聚焦蓬莱 造船故事 女摄影家京鲁船业采风作品选登

<正>2012年夏天,百余名中国女摄影家来到蓬莱中柏京鲁船业有限公司,将镜头对准生产中的船舶和忙碌中的船厂工人。焊花飞舞,工人们把坚硬的钢板和钢支架融化,造就船的龙骨、甲板、外壳……一艘艘的大船从这里诞生,准备接受江海河流的检验。拍摄之余,女摄影家们也频频向船厂工人们问好,在他们小憩的时候和他们聊天,了解他们的工作、生活情况。尽管当天的气温到达32摄氏度,但工人兄弟们依然在镜头前流露着笑容。这次采风是"中国百名女摄影家走进蓬莱摄影采风暨研修     

The life cycle of bronze age metalwork from the Thames

The high proportion of Bronze Age metalwork found in the Thames has aroused interest for many years, but all too little is known of the circumstances in which this material was deposited. Much of it is weaponry, but there are finds of tools as well. This paper examines the material found upstream of Teddington and considers its treatment before it entered the river. A high proportion of the artefacts had been used and some of them deliberately destroyed. There are marked variations in the selection and treatment of these artefacts along different lengths of the river and in different periods of the Bronze Age, but it seems likely that the proportion of fine metalwork that was deliberately damaged before it entered the river increased sharply over time.     

Bronze Age Field Systems in the Thames Valley

In the last two decades excavation along the River Thames has shown the remarkable survival of Bronze Age field systems. A managed farming landscape emerged in this lowland area during the Middle Bronze Age and continued to develop until the end of the Late Bronze Age. In the latter period the field systems were divided into several regional groups in each of which there was a high status settlement and a concentration of river metalwork. They provide evidence for a predominantly pastoral economy in the Thames Valley on a scale which may have supported an increasingly hierarchical society. Settlements and field systems were abandoned during the Late Bronze Age, and by the Bronze Age–Iron Age transition new sites were largely confined to the extreme upper reaches of the Thames, an area which had been peripheral to the alliance and exchange system that had operated downstream.     

Cubism and the Fourth Dimension

This article revisits the historiography of Cubism and mathematics, with a particular focus on Pablo Picasso's uses of geometry at the end of the first decade of the twentieth century. In particular, I consider the artistic appropriation of the concept of the fourth dimension, and its pictorial uses as a conduit for a conceptual reformulation of pictorial space. I investigate Picasso's distinctive adoption of this geometric framework in relation to one of his 1909 experiments across painting and photography, and advocate the possibility of drawing novel historiographical lessons from Picasso's work — lessons that bring the historiography of Cubism in a closer dialogue with recent debates in the historiography of science. I conclude with an appeal to consider the continued relevance of this past experiment in art and science when assessing the contemporary drive toward art-science collaborations, and use the case of Cubism and the fourth dimension as a springboard for a critical reflection on the future directions of art-science collaborations.     

新四军的公共关系及其历史作用

抗战期间,新四军开展了全方位的公关工作.对内,从物质上关心将士的生活,从精神上鼓舞其抗日斗志,优待抗属;对外,密切联系群众,广交朋友,开展国际公关等.公共关系增强了新四军的凝聚力,提升了新四军的战斗力,扩大了新四军的知名度和美誉度,塑造了新四军的良好形象,优化了当时的社会互动环境和社会心理环境.