基于电子产品消费的当代中国消费主义文化初探

随着经济全球化的深入和市场经济的建立,中国已经迈入消费主义时代。西方消费文化的扩张对中国社会传统的消费观念造成了强烈的影响和冲击,消费文化已经逐步取代传统文化而成为社会的主流意识形态。随着信息时代的到来,电子产品的消费在当前中国消费格局中占据越来越重要的地位。基于电子产品的特点,它从符号化过程、时尚制造和传媒互动等方面凝聚了消费主义文化的内涵。     

弘扬社会主义荣辱观建设"知荣明耻"道德新风尚

民众的道德观念、道德品质是构筑民族精神脊梁的基础。胡锦涛同志审时度势,提出了以“八荣八耻”为主要内容的社会主义荣辱观,划清了大是大非的界限,褒扬了真善美,贬斥了假丑恶,认真学习贯彻社会主义荣辱观,必将对建设社会主义道德新风尚产生巨大的促进作用。     

中韩建交以来两国文化教育交流综述

中韩文化教育交流是中韩全面合作伙伴关系的重要组成部分。中韩建交15年来,两国的文化教育交流取得了丰硕的成果。两国政府签署了一系列的交流协议,中国出现了"韩流"现象,韩国也掀起了强劲的"汉风",中国的韩国问题研究和韩国语教育发展迅速,韩国的汉学研究和中文教育持续升温,来华韩国留学生和赴韩中国留学生的人数稳居所在国外国留学生之首。两国文化教育交流的快速发展得益于政府的支持、经贸合作的稳步增长以及两国文化的渊源关系。     

Just Use What You Have: Ethical Fashion Discourse and the Feminisation of Responsibility

ABSTRACT

The rise of fast fashion has meant that young women (even those on relatively low incomes) are able to ‘regularly consume and discard fashionable clothing’ [Buckley, Cheryl, and Hazel Clark. 2012. “Conceptualizing Fashion in Everyday Lives.” Design Issues 28 (4): 18–28. doi:10.1162/DESI_a_00172., 21]. While this development may be aligned with the democratisation of fashion—the fact that the supply chains that deliver fast fashion are not consistent with the principles of global democracy is now also relatively common knowledge in the democratised West. This, along with growing awareness of the ecological harms associated with the fashion industry has contributed to what Elke Gaugele [2014. Aesthetic Politics in Fashion. Vienna: Sternberg Press] has termed the ‘ethical turn’ in fashion. However, despite the fact that young women are often not deemed capable of translating their (ethical) attitudes into (ethical) behaviours [McNeill, Lisa, and Rebecca Moore. 2015. “Sustainable Fashion Consumption and the Fast Fashion Conundrum: Fashionable Consumers and Attitudes to Sustainability in Clothing Choice.” International Journal of Consumer Studies 39 (3): 212–222], nor able to be ‘trusted to consistently make good decisions’ [Brooks, Andrew. 2015. Clothing Poverty: The Hidden World of Fast Fashion and Second-Hand Clothes. London: Zed Books, 241], they are also increasingly being called to recognise their individual role in the politics of global fashion supply chains. Drawing on examples from scholarly and popular discourses as well as online peer to peer communications, this article explores the historical moment of fast fashion as an instance of both the feminisation of consumption and the feminisation of responsibility.     

‘I Want to Wear It’: Fashioning Black Feminism in Mahogany (1975)

ABSTRACT

In this article I focus on the portrayal of fashionable clothing in the 1975 film Mahogany and connect it to the history of African American women engaging with sartorial self-representation as a means to assert their visibility in American culture. My aim is to analyse Mahogany’s emphasis on brightly-coloured highly-ornamented clothing, which has a long history of signifying bad taste and became part of accusations of racial and sexual inferiority. I want to show how Mahogany’s representation of fashion undermines the historically entrenched bias against colourful, highly adorned clothing while also revealing how this bias has played a subtle but significant role in the racism and sexism black women have encountered, further (but not finally) impeding them from the forms of recognition the category of femininity offers. Mahogany represents those impediments and repeats the sexual and racial commodification underlying them, but also resists them (albeit quite subtly) through the film’s loving display of fashion and its attention to the work of designing and making clothes. Mahogany tells a story of bright sartorial resistance that can be understood as an articulation of black feminist desires for women of colour to be able to compose the images through which their bodies are perceived.     

Becoming patriots in Russia: biopolitics,fashion, and nostalgia

The article seeks to explore the common ground between biopolitics, fashion, patriotism and nostalgia. Taking off from the Foucauldian notion of biopolitics as a control apparatus exerted over a population, I provide an insight into the modern construction of the Russian nation, where personal and collective sacrifice, traditional femininity and masculinity, orthodox religion, and the Great Patriotic War become the basis for patriotism. On carefully chosen case studies, I will show how the state directly and indirectly regulates people’s lives by producing narratives, which are translated (in some cases designers act as mouthpieces for the state demographic or military politics) into fashionable discourses and, with a core of time, create specific gender norms – women are seen as fertile mothers giving birth to new soldiers, while men are shown as fighters and defenders of their nation. In the constructed discourses, conservative ideals become a ground for the creation of an idea of a nation as one biological body, where brothers and sisters are united together. In these fashionable narratives, people’s bodies become a battlefield of domestic politics. Fashion produces a narrative of a healthy nation to ensure the healthy work- and military force.     

Sensory speculations:Visual discourse and the vision of visuality

It is now commonplace within the discipline of art history and visual culture to speak to theories of vision and visuality. Recent questions concerning the subject of vision, sexed positionalities and discourses of viewing are indebted to theories of visuality, which now occupy a privileged place within the study of visual culture. Theories of visuality have revealed both the terms of cultural visibilities and significantly the how of what we see. And yet despite this engagement of the opacity and duplicity of the visual, recent work into visuality has been plagued by a re‐occurring myopia regarding the corporeal This oversight within the visibilites of visual discourse is the unchallenged idea of a ‘human vision’ within the social constructivist project. In this article I assess how this universal operates as the matter for theories of visuality and of the ramifications of this for the project of the critique of vision.     

Courtyard Bistro launches New Chinese taste In Beijing Hutongs

正The Red Wall Garden Hotel’s Courtyard Bistro held a launch party in Beijing on September 4.More than 50 media outlets,including well-known magazines and famous social media platforms,as well as celebrities all dressed up in the cream of contemporary Chinese fashion were present at this fabulous party.     

Process Management as a Contagious Idea: A Contribution to Røvik's Virus-Inspired Theory

‘Travelling ideas’ denotes the fact that virtually identical management ideas crop up more or less simultaneously in similar organizations. Røvik, who recently launched his ‘virus-inspired theory’ approach, seeks to pinpoint the possibility that the encounter between idea and practice may be lasting, ideas may affect practice, and leaders in organisations may play a more active role than the one often depicted in management fashion theory. This article is a contribution to his virus-inspired theory. It focuses on processes in their pragmatic form, as value-creating flows in organisations. We have studied Process Management (PM) as an idea, and how it has penetrated and flourished in the Swedish Customs Service. We argue that the empirical test in this article supports Røvik's belief that a virus-inspired theory gives a richer picture than the fashion theory. Through our analysis we show that four of our six hypotheses, derived from the virus-inspired theory, are strengthened by the empirical story from the Customs Service.     

浅析审美时尚中负面因素对大学生的影响

近年来,审美时尚发生了许多新的变化,这些变化中的负面因素给大学生带来了一定的影响。具体表现为：审美追求的娱乐化导致大学生审美品位的单调,审美判断盲目化导致大学生审美意义的缺失,审美个性表面化导致大学生个性的失落,审美趣味世俗化导致大学生理想的虚无,审美认知具象化导致大学生满足于感官的享乐等等。