扇从日本来 风非日本风——中日交流史中的摺叠纸扇

<正>目前从中日物质文化交流史视角出发,对纸摺扇所作的研究,仍是以传统文献为主的史学论文。本文运用了近年新兴的形象史学方法,它既不同于传统史学的文献证据法,也不同于艺术史的视觉与物质文化等研究方法,而是尽力搜集某一时代相关联     

清末“海派”扇套

上海天钥桥路汇南街清末墓葬中出土了一件扇套,其用色少、素、精,均折射出朴素化的融入,不乏为西方构图意识在中国刺绣上的反映。     

粤剧艺人聚集的题扇桥在哪里？

日前,传媒报道佛山粤剧博物馆开馆,说及佛山是粤剧发祥地。一般人便以为粤剧发祥地只有佛山。这使一个粤剧研究的老问题又重新摆上桌面上来——粤剧发祥地只有佛山么?明代“天下四大名镇”之一的佛山云集艺人,相邻的省城、天下闻名商都广州又岂会不艺人云集呢?     

论中国梦与美国梦的理论差异

在人类近代现代发展曾有“英国梦”“俄国梦”“日本梦”的提出,但是今天能够吸引世界人类的目光的是:“中国梦”“美国梦”。“中国梦”以自己的路径去实现"两个百年"目标是朝着同一个既定的方向和目标在不断执着的努力。与“美国梦”突出是以个人主义,把个人主义作为理想的基石"中国梦"强调个人的发展与命运和国家的发展能够相互联系发展起来。“美国梦”强调追求单极世界的强大以自己的法律秩序为中心。"中国梦"不仅属于中国人民的,更是是属于世界人民的。“美国梦”正变得黯然失色。“中国梦”将为探索人类文明多样化发展开辟美好前景。     

恶毒攻击中国的人

“中国威胁论”、“中国崩溃论”、“中国分裂论”等种种谬论,在西方国家不时冒出。中国的国际形象因而受到伤害,发展进程受到干扰。散布这些谎言的,是一群“恶毒攻击中国的人”。他们为什么要攻击中国,目的何在?他们又是如何给中国抹黑的?     

李绍忠 三年之内一定要上市

继今年的“中国房地产最具价值品牌”荣誉后,融创集团又获得中国房地产“金房”和“金星”两大奖项。荣获“中国金星奖”的融创集团总裁李绍忠,被评为2006年度“中国房地产业领军人物”。对于职业经理人李绍忠来说,得到这个奖项并不意外,这只是他职业化道路上的种种精彩之一。李绍忠承认自己和融创都赶上了中国房地产高速发展的时机。在李绍忠看来,未来10～15年,房地产行业仍然是快速发展的时期。     

蹇老未及写出的一篇文章──蹇念益先生简介

有幸跟蹇先艾老学习;交往近50年中。绝少听他主动谈及他的家世和亲属。文革浩劫之后,偶尔有几次,他才简略地谈起了他嫡堂叔父蹇念益的一些情况,说他叔父对护国运动曾经作出过一定贡献,可是却鲜为人知。70年代末,我从大方调到贵铝工作,一个星期天,我从远郊赶来看望他。其时,这位著名作家刚从牛棚迁回,住到省文联后院的小楼上不久。谈话中,他告诉我,说由于他叔父和梁任公（启超）的亲密关系,1926年4月他在《晨报·诗镌》发表了新诗,任公看见后,曾给了很大的鼓励;还亲自为他书写了一把摺扇,写的是被誉为“词家之冠”的北宋词…     

中国扇博物馆收藏的人物庭院象牙贴面扇

中国扇博物馆收藏有一类象牙贴面扇,内容、题材、技法、装饰具有特色,艺术风格与中国传统扇面书画有别,是一种为了迎合西方人的审美情趣而制作的外销工艺品。     

从复数“中国”到单数“中国”——试论统一多民族中国及其疆域的形成

由于中国古代少数民族及其政权多自称“中国”,以及当时一些政权虽没有自称“中国”,但为后来的“中国”所继承,并仍被称为“中国”等原因,致使中国古代自秦统一以后仍然存在复数“中国”的现象。经过秦汉、魏晋南北朝、隋唐、辽宋夏金的发展,到了元朝统一全国,复数“中国”开始过渡为单数“中国”,明朝时期稍有反复,到了清朝统一全国,作为单数概念的“中国”最终确定下来,统一的多民族的“中国”及其疆域最终形成和确立下来。     

改革把“工具”重新变成“人”

有人在八十年代初曾对我说,中国在极左路线年代生产力所以发展慢,主要原因是“人”太少。当时我挺纳闷,中国是世界人口最多的国家,怎么能说生产发展慢的原因是“人”太少呢？他说,“人”是思维的动物,会创造工具,会使用工具,全国只有领袖在那里动脑子,在那里“创造”。从“人”的本义上来说,中国当时不是人太少太少了吗？因此当时的中国是活“工具”多,而“人”太少。一个国家只有个别领袖能动脑子,能发挥“创造性”,社会生产力怎么会发展快？     

Celebrity-inspired,Fan-driven: Doing Philanthropy through Social Media in Mainland China

This paper provides the first detailed study of the links between celebrity-fan communication networks and philanthropy in the People’s Republic of China. It explains how the evolution of the Chinese Internet, and especially the rise of social media, has created new spaces in which fans of entertainment celebrities may be induced to engage with philanthropic causes. It then outlines the history of Chinese fan-driven philanthropic initiatives centred on people who became famous through reality-television popular music competitions. Finally, it offers a case study of the initiatives connected to popstar Li Yuchun, and examines the rationales provided by fans in online forums and interviews for their philanthropic engagement. Critics of celebrity-inspired philanthropy highlight its supposedly inauthentic and passive nature. Yet we find that fans actively exploit the forms of sociality that are provided by celebrity-fan communication networks, both to establish virtual participatory communities and to generate social action in the form of non-government-organised volunteering.     

‘Brazil,Tell Me How It Feels’: Soccer,Music, Narcissism,and the State,or Mascherano’s Failure

During Brazil's 2014 World Cup finals, Argentine fans popularized a chant that stated “Brazil, tell me how it feels”. The chant became viral, and produced a Brazilian response, “Argentina, me diz que se sente”: both discussed relationship of rivalry by joking at the other's expenses. But it was surprising that the chant was based on the melody of a very old song from the American rock band Creedence Clearwater Revival, recorded in 1969, possibly before the birth of those who sang the melody in Brazil (“Bad Moon Rising”, a very popular song recorded many times). This paper discusses several topics derived from that fact: the relationship between popular music and football chants; the uses of popular music and global pop at the World Cups from 1962 to our days; the self-presentation of the “local” (national) fans before a globalized media scene; and, last but not least, the role of sport icons and heroes for the fans but also for the construction of national epics (the icons and heroes invoked in the chants included, obviously, both Maradona and Messi, two of the most important football heroes from the ‘80s until today). The core idea is to show how contemporary football culture must be described and interpreted in the continuous intersection of local texts -and fans’ practices- and global events.     

怀袖雅物也关情—温州博物馆馆藏名家扇面展

在暑气逼人的八月,一场以馆藏名家书画扇面为主题的展览在温州博物馆书画馆拉开帷幕。遴选出的94件明、清以来的书画扇面,汇聚了50年来馆藏的精品,也给盛夏的观众视觉送来赏心悦目的的习习洁浦     

基于手机信令数据的大型足球赛事球迷当日空间行为特征研究

利用手机信令数据,以2014年3月上海申花与杭州绿城、上海上港对上海申鑫两场足球赛为研究对象,分析和归纳了观赛球迷的分布特征、活动特征,并进一步探索了球迷的行为对于球场周边商业体的影响,以此来分析大型赛事球迷的空间行为特征,希望能够对未来的城市相关设施规划起到一定的指导作用。研究表明,球迷的分布涵盖市域、呈现类圈层结构。球迷的出发时间与球赛开始时间相关,大部分球迷的出行目的较为明确。球迷对于球场周边一定距离范围内的商业体有影响,且商业体距离球场越远,影响越弱。最后,对于手机信令数据在大型活动或特定人群特征分析方面的应用提出了一些讨论思考。     

袖里翰香 天一阁博物馆藏明清扇面撷英（下）

三清初画坛以＂四王＂成为正统派,他们继承董其昌衣钵,讲究笔墨技巧。其中王的＂虞山派＂,王原祁的＂娄东派＂声势最为显著,从之者众。此外＂四僧＂及＂新安派＂、＂金陵画派＂也各具风采。清中期以扬州地区的＂扬州画派＂影响最大,他们追求个性解放,革新创造,     

Liberty for All? Contested spaces of women's basketball

The Women's National Basketball Association is a professional women's basketball league that is notable for constructing a heteronormative ‘family friendly’ self-image while maintaining a sizable following of lesbian fans. This article examines this apparent contradiction through two case studies: a kiss-in protest by a group of New York WNBA fans, Lesbians for Liberty, and experiences by Minnesota Lynx lesbian fans of the marketing tactics and daily practices that regulate WNBA game spaces. By highlighting the socio-spatiality of the WNBA venue, it becomes clear how heteronormativity is naturalized, as well as accepted and resisted by lesbian fans in both New York and Minnesota. An overt act of resistance, however, failed to encourage the WNBA to reconsider its policies: the Liberty kiss-in, by situating lesbians as a counterpublic, foreclosed the range of attitudes held by lesbian fans. Moreover, as Minnesota Lynx fans demonstrate, WNBA spaces feel ‘safe enough’ to many lesbian fans. As a result, there remains a contest over the meanings and practices that define WNBA landscapes. To date, however, normative heterosexuality has contained the presence and visibility of the lesbian fan.     

怀袖雅物——上海明墓出土折扇和扇坠珍赏

折扇起源于日本,旧称倭扇,是日本人受蝙蝠形象启示而制作的,故亦称蝙蝠扇,在11世纪时由日本、高丽（朝鲜）传人中国。据南宋吴自牧《梦梁录》记载：当时杭州城外的镇市上,已有专卖折扇（折叠扇）的店铺。邓椿《画继》则明确记有“市井上所制折叠扇者”。折扇是折叠扇的简称,它以竹木或象牙等为骨,韧纸或绫绢为面,可收拢折叠,因此又称撤扇、聚头扇、聚骨扇等。     

清宫藏成扇鉴赏

扇子,古有＂箑＂、＂翣＂及＂便面＂等称,在我国有着悠久的历史。随着漫长的岁月,扇子历经了不断演变、创新与完善,最终发展成为一个庞大的＂家族＂。扇子有不同的分类法,按形制来分,可分为折叠的折扇及不可折叠的平扇;按材质来分,可分为纨扇（团扇）、竹扇、羽扇、蒲扇、麦秆扇、象牙扇等;按地区来分,可分为川扇、杭扇、潮州扇等。故宫博物院现收藏有成扇类文物近万件,其中绝大部分属于清宫旧藏。清宫成扇品类繁多,囊括了其时成扇的主要品种,这些成扇以折扇和团扇（纨扇）为主,质地有纸、绢、绸、缎、纱、缂丝等,除此之外,     

丹青咫尺 扇里乾坤—吉林省博物院藏扇画赏析

摇曳生风千秋过,扇子原本不过是御风消暑、驱逐蚊蝇的实用品和装饰物,它在古代的别称为“摇风”、“凉友”,不光达官贵人使用,平民百姓也广泛使用。我国早在商代就有了扇子的雏形,汉代以后,扇子从煽风发展到士人淑女把玩的装饰品,少女们常喜欢用绘有图画的纨扇半遮脸面,而被人们形容得更美丽,于是扇子又有了“便面”、     

Basketry accessories: footwear,bags and fans in ancient Egypt

Ancient Egyptians had —by the New Kingdom— developed many basket making and matting techniques. These techniques were not only used for making all types and sizes of baskets and mats, but were also adopted for making other accessories such as bags, fans and different types of footwear, that seem to have been heavily used. Materials and techniques of nine objects consisting of 2 sandals, 2 shoes, 2 bags, 2 fans and a model of a mat at the Agricultural Museum in Giza were carefully studied.