共查询到20条相似文献,搜索用时 15 毫秒
1.
Frederick C. Gamst 《Reviews in Anthropology》2013,42(2):226-233
R. D. Grillo. African Railwaymen: Solidarity and Opposition in an East African Labour Force. New York and London: Cambridge University Press, 1974. xi + 215 pp. Figures, tables, appendixes, bibliography, and index. $15.00 (cloth). 相似文献
2.
3.
4.
5.
困境中的菲律宾科迪勒拉水稻梯田 总被引:1,自引:0,他引:1
世界文化遗产菲律宾科迪勒拉水稻梯田位于菲律宾吕宋岛科迪勒拉山脉沿线的伊富高省,由分布在4个市的5个梯田群组成,分别为基安干市(Kiangan)的Nagacadan梯田群、洪都安市(Hungdun)梯田群、梅奥瑶市(Mayoyao)梯田群以及巴纳维市(Banaue)的Bangaan和Batad梯田群组成。 相似文献
6.
<正>提到法国,提到巴黎,第一个联想到的景物非埃菲尔铁塔莫属。埃菲尔铁塔完工于1889年4月25日,坐落在巴黎最宽阔的广场之一"战神广场",这座高324米的镂空结构铁塔直到100多年后的今天,也依然被看作一个建筑上的奇迹。虽然其"世界最高建筑"的称号仅仅保持了45年,并且现在被越来越多的摩天大楼超越,但是其结 相似文献
7.
9.
Ingela Nilsson 《Symbolae Osloenses / auspiciis Societatis Graeco-Latinae》2016,90(1):180-204
Building on the classical tradition, which was strongly emulated in the Second Sophistic, Lucian used the katabasis motif (as we know it from, e.g., the Odyssey’s book 11) and staged various meetings in Hades. These Lucianic encounters were later rewritten by Byzantine authors who adapted them in order to express comical, critical, or subversive approaches towards power structures. In the present article, special focus will be placed on twelfth-century Byzantium and the anonymous dialogue Timarion. It is argued that the author of the Timarion used the Second Sophistic tradition of Lucian in order to discuss contemporary questions of the Greek literary and rhetorical heritage. He created a fictional space that displayed ancient learning and allowed discussions of contemporary culture in a textual parody with satirical functions. 相似文献
10.
Adam Ashforth 《Australian journal of political science》1988,23(1):103-107
Sandra T. Barnes, Patrons and Power: Creating a Political Community in Metropolitan Lagos, Manchester University Press for the International African Institute, 1986, pp.261. $128.00 (cloth).
Patrick Chabal (ed.), Political Domination in Africa: Reflections on the Limits of Power, Cambridge University Press, 1986, pp.211. $33.50 (paper).
Preston King, An African Winter, Harmondsworth, Penguin, 1986, pp.249. $9.95 (paper).
John Sender and Sheila Smith, The Development of Capitalism in Africa, London, Methuen, 1986, pp.177. $27.95 (paper).
Robert Williams, Political Corruption in Africa, Aldershot, Gower, 1987, pp.145. £18.50 (cloth). 相似文献
11.
12.
13.
14.
夕阳是诗歌可常见的典型意象。而伤时则是夕阳意象所呈现的诗人的一种独特的情感心理。这种伤时情结在英诗中表现为死之将至,却并不悲观;在中诗中则表现为羁旅别愁,家国天下。探讨诗歌中夕阳意象的伤时情结,不仅能深刻理解作品内容,亦将有助于深刻理解其艺术内涵和化内涵。 相似文献
15.
陈恩维 《古籍整理研究学刊》2010,(5)
南园五先生,是指元末明初于广州南园结社的地域诗人群体。他们是岭南诗派的开创者。有关他们的生卒年,众多文史工具书和论着或者不做考证,或者歧义颇多。笔者近年因对南园五先生作专题研究,读到了一些新材料,考订补证了五人中孙蕡、王佐、黄哲、赵介的生卒年。 相似文献
16.
《The Journal of Pacific history》2012,47(2):183-199
Francis and Elizabeth Sinclair and their six children migrated from Scotland to New Zealand in 1840. Francis died there in 1846 and in 1863 Elizabeth resettled her, by then expanded, family in Hawai'i. There they bought the island of Ni'ihau and prospered as ranchers and planters, especially after the 1880s under the family name of Robinson. The early history of the family, up to the 1860s, has been often told, but never completely and often inaccurately, and is contained in two distinct historiographic traditions. This essay attempts to set the record straight by providing an extensive body of detailed, accurate information about the Sinclairs, and to discuss these two traditions. The older and more reliable New Zealand one presents the Sinclairs as hard-working pioneer settlers. The Hawai'ian tradition, in contrast, deriving from an oral record passed on by Francis and Elizabeth's daughter Anne, was dominated by elements of 'family romance'. It presented Francis as an heroic naval captain in the Napoleonic campaigns, making him a mythical ancestor befitting a family that had risen in the world. A more matter-of-fact treatment, though, has prevailed since 1988. 相似文献
17.
本文从敦煌诗歌残卷中,特别是敦煌诗人的诗歌中抽绎出关于敦煌风貌的线索,力求更加客观地分析敦煌的地理环境、风云变幻、异域风光、民族风情等,从而对敦煌的地域文化风貌获得一定的认识。 相似文献
18.
19.
《怎样阅读一首口头诗歌》一书的核心要义,是向读者受众揭示诗歌创作和“阅读”的不同方式。我们将通过以下三方面的努力以成为更好的受众(alldience):1.尽可能地开阔视野;2.认识到口头艺术种类的多元性;3.重新思考关于诗性交流最为基本的假设。 相似文献