光明的、温暖的、吉祥的、圆满的与滋养万物的牛粪

牛粪在藏语中称为“久瓦”。在西藏,牛粪作为烧茶做饭的燃料已有上千年的历史。至今生活在雪域高原的广大藏族同胞仍将牛粪视为最佳的燃料。牛粪除了作为燃料外,在藏族日常生活中还有着特殊的用途与含义。藏族的传统生活与牛粪是息息相关的,甚至有研究者认为,牛粪体现了藏民族独特的人文色彩、风俗民情与生活态度等深层内涵……     

圆的歌舞 圆的文化 圆的历史

有形的圆康巴弦子敦煌15６号洞窟的一面石壁上,绘有名为‘深仪潮出行图”、“宋国夫人出行图”的晚唐壁画,其上出现了联臂踏歌,围圈起舞的舞者形象。这种长袖飘飘,绕圆而舞的舞蹈就是今天西藏人称之为“康谐”的一种藏族民间歌舞、‘慷谐”,即“康巴人跳的舞”,她的家乡就在甘孜藏区的巴塘,当地人称之为‘唱谐羌”,译称“圆圈舞”,又名“巴塘弦子”。I945年,著名舞蹈家戴爱莲女士在重庆为前来和谈的国共两党代表毛泽东、周恩来、蒋介石举办了个人独舞晚会,其中表演的第一个节目便是巴塘弦子,卜厂4年,巴塘弦子被选为中国青年代…     

花的事业是尊贵的,果实的事业是甜美的

法国著名作家雨果曾说过：＂花的事业是尊贵的,果实的事业是甜美的,让我们做叶的事业吧,因为叶的事业是平凡而谦逊的。＂＂十年树木,百年树人＂,踏上三尺讲台,也就意味着踏上了艰巨而漫长的＂育人之旅＂,教师就像那默默奉献的绿叶,时时刻刻衬托着鲜花的娇艳。我读懂了＂师者为师亦为范,学高为师,德高为范＂;它诠释了＂教师＂这两个字的全部含义。     

夭折的和成熟的

现代中国人的这些怀念文字是被污染的汉语世界中少有的财富。在这样的文字里,我们的精神在社会面前获得了胜利,一如生者对逝者的祈祷：愿他们穿过荒凉的大地,在上帝的怀里得到安宁。人生的卑微、苦难和紧张,在生与死的观照里获得了解答与回报     

新发现的列宁的文章

《扩军备战与德国国会》一文,完稿于1913年5月30日,发表在同年6月8日出版的《真理报》第130期上,署名NN。NN是何人?长期不得而知。现经考证,此文的作者就是列宁。 列宁的这篇短文谈到德国帝国主义为了重新瓜分世界,加紧进行战争准备的情况,以及统治阶级内部的矛盾。     

最好的和最坏的

现代奥运会114年历史中,我们可以轻易划出两个时期,前一个属于皮埃尔·德·顾拜旦,他是现代奥运会的创始人;后一个属于胡安·安东尼奥·萨马兰奇．正是他,把负债累累的国际奥委会变成了了全世界最有影响的非政府组织.     

海南的花海南的叶

不巧,去少雨的海南正遇上海南一年的雨季,在海南的几天,多在汽车和酒店里渡过,只能拉拉杂杂地写下一些浅浅的海南印象。 海南给我印象最深的是海南的花。 海南花多且多红艳,算得上绝美。一踏上海南的土地,无论山间田野,还是庭院楼阁,有无绿色的地方,均会看见那艳丽夺目的身影:红得发紫的三角梅,红中带粉的羊蹄甲,红中带蓝的木锦花,红中带黄的山丹丹,还有娇媚迷人的     

光明的、温暖的、吉祥的、圆满的与滋养万物的牛粪——牛粪与藏民的生活

牛粪在藏语中称为“久瓦”。在西藏．牛粪作为烧茶做饭的燃料已有上千年的历史。至今生活在雪域高原的广大藏族同胞仍将牛粪视为最佳的燃料。牛粪除了作为燃料外,在藏族日常生活中还有着特殊的用途与含义。藏族的传统生活与牛粪是息息相关的．甚至有研究者认为．牛粪体现了藏民族独特的人文色彩．风俗民情与生活态度等深层内涵……     

永恒的化石 不朽的篇章：疯狂的石头

当古生物学家发现它的时候,这只美丽的孔子鸟已经在地层里沉睡了近1.4亿年,对科学家而言,每一块化石的发现都唤醒了某个远古的生命,让它们死而复生。     

“伪满洲国”电影的历史叙述

对沦陷时期存在于中国东北地区的“满洲映画协会”及其拍摄的电影的研究,因中国、日本和美国学者的历史观和文献掌握情况的不同而呈现出较大的分歧。我们必须将满映置于日本建立的战时东亚电影统制体系之内,对日本殖民主义者推行的电影政策进行考察,对现存的电影作品进行深入的文本分析,才能认清其本质。     

Just this Once: urban Ireland in film

By focusing on the city of Dublin as both setting and character, Once, written and directed by Dublin native John Carney, portrays urban Ireland in the global context. Using a series of replacements – replacing population loss with in-migration, and replacing parochial ideals with multicultural ones – the film re-places Dublin, both representing the city it has become and providing space for continuing growth and change. For Dublin, as elsewhere, change enters as global flows of information and people become part of the city. Rather than conforming to the traditional global power of American culture, Bord Scannán na hÉireann (Irish Film Board) is striking its own global poses, producing and distributing films that construct an urban Irishness for international audiences. In my article, I examine how this award-winning Irish film constructs Irish urban identity in the face of globalism's cultural flattening.     

Arthur Simons (1877–1942) and Tonic Neck Reflexes With Hemiplegic “Mitbewegungen” (Associated Reactions): Cinematography From 1916–1919

Tonic neck reflexes were investigated by Rudolf Magnus and Adriaan de Kleijn in animals and men in 1912 and eventually by Arthur Simons, a neurologist in Berlin and coworker of Hermann Oppenheim. Simons studied these reflexes in hemiplegic patients, who were mainly victims of World War I. This work became his most important contribution and remained unsurpassed for many years. The film (Filmarchiv, Bundesarchiv [Film Archive, National Archive] Berlin) with Simons as an examiner shows 11 war casualties with brain lesions that occurred between 1916 and 1919. The injuries reveal asymmetric neck reflexes with “Mitbewegungen,” that is, flexion or extension on the hemiplegic side. Mitbewegungen is identical with Francis Walshe’s “associated reactions” caused by neck rotation and/or by cocontraction of the nonaffected extremities, for example, by closing of the fist (Walshe). The knowledge of the neck reflexes is important in acute neurology and in rehabilitation therapy of hemiplegics for antispastic positions. Simons’ investigations were conducted in the early era of increasing use of cinematography in medical studies. The film had been nearly forgotten until its rediscovery in 2010.     

Cinema’s milieux: governing the picture show in the United States during the Progressive era

The regulation of American cinema during the Progressive era was an exercise in governmentality with multiple spatial rationalities operating through networks at multiple scales. Although produced and distributed nationally, moving pictures were consumed locally. The National Board of Censorship governed movie content from New York, where most major film producers were headquartered at that time, yet it was dependent upon the activities of social reformers and officials in cities across the country in monitoring manufacturers’ compliance with its decisions. But as those correspondents often regarded the image on the screen as intimately associated with other aspects of the movie-going experience, local efforts to regulate film often went further, depending upon local concerns about spectators. This paper explores how cinema was problematized in Atlanta and Minneapolis, two regional centers with different sexual and racial politics. It does so by building on recent discussions of spatial rationalities of moral reform efforts, and in this case, how tensions between generative and vitalist spatial rationalities conspired to produce a variable geography of cinema regulation that was networked and multi-scalar, and how these experiments in regulating a new medium of visual communication began to articulate a distinctive perceptual rationality of government.     

Thinking Transition ‘From the Outside’: An Analysis of the Film De L’argentine by Werner Schroeter

The present article concentrates on the analysis of the film De l’Argentine/De la Argentina/For example Argentina (Werner Schroeter, France/Argentina, 1983–1985) as a way of access to a number of specific problems concerning the process of Argentinean democratic consolidation. It is a film that was only screened in Argentina for the first time in 2013, after a copy was found at the French Cinémathèque. Like other films produced in the context of dictatorship and democratic transition, Schroeter’s film has tended to think Argentina ‘from the outside’, that is, with a view marked by strangeness. These are documentaries which reflect upon physical and temporal distances, but, not the least, through cultural and ideological remoteness. On the basis of an analysis framed within Documentary Theory and the Sociology of Culture, this article seeks to make a contribution by way of an original perspective on a political film which, as far as we know, has not been addressed yet by Film Studies.     

REIMAGINING REPRESSION: NEW CENSORSHIP THEORY AND AFTER

Emerging from the work of Foucault and Bourdieu in particular, a powerful theoretical critique of prevailing notions of censorship and its opposite, free speech, emerged in the waning decades of the last century. The principal theoretical contribution, I will argue, of this “New Censorship Theory” has been not to overthrow the dominant liberal conception of censorship, but rather to bracket this conception as a separate and ultimately subordinate species of censorship. In this article I reexamine the development of New Censorship Theory, especially its antecedents in the Marxist critique of bourgeois civil society. In place of an exclusive focus upon state actions, newer conceptions of censorship have enshrined self‐censorship as the paradigm and have seen traditional forms of censorship as secondary to impersonal, structural forms like the market. I argue that historians' qualms about New Censorship Theory stem from concerns over this erasure of the specificity of state repressive force. Rather than simply accepting the division of censorship into a dichotomy of repressive/authoritative and productive/structural, this article argues that no strict distinction ought to be drawn. Instead, investigations of censorship in the traditional sense must incorporate the insights of newer theories to understand state censors as actors internal to communication networks, and not as external, accidental features. By investigating the intellectual trajectory of New Censorship Theory, I posit a way forward for historians to incorporate its insights while addressing their concerns.     

Cooperation is the Key: We Can Protect the Underwater Cultural Heritage

The 2001 UNESCO Convention represents the will of the international community to establish a legal instrument specific to the world’s threatened underwater cultural heritage. This article introduces its history and purpose, and the geographical distribution of ratifications. It highlights UNESCO’s facilitating role and advocacy for the Convention, and the initiatives of the ICOMOS International Committee on Underwater Cultural Heritage, the Society for Historical Archaeology, and the Advisory Council on Underwater Archaeology in support of its development, ratification, implementation, and the adoption of its Annex as a “best practices” document, even where ratification is unlikely. It provides a context for articles that follow.     

清代地权交易形式的多样化发展

There were three kinds of financial transactions involving rights of land during the Qing Dynasty: debt financing through rights of land, the direct transferring of the rights of land, and the transaction of shares. This article attempts to clarify the confusion between several types of debt financing through rights of land. Ya 押 was loan through land as guaranty and repaying the interest and capital by the rent of land or harvest. Dian 典 was loan through temporary transferring of usage rights and harvest in a certain period of time. Dang 当 referred to various types of loans which involved the rights of land. Di 抵 meant using a certain portion of land right as repayment of debt. Similar with modern financial methods, these financial transactions in the Qing Dynasty allowed peasants to preserve their possessive rights over the land and also satisfied their financial needs. The direct transactions of rights of land and repayment of debt by harvest included juemai 绝卖 (finalized sale of land), huomai 活卖 (not finalized sale of land), dianquan dingtui 佃权顶退 (sell or purchase tenancy), zhaojia 找价 (price add-on after transaction), and huishu 回赎 (redemption). The main purpose of these transactions was to protect the land proprietors as far as possible. Share transaction and co-tenancy of land also appeared in the Qing Dynasty. Such diverse financial transactions not only were substitutes of modern financing tools which allowed peasants to weather financial hardship, but also promoted the changing ownership of land which further encouraged the combination of different production elements and reallocation of resources in the land market. This paper is the research result of the National Philosophy and Social Science Fund Project “Market of land rights and the evolution of its system, 1650–1950.”     

从零售革命到消费革命:以近代上海百货公司为中心

Following the Industrial Revolution in Europe and America, the market was flooded with manufacturing goods. To promote sales, the department store that stressed a “low profit, high volume” model appeared in Shanghai. Sellers lowered prices to encourage purchases, and used rapid and high volume turnover to make up for lower profits. To speed up turnover, department stores invented various devices to increase sales, including intensive media advertising, open and comfortable store spaces, and free and attentive services. The new sales philosophy and tactics not only brought about a breakthrough in the retailing, but also reshaped consumer life and urban culture. The Shanghai department store evinced the social and cultural meaning of consumption in its building and inner design, its application of new technology, and its promotional activities and products display. A consumer lifestyle centering on the department store also remolded the Shanghai society. __________ Translated by Yang Kai-chien from Lishi Yanjiu 历史研究 (Historical Research), 2008, (5): 76–93     

Behind the form: A historical analysis of the agriculture encouragement system in the Song dynasty

Using the political culture analysis method, this paper discusses the origin, contents and functions of the agriculture encouragement system of the Song dynasty, which originated from the pre-Qin period (221–207 BC). The main content of this system in its early stage is that in the early Spring days, the king symbolically ploughed a piece of land near the suburbs of his capital in order to send to his subjects a clear message of the importance he attached to agriculture. It was expected that peasants would be encouraged by his majesty’s guidance, and thus agricultural production of the countryside would be promoted. With the rationalization of the political system since the Qin period, agricultural encouragement gradually became a routine work of the Chinese governments at different levels. Under the Northern Song dynasty (960–1127), “agricultural encouragement envoy” was added to the official rank of heads of counties and prefectures. They each were required to take the responsibility of persuading peasants in their jurisdiction to work harder in the field. The actual work as an “agricultural encouragement envoy” in the Song dynasty was to go to the countryside to reward peasants with food and wine in early February, and to write an essay to express his encouragement, and to distribute it to the peasants. Formalistic as it is, the agricultural encouragement system is a typical manifestation of the traditional Chinese political culture. As one of its social impacts on the Song society, it helped the spread of advanced agricultural technology with its institutional basis. __________ Translated from: Zhejiang Daxue Xuebao, Renwen Shehui Kexue Ban 浙江大学学报: 人文社会科学版 (Journal of Zhejiang University, Humanities and Social Science), No. 1, 2004