幕后人生亦如戏 泉州、晋江、漳州木偶剧团传承故事

<正>挑灯夜战为汇演对于泉州、晋汀和漳州木偶剧团的第一印象,记者都是从观看三个剧团紧张的汇演节目排练产生的。剧场中锣鼓声一齐奏响,三米高台上的十来个演员排成一列,俯身操纵着各自的提线木偶,自如地在高台上逆时针走动。在他们身下灯光照亮的舞台上.小木偶们从两侧幕布后鱼贯而出,手舞足蹈。台上正在排练的是重新编排的传统剧目《卢俊义》,泉州市木偶剧团打算以此剧目参加马上来临的福建省文艺汇演。在同一时间,晋江市掌中木偶艺术保护传承中心和漳州市木偶剧团也在排练着各自的剧目,晋江已经排练完毕,开始练最后的谢幕,而漳州则在最后打磨一些技术和音乐细节。     

The man behind the syndrome: Sigvald Refsum

The authors attempt to solve the enigma about the possible aphasia of the Byzantine Emperor Manuel II Palaeologus (1391–1425) in the 3-year period between his first and his second and fatal stroke. The texts of historians and chroniclers reveal that Manuel remained semi-paralyzed at bed and his motor disability alienated him from the state affairs and condemned him to isolation from all embassies and contact with others, except his family. Only the funeral oration of the Bishop Bessarion raises the suspicion of a speechless emperor. All testimonies referring to this infirmity are examined.     

Miniature dissonance and the museum space: reconsidering communication through miniaturisation

Miniature objects from non-European contexts have ideological elements which are often overlooked in the museum space because their small size and iconic relations make them difficult to accurately interpret and disrupt curatorial efforts to impose meaning upon them; a situation I term miniature dissonance. This article will examine this phenomenon using three related case studies featuring miniatures from the Northwest Coast of North America. It will consider what might have been misunderstood in these objects and what they might originally have been intended to achieve, followed by an example from a recent Ancient Egyptian exhibition which demonstrates that this problem is both more widespread and problematic than is often recognised. These miniatures disrupt curatorial intentionality in the museum space, and it is only by carefully considering their origins and affordances that they can be adequately and accurately interpreted and displayed.     

田中古城背后的楚与百越

江西萍乡的田中古城至少历经西周、春秋两个时期,其考古学文化背景是江西印纹陶文化。虽然该城的国属难以考订,但其族属应与百越相关。该城的衰落,很可能是楚国南侵所致。城址的废弃或将楚国势力跨过长沙向南发展并进至株洲、澧陵一线的时间确立在公元前550年前后。该城址是春秋时期楚文化与百越文化接触与融合的见证。     

苏联瓦解的文化因素

在苏联存在的74年间,苏联共产党带领苏联人民建设社会主义曾经取得举世瞩目的成就,但是执政的苏共未能始终坚持列宁倡导并身体力行的理论创新精神,在文化建设上发生了重大失误：因背弃马列主义使全党全民失去了精神支柱,文化力转向;民族主义和宗教极端主义的出现,使维系国家统一的文化力散向;社会道德严重恶化,人民不再相信共产党和政府,使文化力弱化。三种力量结合在一起导致苏共领导下的改革走上了一条不归路。