Journal of Shanghai University (Social Science Edition)

Transforming the Economic Growth Mode by Taking Human Development as the Orientation

CHANG Xiu-Ze

2010, 17(3): 5-18.

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In China' s current development of economy, it is a large and profound change to transform the mode of economic growth. If the desired goal is truly to be achieved, the issue of the "basic orientation" must be made clear of. This essay holds that, in transforming the economic growth mode, the principle of "taking human development as the orientation" should be clearly put forward. Theoretically, the principle reflects the essence of Marxism, possessing the fundamental value in the development of contemporary human civilization; and in practice, it is a rational choice of getting rid of the inertial operation of "GDPcentrism"; and from the analysis of future trends, it is also a necessary requirement of adapting to the new changes of human demands in China' s new stage. For transforming the economic growth mode by taking human development as the orientation, the following four points should be focused on: on the structure of requirements, attach importance to the improvement of the "consumption rate"; and on the structure of industry, lay stress on the development of modern service industry; and on the structure of input factors, give an emphasis on the independent innovation of the main body; and in the aspect of sustainable development, think highly of the "harmony of man with nature" and the green development. And the accomplishment of the abovementioned will inevitably be touched on the deep institutional problems, especially the following aspects, which should be reformed urgently. First, improve the system of the income distribution so as to solve problem of the "three tilts"; secondly, improve the dual structure of urban and rural areas so as to promote the urbanrural integration; thirdly, in accordance with the "generalized theory of property rights", establish the system of environmental property rights; fourthly, promote the transformation of the government, which is the key to the transformation of the economic growth mode.

Private Film Companies and China' s Current Trends of Films

DING E-Beng

2010, 17(3): 19-30.

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In the first decade of the new century, private film companies become more active and make a larger development in film production, market research and so on. With the regulation of the film industry policy and the acceleration of the reform pace, the film market competition is so encouraged that private film companies are permitted to participate in the film industry in a larger way. These companies, vigorous and innovative, are constantly creating a new trend. Thus the business film practice centering on the private film company, as a multifaceted existence, are gradually developed into the pattern and trend of current Chinese films. Such private films companies as Huayi Brothers, the New Screen and PolyBona are just good examples. Their ownership, structure and environment constitute the specific meaning and context of production system and transmission mode. While the transformation of the film industry is, in practice, associated with the ideology of mainstream politics, the theme, policy, pattern, environment and ideology of mainstream films possess a strong, prominent intertextuality. Since private film companies are full of creativity in digging up themes, market orientation and spirit selection, their films, as one of the domestic film entities, are easy to be connected with the potential recognition of new ideas, new techniques and new socialized individuals, possessing a strong ability to innovation and generation. But, however, if they want to find a way to the diversification of times and aesthetics, both reinforcing the strength of industry and market, and developing a new space of film multidimension, it is necessary to regain their forethoughtfulness and consensus so as to achieve more innovative ideas of fast development. In this way, they can, under the context of globalization, promote the further development of China' s film industry and make their new contributions.

The Shooting Cause of the Documentary
How Yugong Moved the Mountains

NIE Xin-Ru

2010, 17(3): 31-41.

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In 1970s, during the Cultural Revolution, Joris Ivens was officially invited to shoot documentaries in China, which was extraordinary, because, at that time, China' s door is closed on the Western countries. In view that the cause of this invitation has not given officially so far, and that the speculation on this issue at home and abroad as well as Ivens' own explanation are so different, it seems to be an undecidable case in research for China' s documentaries. But, judging from Iven's specific situation of coming to China as well as China's international and domestic situation at that time, the reason why Chou Enlai invited Ivens to China for shooting a documentary, not as what Ivens and other experts suggest, just concerns about China' s Great Proletarian Cultural Revolution, but involves in a more profound consideration of culture, politics and economy. The fact is that China at that time, forced by the Soviet soldiers' arrival, is eager to fix relations with the United States. Of course, besides the political reason, it is also possible for economic factors. Actually, China' s economy at that time was in such a situation of collapse that Chou Enlai hoped to use a documentary to warn Mao Zedong.

A New Understanding of the Film Suspense

CHEN Yu

2010, 17(3): 42-52.

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In all types of films, suspense is set universally, which is both a means of film narratives and related closely to the psychology of seeing a movie, performing a narrative function of mobilizing and sustaining audience' s interest for seeing the film. The understanding of film suspense concerns about other suspense issues of fictional narratives. This essay holds that suspense, as a narrative activity of uncertain emotional responses such as expectation (positive emotion) and terror (negative emotion), is preset in the fictional, narrative text by way of hiding or stressing the specific information (often connected with the risk of life and death, or with the desire to look forward to). While suspense is characteristic of crossmedia, the film, by virtue of its specific media and expression, possesses a more complex mechanism of suspense.

The Chinese and Western Poetics in a Comparative Perspective
——The Study of the Chinese and Western Poetics by an
American Scholar Named Chen ShiXiang

XU Zhi-Chi

2010, 17(3): 53-60.

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American Scholar Named Chen ShiXiang(Department of Chinese Language and Literature, Fudan University, Shanghai 200433, China) Abstract： An approach to the study of the Chinese and Western poetics by Chen Shixiang, an American scholar, can be made from two levels of macro and micro. In the macro level, by comparison of the Chinese and Western traditions in literature, especially the tradition in poetry, Chen Shixiang concludes that the Chinese literature has a lyric tradition, which is different from the narrative tradition of the Western literature. And in the micro level, he makes a comparative analysis of the words of the Chinese and Western poetics, which is helpful in understanding the similarities and differences between the expressive concepts of the Chinese and Western poetics. Actually, in Chen' s study of the Chinese and Western poetics, macro and micro are not absolutely segmental. Instead, they tend to blend organically. By analysis of Chen's works, the author enables readers to understand fully the lyric tradition of the Chinese poetic as well as the similarity and difference between the expressive concepts of the Chinese and Western poetics, thus contributing to a better understanding and grasping of the connotations and characteristics of the traditional Chinese poetry.

Beauty as Emotional Pleasure and Ugliness as Emotional Affliction
——A View of Beauty and Ugliness

QI Zhi-Xiang, QI Xue-ying

2010, 17(3): 61-70.

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This essay, by way of the review and summary of the history and its lessons in research for beauty both in China and in the West, gives a revelation of the difference between beauty and ugliness, which depends basically on pleasure or affliction. In the human system, pleasure can be divided into organic pleasure, sensory pleasure and centrum pleasure, of which only the latter two determine the pleasure of beauty. While the object of sensory pleasure constitutes formal beauty, the object of centrum pleasure constitutes connotative beauty. Different from formal beauty, which is free beauty, connotative beauty involves in truth and goodness. For formal beauty, aesthetic effect and aesthetic frequency are inversely; and for connotative beauty, aesthetic effect and aesthetic frequency are proportional. The overall beauty of things is determined by its connotative beauty. The rule of beauty reflects in seeking beauty in the form of universal pleasant, and in seeking beauty from truth or goodness.

The Aesthetics of "Practical Existence" and Its Controversy

MA Jian-Hui

2010, 17(3): 71-78.

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The aesthetics of "practical existence", as one of the theories in China' s contemporary study of aesthetics, is characteristic of human existence being placed prominent priority while "average person" and "person' s general nature" being one of the important theoretical basis. Marxist practical concept is obviously generalized and the cognition relation between subject and object in aesthetics is excluded and negated by experience relation. The essence of this theory can be summarized as follows: first, using subjectivity to exclude materiality, which displays, since the end of 1970s, the continuation of individual subjectivity theory and the deep infiltration into the subjects of aesthetics, literature and art; secondly, using abstraction to exclude specificity, which displays, for a period of time, the development and invasion of capital accumulative logic in China' s certain social life, and an inevitable result produced in aesthetics, literature and art; thirdly, using perceptual experience exclude essential cognition, which displays, since 1990s, a deconstructive trend of antinature and antireason in China' s fields of aesthetics, literature and art, with the everstrengthening influence of postmodernism in the Western countries.

The Existing Cao Genealogy Having Nothing with Cao Cao' s Descendants
——A Discussion with the Research Group about the"Historical Study of the Human Gene Survey in the Cao Cao Grave"(

SHU Zi-Pan

2010, 17(3): 79-87.

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According to History of the Three Kingdoms written by Chen Shou, Cao Cao's father, Cao Song, was once adopted by Cao Teng who was an official close to the emperor. This fact shows that we can not understand what is about the birth of Cao Cao's father. And, in the Spring and Autumn Period, the marriage to each other within the same clan was forbidden. Since the marriage relation between Xiahou and Cao had lasted for a long time, the saying of "Cao coming from Xiaohou" can not be true. Also, among China's collections of family genealogy, the ones of the Song Dynasty are very rare. And most of them have been emended only in the period of the Qing Dynasty or in the Republic of China. As for the ones emended in the period of the Ming Dynasty, it is hard to find. And the ancestors of the existing Cao genealogy were living in the late Tang dynasty and the early Song Dynasty. That's almost eighty years away from Cao Cao. What's more, in history, false surnames, granted surnames, and changed surnames are too many that the searching for Cao Cao's descendants is almost impossible.

he HandingDown of the Picture Scrolls by
Xia Gui and Li Gonglin and Its Related Issues

LUO Hong-Cai

2010, 17(3): 88-107.

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Both Xia Gui (Yu Yu) in the Southern Song Dynasty and Li Gonglin in the Northern Song Dynasty are important representatives of painting whose works give an influence on China' s history of painting. But, for a long period of time, most of their picturescrolls have lost. Although, later, many picturescrolls, according to their prefaces or inscriptions, were considered to be the works of Xie or Li, there are still controversies over such substantive issues as authentic, counterfeit, copy and imitation. Most of handingdown descriptions are ambiguous. As for the description that indicates clearly authentic works or highlevel copies, it is rare. In view of all these, this essay, based on large number of documents and fieldsurvey data, and by using the research methods of finearts, artmarketing, art archaeology, statistics, sociology, philology and so on, has a systematic, meticulous discussion of the handingdown of the socalled authentic picturescrolls by Xia Gui and Li Gonglin that are stored in the Taipei Museum of History, thus outlining basically a general handingdown history of more than 700 years from the Song Dynasty to modern time.

The Internal Relations between Expo and Museum Development

LV Jian-Chang

2010, 17(3): 108-119.

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Like the museum, the expo also uses the practical show as the main form of information dissemination, exhibiting the essence of human creation. Both of them, as a classroom of scientific knowledge and cultural arts, concern about the development of science and culture. All this commonness makes them complementary with each other. While the expo, by virtue of its continuous innovation of showing idea and technology, gives a sustaining influence on the exhibition of the museum, the professional of the museum, participating in the expo organization and melting the museum exhibition in the expo, displays a complementary and interactive development of the museum. In history, many cities hosting the expo take the museum as a part of the expo display, and, after the expo, turn some exhibition halls of the expo into the museum that stores part of the expo exhibits. In this way, not only can the expo promote the development of the museum, but also the museum can spread the spirit of the expo, continuing the mission of the expo. It is because of the internal relation between the expo and the museum that Shanghai Expo in 2010 will take on a situation of the interactive development of the expo and the museum.

The new dilemma of the international media culture in the perspective of cross-culture

ZHENG Han, NIU Hai-Kun-

2010, 17(3): 120-134.

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With the rapid development of global media, the concept of global professionalism frequently appears in the academic forum. Especially in the new century, more and more scholars both at home and abroad participate in the discussion. Thus, what is the ethic of global professionalism also becomes a hot topic. This essay holds that, at the present, the most important for the discussion is not to determine what it is. Nor can it find the solution. Instead, the question should be put on how to make it possible. Under the global context of multiple levels and multiple dimensions, it is absolutely necessary to establish a set of ethical specification about global professionalism, such as social responsibility and accountability, truth and objectivity, privacy and publicity, and so on, for which, many important countries in the world attach great importance to. But, however, the most fundamental is to think about such an initial question as global professionalism being viable, that is, presetting the basic natural rights of individuals in the aspects of life, freedom, property, and so on, and, based on these, having some kind of institutional arrangements, so as to guarantee the gradual formation of global professionalism from the strategy.

The Instrumental Media Role in the System of Redistribution
——A Case Interpretation of the S Village in Central Hunan

YOU Liu

2010, 17(3): 135-144.

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Based on the S Village in central Hunan Province, this essay records a brief history of public communication in the countryside from the founding of P. R. China to the eve of the Reform and Opening-Up. At that period of time, mass media worked mainly as a propaganda tool for the CPC and the State. While broadcasting and film became this village' s main form of media, the unidirectional system of infiltration by government at all levels constituted its communication structure, the main function of which was to publicize the Party' s principles and policies, and the content had a strong ideological flavor. At the same time, some of media supplied amusement in cultural life. This system of communication reflects the internal requirement of the state system and resource allocation of the time.

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