将要下雨的下午

(一)整个下午太阳始终不肯露面乌云向南倾斜云往南水上船谚语在树梢间毫无遮拦地传播寂寞的石头暗藏起心事等待在雨水里洗掉灰尘保持最为纯洁的硬性成群结队的蚂蚁长途跋涉占据山顶最安全的部位悬崖上最后一只蚂蚁不幸跌下山谷随着松落的石块所有的蚂蚁都回头转身注视着它最后一个造形伸张的脚趾在虚空里划下一道深痕沿着优美的曲线走向生命的终端其实摔碎的不止一颗心将要下雨的下午空气最初在蚁群间潮湿(二)远处闪电划开乌云的帷幕照亮整个下午干裂的树皮啪啪作响敲响老去的秋天我握住信守的笔怀念过去的过去那年秋天我和父亲在麦地里挽起…     

Hysteria behind the scenes: Jane Avril at the Salpetriere

Jane Avril (1868-1943), the famous dancer of the Moulin Rouge, immortalized by Toulouse-Lautrec, left behind published Memoires (1933). Trustworthy and written with verve, they include an account of her admission to Charcot's service at the Salpetriere in December 1882. There she was kept until June 1884, not so much because of illness but to protect her from her mother's abuse. Jane Avril provides unvarnished testimony of the daily life of the women with hysteria among whom she lived. She wrongly accuses them of simulation. But she accurately portrays the rivalry of the 'crazy girls' who vied to become the center of attention, and she sheds light on the factors that came together to make hysteria contagious (she herself escaped), the loading of symptomatology and the cultivation of the ailment. Charcot has been criticized on this score, since he showed his recognition of the underlying process when he pronounced isolation to be necessary to treatment. If Charcot accommodated hysteria, the ailment amply rewarded him with a fame that continues to this day to overshadow his achievement in neuropathology that he brilliantly forged using the "anatomo-clinical method."     

“死亡之海”里的千纸鹤

女性在沙漠的立足和生存 ,令国内外的许多人不可思议。在塔克拉玛干的石油队伍中却生活着一群活泼可爱的女孩子 ,她们把自己的青春完全留给了大沙漠的石油事业。姑娘们心中都有一只美丽的千纸鹤 ,那是她们时刻准备放飞的石油梦想     

光绪之死

在距今一百年前的1908年(光绪三十四年),名义上是清朝皇帝,实际上却被囚禁在瀛台的光绪帝和统治中国近半个世纪之久的慈禧太后几乎同时死去.皇帝死于光绪三十四年十月二十一日酉时(下午五至七时),太后死于十月二十二日未时(下午一至三时),相距不到二十小时.     

Silver dish with fighting scenes from the lower ob region

A medieval silver dish with hunting scenes from a hoard found on the Lower Ob is described in terms of composition, style, and the iconography of separate elements. The dish was apparently manufactured in the 12th or 13th centuries in one of the toreutic workshops in northeastern Europe, specifi cally on the Kama or in the Perm area of the Urals.     

Death ritual in fifteenth-century manuscript illumination

Realistic images of death and burial appear in unprecedented numbers as illustrations for the Office of the Dead in late medieval prayerbooks. Taking issue with the traditional, generalized interpretations of these images as expressions of the late medieval preoccupation with death, the author argues that the iconography of death ritual that emerged after 1375 was actually a manifestation of the popular need to assert the restoration of social and religious traditions that had been suspended during the period when the Black Death ravaged western Europe. Viewed against the background of pre-plague catholic death rituals and the literary evidence of the disruption and suspension of those rituals resulting from the onslaught of bubonic plague, the new iconography of death and burial assumes social significance that sets it apart from more eschatologically oriented visual and literary themes associated with death and dying during the late middle ages.     

Death ritual in fifteenth-century manuscript illumination

Realistic images of death and burial appear in unprecedented numbers as illustrations for the Office of the Dead in late medieval prayerbooks. Taking issue with the traditional, generalized interpretations of these images as expressions of the late medieval preoccupation with death, the author argues that the iconography of death ritual that emerged after 1375 was actually a manifestation of the popular need to assert the restoration of social and religious traditions that had been suspended during the period when the Black Death ravaged western Europe. Viewed against the background of pre-plague catholic death rituals and the literary evidence of the disruption and suspension of those rituals resulting from the onslaught of bubonic plague, the new iconography of death and burial assumes social significance that sets it apart from more eschatologically oriented visual and literary themes associated with death and dying during the late middle ages.     

Being Mesolithic in Life and Death

Fifty years ago, approaches to Mesolithic identity were limited to ideas of ‘Man the Hunter’ and ‘Woman the Gatherer’, while evidence of non-normative practice was ascribed to ‘shamans’ and to ‘ritual’, and that was that. As post-processual critiques have touched Mesolithic studies, however, this has changed. In the first decade of the 21st century a strong body of work on Mesolithic identity in life, as well as death, has enabled us to think beyond modern Western categories to interpret identity in the Mesolithic. These studies have addressed the nature of personhood and relational identities, the body, and the relationship between human and other-than-human persons. Our paper reviews these changing approaches, offering a series of case studies from a range of different sites that illustrate how identity is formed and transformed through engagements with landscapes, materials, and both living and dead persons. These are then developed to advocate an assemblage approach to identity in the Mesolithic.     

Death of Living Buddha Bomi

In 1995, Living Buddha Bomi drew a lot from the golden um in front of the statue of Sakyamuni in the Jokhang Monastery. As a result, a boy from Jiali was confirmed as the soul boy of the late 10th Panchen Erdeni. When he later became the 11th Panchen Erdeni, Living Buddha Bomi was