太平洋战争时期朝鲜人资本家的"中国侵略"

在日本殖民统治期间,朝鲜资产阶级处于被统治、从属的地位,具有明显的寄生性、从属性。但是在日本的对外侵略中,朝鲜的资产阶级为了追求经济的扩张,依附于日本侵略者,呈现出一种“第二日本人化”的趋势,成为“侵略战争的前卫队”。特别是在太平洋战争时期,进入中国的朝鲜人资本家为了牟取暴利,为日本侵略军提供协助,成为日本侵华战争的帮凶,暴露了其露骨的“侵略性”。这种侵略性是殖民地时期朝鲜人资本家的特性。     

谈玉雕艺术对陈列艺术的启示

雕刻艺术融于陈列之中,陈列艺术反映雕刻艺术,内容的精美,艺术性的烘托,使雕刻艺术更加绚丽多彩。     

According to What: Art and the Philosophy of the "End of Art"

In 1964, when Danto first encountered Warhol's Brillo Box, Jasper Johns made a painting titled According to What. Danto's new book After the End of Art also provokes this question because in his restatement of Hegel's verdict on art's historical role he drops an essential part of the implied definition of art: the issue of adequacy between content and presentation. Why dispense with this crucial point of quality judgment? My critique falls into three parts. The first part shows how the whole historical argument rests upon a shift of criteria. According to Hegel art reached its highest point of achievement in classical antiquity when adequate embodiment seemed indispensable to the presence of the spirit. It subsequently lost this exclusive rank—first through Christianity, then through modern philosophy—when a new spiritual self-awareness emerged which no longer seemed to need external manifestation. Although Danto disputes the concept of absolute self-possession as the metaphysical vanishing point of Hegel's construction, he nevertheless subscribes to its apparent evidence in late twentieth-century art and culture. In the second part I discuss the characteristic distortions of Hegelian-type historicism and confront them with both the obvious misrepresentation of the works of art themselves and the different code of conduct in practical art history. This leads to a rather disenchanting conclusion: according to an old, deeply ingrained philosophical prejudice there is no problem about quality in art, because the true yardstick and fulfillment of art is philosophy itself. The final part tries to unpick this tangle by showing that there was in fact, contemporaneous with Hegel, a remarkably different interpretation of the self-same auspices of modern art which comes much closer to its actual achievements, and this without denying the basic philosophical predicament of which Danto has reminded us.     

The End of Art: A Philosophical Defense

This essay constructs philosophical defenses against criticisms of my theory of the end of art. These have to do with the definition of art; the concept of artistic quality; the role of aesthetics; the relationship between philosophy and art; how to answer the question “But is it art?”; the difference between the end of art and “the death of painting”; historical imagination and the future; the method of using indiscernible counterparts, like Warhol's Brillo Box and the Brillo cartons it resembles; the logic of imitation—and the differences between Hegel's views on the end of art and mine. These defenses amplify and fortify the thesis of the end of art as set forth in my After the End of Art: Contemporary Art and the Pale of History (1997).     

满铁图书馆的职能及其在东北的侵略活动

满铁是日俄战争的产物,作为日本侵略东北的“国策会社”,它的业务范围不仅垄断经济,也涉足政治、文化等领域,其中在东北建立图书馆是一个重要举措。这些图书馆的设立不仅使东北原有图书遭受了罕见的破坏,而且日本侵略者采取各种措施宣传日本文化精神,灌输日本思想,奴化东北人民,并直接为日本帝国主义侵略战争服务。     

中苏同盟在抗美援朝战争中的作用

1950年2月14日中苏两国政府缔结的《中苏友好同盟互助条约》,虽然不是针对美国的,但中苏同盟的建立在中国人民抗美援朝战争中发挥了极为重要的作用。苏联是中国人民进行抗美援朝战争的强大后盾。《中苏友好同盟互助条约》在抗美援朝战争中有力地牵制了美国,使其不敢将战争扩大到中国境内;苏联对中国和中国人民抗美援朝战争提供了有力的军事援助;苏联积极帮助中国打破西方国家的经济封锁,大力援助中国建设工业基础;苏联在外交上坚决同美国孤立中国的政策作斗争。这些对中国人民取得抗美援朝战争胜利和完成国民经济恢复,提供了强有力的支援和保证。     

从军方到学界:抗战军事史研究在台湾

在台湾,军事史研究并非学界主流,抗战军事史研究亦然。不过由于抗战终究是一场战争,军事是不可忽视的面向,学界仍有一定的研究,这方面最早由刘凤翰开拓,时间在40年前,至今已颇有积累。学界研究之外,早在70年前的战争时期,军方于"编纂"方面已有所投入,然后在"研究"方面配合军方战略学的发展,形成其研究范式。军方与学界相交流,成为台湾抗战军事史研究的重要历程。本文分梳军方抗战军事史发展脉络,析论军方与学界学术推进的关系,归纳学界当前研究重点。通过对史学史的探讨、方法论变迁的述论,除了整体研析70年来的抗战军事史发展,或可为今后进一步研究提供参考。     

The Art of Taphonomy and the Taphonomy of Art: Layer IV,Molodova I,Ukraine

Level IV of Molodova I, an open-air Middle Paleolithic site in the Ukraine has been described by some researchers as a possible source of evidence for early symbolic behavior. We examined bone objects from this layer that were identified by Ukrainian researchers as exhibiting possible Neandertal produced engravings including two anthropomorphic figures. While we have determined that there is no evidence of symbolic activity at Molodova I, the database we have created, with its systematic recording of traces left by taphonomic agents on faunal remains, provides a better understanding of the overall site taphonomy.