The logic of multiculturalism and Korean democracy

In this article, I attempt to construct a normative framework of Korean multiculturalism in the Confucian public-societal context of Korean democracy by focusing on the political implications of the claim to cultural rights (so-called ‘logic’ of multiculturalism) and cultural pluralism that it is likely to entail for Korean democracy. After examining the logic of multiculturalism that often puts multiculturalism in tension with liberal democracy, I turn to Will Kymlicka's account of immigrant multiculturalism that resolves the potential tension between multiculturalism and liberal democracy in a liberal way. Then, I construct a normative framework of Korean multiculturalism in a way that a decent multicultural society can be established on the same public-cultural ground on which Korean democracy has matured in the past two decades.     

The Writing Lesson: Imaginary Inscriptions in Cultural Encounters

Abstract

This article takes a moment of intercultural exchange, first reported as "The Writing Lesson" by Claude Lévi-Strauss in Tristes Tropiques and later explored by Jacques Derrida in Of Grammatology, as the occasion for further reflection on the role played by the aesthetic in what it terms intercultural transference. Transference occurs whenever unconscious desires, fantasies or patterns of being and relating are enacted in an interpersonal or intercultural encounter, including the indirect encounters between literary or artistic objects and their recipients. It emerges as a largely unconscious operation designed to bridge, close, fill or deny the inevitable gaps in knowing another person or another culture, and to manage the affects such gaps bring forth. Intercultural transference provides a framework to read "The Writing Lesson" differently and suggests a theoretical model able to account for the complex performances of intercultural transference that enter any exchange or translation between cultures.     

Towards a Critical Theory of Cultural Pragmatics: The Márkus Road

ABSTRACT

At the time of his death in 2016 György Márkus’s magnum opus on the culture of modernity that he laboured on throughout his post-Budapest period remained unfinished. This paper attempts to reconstruct the theory of Cultural Pragmatics that lay at the core of this immense project. The intention is to retrieve the key ideas of Márkus’s understanding of modern cultural relations by reviewing the terms of his critique of Roland Barthes and Michel Foucault on the issue of authorship. A distinctive Márkus road in the study of cultural modernity offers itself as a rich contemporary research programme for the future.     

村落文化景观保护利用的原则及制度思考

当前村落文化景观的保护与利用是一个热点问题。文章在分析贵州村落文化景观保护与利用的现状及存在问题的基础上,提出了贵州村落文化景观保护与利用应该遵循可持续发展、整体保护、以人为本等原则,并从法律层面设计了贵州村落文化景观保护与利用的一些制度。     

文化和谐论纲

文化和谐讲的是不同文化要相互尊重,取长补短、相互促进,共同发展。文化和谐既是和谐文化的重要内容,也是和谐社会研究的一个必不可少的领域。文化和谐包括文化形态的和谐和文化因素的和谐。实现文化和谐的具体途径要正确认识和处理五对矛盾关系:传统文化与现代文化、本土文化与外来文化、不同民族文化、不同宗教文化、主流文化与非主流文化。     

油田企业工程技术职务量化评价体系探析

职称评审要树立正确导向,做到客观公正,体现公平竞争,不仅依赖于制定的科学的评审标准,更取决于对标准条件的准确掌握。运用层次分析原理,建立层次分析模型,细化量化职称评价体系;坚持四项原则,平衡四个关系,稳步推进实施职称量化评价工作。由于分类实施,系统推进,职称量化评价体系应用效果显著：一是树立了正确的工程技术职务发展导向;二是体现了客观公正的工程技术职务评聘标准;三是激发了工程技术人才成长成才动力。     

胜利油田班组建设的现状与思考

班组是企业的细胞,是企业各项工作的落脚点和具体实践者。胜利油田要在“打造世界一流、实现率先发展”中当先锋、打头阵、做表率,首先需要具备过硬的基础管理水平,班组建设就是强基固本的重要举措。班组建设应从精细管理入手,以文化为引领,以制度为保障,创新机制载体,丰富创建内容,把握关键,突出重点,全面深入开展“紧贴一个中心,健全两项机制,狠抓三个内容”的“123”工程,最大限度地激发班组员工的积极性和创建热情,从而更好地推动企业发展。     

以提升文化自觉来抵制西方文化殖民主义

结束了东西方冷战之后,文化殖民主义成为当代殖民主义的重要体现。中国要抵制西方的文化殖民主义,必须提高自身文化自觉的力量,做到对内强化民族意识,重构社会主义核心价值观的话语体系;对外强化文化安全战略,有效地抵制西方的文化霸权。     

着力推进中国特色公共文化服务体系建设

中国特色公共文化服务体系,是指以政府为主体的公共部门向公民提供公共文化产品与服务的制度和系统的总称。中国特色公共文化服务姓"公",它以服务全体公民为对象,主要任务是保障公民的文化权利、满足公民的文化需求、促进公民的文化消费。中国特色公共文化服务主体是政府,主要职能是指政府为满足公民的基本文化需求所提供的基本文化服务,包括明确公共文化服务目标、增加公共文化服务供给、完善公共文化服务制度。这里的公共文化服务制度,不是指顶层设计和具体政策,而是指如何规范和制约政府行为的制度安排。推进中国特色公共文化服务体系建设的举措,包括用科学理论指导实践、以核心价值凝聚共识、靠道德建设规范行为,以及全面整合文化资源、加快文化事业发展、扶持文化产业发展等。     

Cultural heritage and development: UNESCO’s new paradigm in a changing geopolitical context

In the 1980s, the process of convergence between culture and development began to emerge in the context of post-colonialism and changing geopolitical realities. Later on, along with increasing multilateralism, The United Nations Educational, Scientific and Cultural Organization (UNESCO) eventually became the main actor in promoting culture as a fourth pillar of sustainable development. The paradigm shift in the heritage-development agenda is examined in the context of growing aspirations of non-Western states to play an active role in the global heritage regime, and the interests and strategies of UNESCO’s secretariat and the member states. At first, heritage and development were perceived as separate or opposed fields. Recently, a sustainable development framework emerged as a new global development model. UNESCO has engaged in the shaping of the United Nations (UN) 2030 agenda, and advocated a pragmatic approach to heritage. This paper examines the evolution of ideas and concepts linking ‘development’ and ‘heritage’ forged at the forum of UNESCO as part of its Culture and Development framework. The role of the Global South in the paradigm change is highlighted.