farm seems to be the road to the progress of mountain regions. Unfortunately, there are no definitive universal answers, hut individual solutions that should be investigated and calibrated for specific local resources.