以科学发展观统领农牧区工作稳步推进社会主义新农村新牧区建设

本文论述了共和县“十一五”期间及今后更长一段时间内建设社会主义新农村、新牧区的基本思路。文章指出:建设社会主义新农村、新牧区,就是要在“生产发展”上做文章、下功夫,在“生活宽裕”上出主意、想办法,在“乡风文明”上搞创新、出成果,在“村容整洁”上定规划、抓治理,在“管理民主”上建制度、提要求。     

《论语》“民”、“入”的实际所指与词义特点

本对《论语》中的单音词“民”与“人”的使用情况作了穷尽性的考察,认为《论语》“人”的词义主要指称“有仁德与才能”、“在位”;“民”的词义指称在“知”和“地位”上处于“下等”的众庶。“民”的词义特点是“下”,“人”的词义特点是“上”。这种“下”、“上”的区别反映出的社会现实是：在春秋时代,孔子与弟子有仁德,仁人、贤人、善士、人才有贤能,但不在位;而居于上位的君王、诸侯、卿大夫大多“不仁”、“不德”、“不贤”。众庶则处于为“君”所“使”的“低下”地位。     

国民党训政制度对孙中山训政理论的继承与背离

国民党的训政制度与孙中山训政理论之间的关系非常复杂,既有继承的一面,也有背离的一面,要具体问题具体分析。概而言之,在“革命程序论”上,继承了孙中山关于从“军政”到“宪政”之间要有一个“训政”过渡期的思想,而背离了他在革命程序论中提出的训政时期所应实行的政治经济主要任务的主张;在“以党治国论”上,继承了孙中山在中华革命党时期提出的以党权代替政权的思想,而背离了孙中山1924年前后对“以党治国论”的修正和完善;在“五权宪法论”上,形式上搞了一个五院制的国民政府,但在实质上则背离了孙中山提出的权能区分、人民有权、政府有能的原则。     

地方志工作定位的思考

长期以来,人们认为“存史、资治、育人、兴利”只是地方志的功能。而不认为是地方志工作的定位,这在一定程度上限制了地方志工作的发展。笔者认为,地方志工作应定位在“存史、资治、育人、兴利”上。地方志工作首要的定位是“存史”．要处理好资料性和著述性、真实性和思想性、部门志和地方志、普适性和地方性的关系。其次,要定位在“资治”上。作为“资治”要明了事物的本质和规律;不仅要看到过去,而且要看到现在和未来;不仅在“治民”,而且在“治官”,并且要处理好“一”与“多”的关系。同时．论文对地方志如何“育人”、“兴利”也作了较深入的探讨。     

打造高校“中国近现代史纲要”课教学特色述略——以长江师范学院“中国近现代史纲要”课教学为例

近年来,长江师范学院“中国近现代史纲要”（以下简称“纲要”）课程组教师,积极开展课程教学改革——教学理念上“以学生为本”;教学内容上以“典型教育素材”引领“纲要”课教学,以“典型教学案例”、“典型乡土史资源”充实、丰富“纲要”课教学,构建起“三典式”教学模式;教学形式上构建“三段式”教学模式,坚持“理论课与实践课并重、同步开设、有机结合”的原则,促进学生知识、能力、素质协调发展;教学方法上构建“三法式”教学模式,以互动法、探究法、情境再现法调动学生学习积极性,激活课堂教学。在这几方面逐渐形成了自己的教学特色。     

在美国打工17年——访“倦鸟思归”的陈亮

陈亮在新华社离退休干部中算得上是个“知名人士”了。但他的“知名”,与众不同,具有“陈亮特色”。人世的沧桑、生活的跌宕,给陈亮的生涯抹上了一层传奇的色彩。     

秦、西汉“上币”新释

一“上币”释义秦、西汉律定黄金为“上币”。“上”,《说文·尔雅·释亲》郭注云:“高者,言在最上也”;孔颖达疏称:“尚者上也。”故“上币”,系指明此币供尊者之用,即主要为统治阶层“上用”。“上币”以“上用”为基本职能。“上用”,系供统治阶层在祭祀、朝觐、通问、酬功、待宾、嫁娶等场合,以享、纳、赐、赠、贿、鬻、聘等方式,在其上下、相互之间,作财富转移、再分配、宝藏等用。还包括为统治阶层制奢侈品及换取珍异等用。故“上币”的流动,不但范围局限,而且与商品货币流通没有必然联系。因此,“上用”之“上币”,是不承担确实的货币职能的贵金属。     

追踪运载火箭——中国“寻宝兵”大写真

在共和国百万雄师中,有一支神秘莫测的特殊部队。当我国大型运载火箭拔地而起时,他们就会在数百公里地域内快速展开,寻找从火箭上落下的“黑匣子”。在人迹罕至的深山老林中,在波涛汹涌的大海上,到处都有“寻宝兵”神出鬼没的身影。大型运载火箭象熟睡的婴儿,静静地躺在发射架上。“５、４、３、２、１,点火！”随着一声口令,火箭喷着巨龙般的火焰,以雷霆万钧之力腾空而起。“成功了！”发射场上一阵欢呼。与此同时,一群执行特殊任务的士兵已做好了“寻宝”前的一切准备。不知过了多久,忽然传出一声紧急的口令：“出发！”霎时间…     

清代中国与邻国“疆界观”的碰撞、交融刍议——以中国、越南、朝鲜等国的“疆界观”及影响为中心

有清一代,在自身“疆界”、与邻国疆域关系等问题上,中国与越南、缅甸、朝鲜等邻国往往同时出现两种“疆界观”：一是文化上的“疆界观”,是指在文化归属感上的认同与否,即传统的“夷夏之辨”;二是地理上的“疆界观”,是针对领土、疆域等的现实认知。这两种“疆界观”密切相关,对中国、邻国的疆域变化产生一定影响。由于在这两方面的认识差异,17世纪中期以后中国与一些邻国出现了观念上的碰撞,19世纪中期又因列强入侵从碰撞转向交融。     

新中国成立以来党的知识分子政策演变与知识分子的现代走向

建国以来党的知识分子政策随着中国现代化进程不断演进,经历了建国初期“团结、教育、引导”方针下的思想改造运动;在“反右”和“文革”期间则打下“阶级斗争”烙印;至新时期在“尊重知识、尊重人才”方针指导下,拨乱反正、回归理性,对知识分子实行“政治上充分信任、工作上放手使用、生活上关心照顾”,并随着改革深化进一步强化人才观念,重视“培养人才,用好人才,吸引人才”。与此相应地,中国的知识分子适应“现代性”要求,去除旧制度下知识分子的“依附性”,体现新制度下知识分子的“主体性”,集合现代化建设所要求的知识分子的“现代性”,在中国现代化进程中不断成长壮大,已经成为中国工人阶级的一部分并在社会主义现代化建设中承担重要使命。     

汉画中的纯器乐演奏图

本文针对汉画像石中罕见的纯器乐演奏形象,利用图像学的方法,并借鉴相关学科的研究方法与成果,对图中有关乐器的属性、放置与演奏方法、特殊乐器的来历等,进行了较为细致地综合考证,提出了一些新的看法。     

论乐感

本文主要探讨了音乐活动中的乐感问题。     

Cultural policies for national music in South and North Korea (1960s–70s): a comparative study

ABSTRACT

This article is a comparative study of the cultural policies of North Korea (DPRK) and South Korea (ROK) in the 1960s and 1970s, specifically concerning the disciple of music. In this period, both South and North Korean regimes demonstrated similar conceptualisations of ‘national music’, harmonising Korean traditional music with western musical styles, but the end result differed in the two regimes. The DPRK developed national music through a homogenised musical style by assimilating Korean folk music with a western musical style while excluding traditional court music, with drastic modifications to traditional instruments and musical forms. In contrast, the ROK’s policy on establishing national music resulted in a combination of traditional court music for the ruling class and western classical music, indicating elitism. Particularly, this article argues that these distinct features of their national music were the result of differences in the strength and interest of government officials between the regimes.     

Cultural Identity and the Canonization Of Music in Early China

This article shows that over the course of the Warring States period (479–221 BCE) authors began to organize and categorize music in a manner that helped define and reinforce their conceptions of themselves as a distinct cultural or ethnic group: variously referred to as the Huaxia, Zhuxia, and Zhou. By examining how Ruist (Confucian) authors articulated distinctions among various types of music, and by showing how such identifications denigrated nefarious forms not associated with the Zhou court and its culture, I show how authors endeavored in a process of musical canonization while also consolidating a sense of an ethno-cultural self. The fact that these writings distinguished among and evaluated musical types not primarily through a discussion of musical form or theory but via a morally-laden language rooted in the civilizing rhetoric of the day suggests that music was a primary site for formulating, expressing, and promoting cultural identity.     

中国礼乐文明之源——以史前乐舞遗存为例

前仰韶时期的乐舞遗存仅作为日常生活用品,至仰韶时代晚期陶鼓乐器已为少数权力阶层拥有,龙山时代以鼓磬为组合特征的乐舞遗存标志中国礼乐明的基本形成。     

Transcendent myths,mundane objects: setting the material scene in rock,soul, and country museums

The many varied myths of origins, aesthetic transcendence, and greatness that surround popular music continue to proliferate in a variety of forms. One comparatively recent type of institution producing such forms of mythology is the popular music museum. This article uses the familiar idea of the ‘experience economy’’ to examine how three popular music museums produce experiences through objects that, while they are deliberately cast as mundane and everyday, work to support widely-shared narratives of the musical traditions of which they are a part. I argue that they do so in the service of larger myths of popular music. In each case I examine, I show that the myths on display are specific to the music that forms that content of the exhibitions. I argue that the specific kinds of spectator experiences these museums seek to produce are designed to enhance the value of these museums and their collections through claims made on specific types of musical patrimony made material through carefully contextualized objects of display. As such, traditionalist myths of musical greatness and aesthetic transcendence are well-served by the forms of exhibition and display produced by these institutions.     

Music and the Aesthetic Copernican Revolution of the Eighteenth Century

ABSTRACT

In the mid-eighteenth century music underwent a sudden and drastic revolution when composers “discovered” a new dimension to their art. This had immense repercussions on the philosophy of art, for the music created before and after this divide represents two different species of aesthetic experience, which in due course affected our understanding of the meaning and import of the other arts as well. Despite the immense aesthetic repercussions of this Copernican revolution in music, philosophers of art seem not to have taken much notice of it. This essay details the emergence of the relevant musical criteria during the eighteenth century and dwells on their long-term impacts on the philosophy of art.     

晋朝废乐考

早期中国的音乐具有与政治分不开的特征,而在儒教经典中的废乐思想,即由于禁忌观念而排除音乐的思想,到晋朝才反映到国家仪礼上。本文以废乐为主,对王朝动态与运用音乐、国家仪礼与魏晋风俗的关系加以考察探讨。     

Remembering Hermannsburg and the Strehlows in cantata form: music,the German-Australian past and reconciliation

This essay uses the 2003 symphonic Cantata Journey to Horseshoe Bend to examine some of the different entangled memories of German missionisation in Central Australia, including those held by the settler-European librettist Gordon Kalton Williams and members of the Indigenous Ntaria community choir, among others. Rather than simply reading this as a pernicious settler-Australian appropriation of Aboriginal culture, or as a simple story of harmonious intercultural collaboration, the author seeks to open up the multiplicity of meanings – the consonances, as well as the ambiguities and the disconcerting moments of uncanniness and clash that lie beneath the surface of a musical act of memory.     

文中子的《乐论》与《乐记》

《续六经》之一的《乐论》,表述了文中子的音乐理论,《乐论》虽已失传,但从其他典籍可以考知其梗概。文中子看到了音乐在整个社会进程中的作用,它不仅能体现王道,而且是时代的体温计,他的乐理理论其实是秉承了孔子的乐理思想。在经过从汉到隋之前儒学的衰落之后,文中子的乐理思想也是他重振儒学的有机组成部分。