中国实景演艺旅游资源时空格局研究

以2004~2017年间国家5A、4A级旅游景区的283个实景演艺旅游资源为样本,借助ArcGIS软件对其发展阶段、类型特征、多维空间格局、时空扩散过程等进行了分析。主要结论包括：① 定量化测度了实景演艺旅游资源的投资规模与数量,从而将中国实景演艺发展分为3个阶段：探查参与期（2004~2007年）、快速发展期（2008~2014年）、成熟巩固期（2015~2017年）。② 依据实景演艺旅游资源在演出时间、演出形式等方面的特征,将其归纳为晚会式夜场、情景式日场和室内全天候3种类型,并刻画了不同类型实景演艺旅游资源的分布特征。③ 从时空演化视角,研究在认识中国实景演艺旅游资源多尺度（全国、三大地带、省域）空间格局的基础上,分析了实景演艺旅游资源在中国的时空扩散过程与特征。     

EXPEDITIONARY ART: AN APPRAISAL*

ABSTRACT. When drawing and painting were the only ways to create visual documentation of new discoveries, artists played a central role in geographical exploration. The legacy of expeditionary art offers opportunities for building stronger linkages between art and geography. A framework is laid out for classifying expeditionary art, describing how it can be appraised as pictorial information. The work of two artists of the nineteenth century, Richard Kern and Frederick Catherwood, exemplifies key aspects of expeditionary art.     

粤港澳大学生的美展感知及地方感影响差异：基于多群组结构方程模型分析

采用Beerli和Martin等编制的旅游体验及地方感研究量表,以问卷调查数据为基础,通过构建多群组结构方程模型对粤港澳大学生游客的美展感知与地方感影响进行了研究。结果表明：① 大学生游客对美展的感知及粤港澳地方感的产生受到5个变量维度的影响：认知形象、旅游涉入、社会联系、地方认同与地方依恋;② 大学生游客对美展的认知形象、旅游涉入和社会联系都对粤港澳地方认同具有显著影响;大学生游客对美展的旅游涉入、社会联系及粤港澳地方认同都对粤港澳地方依恋也具有显著影响,而认知形象对粤港澳地方依恋具有显著影响的研究假设未获支持;③ 粤港澳与非粤港澳两个大学生群体在旅游涉入与粤港澳地方依恋、地方认同与粤港澳地方依恋的关系中都存在显著差异。研究结果为验证艺术旅游地在提升游客地方感中发挥作用提供理论依据。     

A Review of “The Illustrated History of Natural Disasters”

Zonal patterns of salt marsh plants and physical conditions have been addressed primarily across the elevation gradient from inland to coastline rather than across tidal creeks in relation to their hydro-geomorphic processes such as bar formation and bank erosion. We found at a Danish marsh that by shaping major geomorphic features and providing sediments to the adjacent sites, fluvial-geomorphic processes of tidal creeks exert fundamental controls on the cross-channel distribution of abiotic and biotic factors. These results point to a need for biogeomorphic and landscape ecological perspectives to fully understand the underlying structure and geographic variability in salt marshes.     

Rock weathering on the eastern mountains of southern Africa: Review and insights from case studies

The mountains in the eastern region of southern Africa are of significant regional importance, providing for a diverse range of land use including conservation, tourism and subsistence agriculture. The higher regions are comprised of flood basalts and are immediately underlain by predominantly aeolian-origin sandstones. Our understanding of the weathering of these basalts and sandstones is reviewed here, with particular focus on the insights gained from the Lesotho Highlands Water Project and an ongoing study into the deterioration of rock art. While the chemical weathering attributes of the basalts have been substantially investigated, it is evident that the environmental surface conditions of rock moisture and temperature, as affecting weathering processes, remain largely unknown. Within the sandstones, studies pertaining to rock art deterioration present insights into the potential surface weathering processes and highlight the need for detailed field monitoring. Outside of these site-specific studies, however, little is understood of how weathering impacts on landscape development; notably absent, are detail on weathering rates, and potential effects of biological weathering. Some palaeoenvironmental inferences have also been made from weathering products, both within the basalts and the sandstones, but aspects of these remain controversial and further detailed research can still be undertaken.     

浅谈湛江"舞人龙"、"飘色"的人文意义

雷州半岛湛江地域内的东海"舞人龙"和吴川梅菉"飘色",是两种古老的民间艺术,都堪称"中国一绝".同时,两者在起源、"娱神"、表演特征上都体现了共同的人文精神和意义.     

文化的透视和思考——早期电影中“大团圆”现象探析

以早期电影作品为考察对象,透视影片中"大团圆"现象背后所蕴涵的文化心理:既是"中和之美"的儒家美学理想在艺术中的体现,也是中国传统的循环人生观等中国哲学与传统文化浸润出来的结果,有着深厚的民众基础和文化根基。在此基础上对其文化意义从正反两面进行辩证的评判,以此引发对当今中国电影叙事观念以及创作手法的更新变化的思考。     

陕西省观赏石资源的分类

陕西省观赏石资源分为单矿物玉石类、岩石玉类、卵石与水冲石及古生物化石四大类。著名的观赏石有水晶、萤石、绿松石、五彩石、芙蓉石、商洛翠玉、粉翠、菊花石、蓝田玉、洛南翠、黄陵石、磬玉石、墨玉、汉江石、秦岭石、泾河石、洛河源头石、陕西省黄河石、嘉陵江石及古生物化石等。     

Angels of memory: photography and haunting in Guatemala City

This article explores the relationship between historical memory, urban space, and photography by way of a case study: the place-specific public art of the Guatemalan photographer and human rights activist, Daniel Hernández-Salazar. As one of a growing number of Latin American artists committed to combating the “institutionalized forgetfulness” of human rights violations throughout the hemisphere, Hernández-Salazar deploys geographically-rich photographic installations to help his society remember its difficult past. The installations, known as Street Angel, are like ghosts haunting the graves of the murdered, fortresses of the powerful, bastions of the complicit. By shedding light on these ghostly angels, this article reveals the important role of photography, as a crucial vehicle of memory, in bearing witness to the unimaginable horrors that consumed much of the twentieth century, as well as that technology’s limitations. It also shows how remembrances of those atrocities depend on urban space for their grounding, articulation, and maintenance. Finally, by probing the artistic impulse and political sensibility that created Guatemala City’s angels of memory, it makes the case that, in the combustible political climate of post-war Central America, the work of remembering the past is not an antiquarian exercise: the labor of memory is a fundamental component of building a just society.

Assembling Birrarung Wilam: a case study of Indigenous public artwork in the city

ABSTRACT

Indigenous public artworks in Australian urban spaces have challenged assumptions of Indigenous absence from the city. This paper examines the construction of Birrarung Wilam, in central Melbourne, in the period 2005–2008. We use archival documents and semi-structured interviews to analyse the collaborations between Indigenous and non-Indigenous participants in a project sponsored by the city. We show the particular mediating contribution of ‘fabricators’: a group of commissioned workers and tradespeople with material-specific expertise. Person to person encounters occurred through the modules of project management, with limited scope for long-term engagement. Despite being embedded in formal state-based recognition, Birrarung Wilam asserts Indigenous self-recognition through the renewal and adaptation of Indigenous material practices and traditions and the refusal to provide straightforward interpretive materials at the site. The study provides support for arguments that challenge a simple binary of co-option and resistance in interpreting such public art practice.