续志质量仍需更上一层楼

续志质量要更上一层楼,应当重视以下几点：一、明确“存史”是方志的主要功能;二、力求真实地记载历史;三、注重志书的整体性和体例的创新。     

近三十年来关于中国古代史学上“历史文学”研究的考察

自20世纪80年代初白寿彝明确提出"历史文学"的概念以来,对于"历史文学"的研究已有三十多年。文章就中国古代史学上的"历史文学"问题的相关研究,从"历史文学"意识、"历史文学"成就和"历史文学"理论三个方面进行梳理,并对"历史文学"研究的发展提出一些前瞻性的思考:"史学审美"是否可以作为这一领域传承创新的路径。     

党的第三代领导集体理论创新的时代背景和重大意义

党的第三代领导集体形成以来的十多年间,国际国内形势都发生了重大的变化,时代的发展呼唤着理论创新。"三个代表"重要思想顺应了时代的要求,回答了在新的历史条件下"建设一个什么样的党和怎样建设党"的时代课题。"三个代表"重要思想是我们党的第三代中央领导集体的理论创新成果的最高概括,是科学社会主义理论在当代中国的新的表现形式,是与马克思列宁主义、毛泽东思想、邓小平理论一脉相承的统一的科学体系。     

政法委的历史与演变

现行党委政法委员会(以下简称"政法委")是公、检、法三家的"党内领导机构",它已经存在了半个多世纪,现在应当将它放到社会主义法治建设的大背景下重新检视,以寻求新的历史定位。一、政法委的历史沿革1.政法委的历史渊源政法委制度的源头,是1946年6月,中共中央书记处批准,在"边区宪法研究会"的基础上成立"中央法律问题研究委员会",这是一个"智库"     

强化“五个意识” 着力编修精品佳志——参加广西地方志办公室主任主编培训班学习体会

编修地方志精品佳志是整体性、系统性工程。一部精品佳志应当是资料性、史料性、地域性、思想性、可读性、时代特色和地方特点突出,既能为当代人资政,又能为后人借鉴,经受住历史检验、世代相传。不仅是一个地方方志事业的一项创新成果,而且是一个地方建设社会主义文化强国战略的重要组成内容。实现编修精品佳志目标,笔者认为要着重强化"五个意识"。     

法国身体史研究的起源与方法

在"人与历史"的传统分析结构中,人是一个有接受、感知、实践和反思能力的存在,但这个结构在实际研究中具有不确定性,身体史简化了"人与历史"的分析结构,身体仅仅是一个单向度感受的存在。根据身体史的方法,"人与历史"可以拆分成"人与身体"、"身体与历史"、"人与历史"三个领域。存在主义提出的中心问题是现代人的消极处境,而身体史是历史学家对于存在主义的实证表达,也是历史学家介入现代性批判的途径。     

交通史视角的早期国家考察

<正>考察中国早期历史发展道路与文明化进程特点,不能忽略交通条件的重要历史作用。夏禹事业体现出交通进步成为国家出现的历史条件。有关"轩辕"和"连山"神话的交通史记忆,也是我们探索早期文明起源时应当注意的信息。先古圣王交通能力与行政权威的关系,同样是     

高丽政权的自称抉择、记忆筛选与中国认同

一个政权对自称的抉择,反映的是其对现实中自我的定位与认知。"高丽"尽管由"高句丽"而来,却最终变成了"朝鲜"便是由此所决定。王建最初以"高丽"为国号标榜政权的合法性,可统一之后,由于正统来自新罗,又尽力摆脱"高句丽"的记忆与身份意识,而强调自身"三韩"的属性。但有时为了某种利益,高丽人又会对"高句丽"这一历史记忆与身份意识加以利用。高丽人的自称抉择是通过对历史记忆的筛选进行的,特定政治形势下的中国认同则是其主要标准。在"历史"力量的影响与现实话语的引导下,半岛政权真的由"高丽"经"三韩"而变成了"朝鲜",成为在政治与文化上高度认同中国天子的一方诸侯。     

20世纪史家论历史文学

本文概述了 2 0世纪历史文学研究的历程 ,把 2 0世纪史家关于历史文学的观点归纳为三种 :一是强调科学性而不主张使用文学笔法 ,代表人物是陈垣、何炳松 ;二是强调历史写作的艺术性 ,代表人物是梁启超、张荫麟 ;三是既强调科学性 ,又重视艺术性 ,提出“准确、凝练、生动”的历史文学原则 ,代表人物是白寿彝。认为应当继承和发扬 2 0世纪史家在历史著述方面的优良学风     

和谐社会视野中“三个有利于”标准的再度审视

"三个有利于"标准时邓小平发展理论的重要组成部分,它创造性地运用和发展了唯物史观,是社会发展的历史尺度与价值尺度高度和谐的统一."和谐社会"的概念虽然不是邓小平直接提出的,但在其"三个有利于"标准的理论体系中已经包含了构建社会主义和谐社会经济基础的初步思想,为社会主义和谐社会的构建提供了实践基础.     

Deutsche Literatur an der Indianergrenze

The thirteenth-century Spanish poem Libro de Apolonio (LA) shares many features with other works of the cuaderna vía; among them is the frequency with which the personified figure of sin makes its appearance. One finds the word pecado in the opening scene of the LA, where the narrator says that sin, always restless, manages to stir up desire in King Antioco and makes him turn his gaze on his own daughter (6). Soon again, in reference to the same incestuous king, the narrator writes that “metiólo en locura la muebda del pecado” (26). With two early references in the LA to sinful impulses, the narrator suggests that pecado is the root cause of Byzantine-like adventures that take Apolonio across the Mediterranean world. To further underscore its importance, the author uses the word pecado in a variety of contexts a minimum of thirty-one times. Given its near omnipresence, it is essential that one consider the nature and role of sin when interpreting the work. As a window through which to view sin, this essay focuses on the hero’s status as king. If Apolonio is referred to as pilgrim on occasion, it is no less significant that the main character is referred to as king no less than thirty-five times in the work. It could be that the author wants us to bear in mind that we are not dealing with “everyman,” but with a king. By viewing Apolonio in this light, one can proceed to examine his royal performance to assess to what degree his shortcomings might be considered pecado.     

A Shared Authority: An Impossible Goal?

In this article I present a case study of the relationship betweeninterviewer and narrator to explore the process of collaborationin the production of an auto/biography. This article outlineshow the project originated and how it developed over the pastsix years. After introducing the narrator, Arthur Thickett—soldier,communist, pacifist, and writer—I explore our collaborationand identify those facets of the relationship that have beenthe most influential in shaping the interview. Michael Frisch'sprinciple of "shared authority" influenced the working process,and collaboration was an important element of the work. Thispaper discusses the effect that attempting to share authorityhad on the project, and examines the issues raised by the collaborativeprocess, such as who owns the material produced, who decideswhat material is made public, and how these decisions affectthe history told.     

THE MISSING NARRATIVIST TURN IN THE HISTORIOGRAPHY OF SCIENCE

The narrativist turn of the 1970s and 1980s transformed the discussion of general history. With the rejection of Rankean historical realism, the focus shifted to the historian as a narrator and on narratives as literary products. Oddly, the historiography of science took a turn in the opposite direction at the same time. The social turn in the historiography of science emphasized studying science as a material and practical activity with traceable and documentable traits. This empirization of the field has led to an understanding that history of science could be directly describable from scientific practice alone without acknowledging the role of the historian as a constructor of narratives about these practices. Contemporary historians of science tend to be critical of science's ability to describe its object—nature, as it is—but they often are not similarly skeptical of their own abilities to describe their object: past science, as it is. I will argue that historiography of science can only gain from a belated narrativist turn.     

Écrire la mort, écrire l’amour dans La Part secrète de Carol Bernstein

La Part secrète (1999) is the second text by Carol Bernstein, an American writer living in Paris, the first having been Le Rival invincible. This latest text exemplifies several contemporary discourses, addressing issues of disease, trauma, biography and autobiography, parentage, and testimony. Although at the crossroads of so many current debates, to date it has not attracted any critical studies. Faced with this lack, due perhaps to the brevity and apparent, but misleading, simplicity of this story, I first consider the text as a narrative about illness, relying primarily on Susan Sontag’s study Illness as Metaphor as well as Arthur W. Frank’s The Wounded Storyteller: Body, Illness, and Ethics. I then show that via writing the narrator manages to work through his feelings of loneliness, to overcome the lies that surround him and to inscribe himself within his family history. This second part of the article, which analyses the redemptive power of writing to rise above the ravages caused by an unnamed disease, is however only a fragment of the exposition because this act of writing is probably not in fact that of the narrator. It could be that of his daughter, usurping her father’s identity in an act of ventriloquism. Finally, I consider the daughter’s motivations in order better to understand how the writing of La Part secrète illuminates in a disturbing way the father-daughter relationship.     

History and theory: the paradox in Francesco Patrizi

ABSTRACT

Patrizi's Ten Dialogues on History bring the Renaissance humanist discourse on the meaning of history to a new level. First, he emphasizes narrativity as the fundamental structure of history. Then he asks for the essence of history, which hinges on the creativity of the narrator, who organizes the facts to be told. With a focus on the Third Dialogue, we see that, for Patrizi, history is elapsing time preserved beyond time and human knowledge enacted in time or reenacted in events. A theory of history shows that history is the connection between contingency and truth.     

"If I See Some of This in Writing, I'm Going to Shoot You": Reluctant Narrators, Taboo Topics, and the Ethical Dilemmas of the Oral Historian

This essay argues that in the co-creation of the historicaldocument that is the oral history narrative the oral historianmust balance sensitivity to the interviewee with the professionalresponsibility to preserve history, without abdicating the roleof trained interpreter of the past. During the course of a lifehistory interview with a lightskinned African American woman,Marguerite Davis Stewart, the authors confronted a variety ofethical concerns over the shared authority of the interviewwhen the narrator disagreed over the range of topics to be covered—specificallythe issue of racial identity—and the final product. Theauthors conclude that scholars who employ oral history in theirresearch must confront taboo but historically significant topicsthrough an open dialogue with their narrators, but that theyultimately control the interpretation of the resulting information.     

Talking about Remembering and Forgetfulness in Oral History Interviews

In this article, the author seeks to open a discussion of explicittalk about remembering in oral history interviews. He exploresways of talking about remembering and forgetfulness in oralhistory interviews and the effects of such talk on the interviewrelationship as well as on the process of recall itself. Thearticle provides examples of collaborative remembering betweenthe narrator and the interviewer, the recall of specific detailsand reports of exceptional clarity of memory as well as justificationsof faulty memory. Reported speech in oral history narrativesis considered as a clear case of constructing as opposed toremembering the past. Throughout, the author frames questionsconcerning the significance of talk about remembering and forgetfulnessfor the evaluation of the events and personal identities expressedin the oral history interview.     

Moving pictures: from ethnographic to autoethnographic documentary in the internationalization of the geography curriculum

Documentary films have often taken a pivotal role in strategies to internationalize (geography) curricula and classrooms, being used as a method of bringing the world to the classroom. These documentaries overwhelmingly take ethnographic form. Problematically, the documentary gaze is characteristically that of an outside film crew and narrator mediating relationships between the “subjects” of the documentary and the ways they are heard and seen. Yet other forms of documentary also exist, including those offering autoethnographic perspectives to viewers. Autoethnographic documentaries offer a highly promising resource for internationalization of the geography curriculum, providing careful, analytic, theoretically-informed understandings of documentarians’ own worlds – which may be in the next neighbourhood or on the other side of the planet. This paper reviews documentaries as curriculum-internationalizing learning-and-teaching resources before going on to examine the flaws of “traditional” ethnographic documentary in this endeavour. It makes the case for greater – though not necessarily exclusive – use of autoethnographic films in our work to educate global citizens and provides some preliminary resources for locating and evaluating this form of film. As such it contributes not only to critical pedagogy surrounding internationalization of the geography curriculum but also to filmic geography.     

Hugh Trevor-Roper and the history of ideas

A wave of recent publication connected to Hugh Trevor-Roper offers cause to take stock of his life and legacy. He is an awkward subject because his output was so protean, but a compelling one because of his significance for the resurgence of the history of ideas in Britain after 1945. The article argues that the formative period in Trevor-Roper's life was 1945–57, a period curiously neglected hitherto. It was at this time that he pioneered a history of ideas conceived above all as the study of European liberal and humanist tradition. Analysis of the relative importance of contemporary and early modern history in his oeuvre finds that, while the experience of Hitler and the Cold War was formative, it was not decisive.Trevor-Roper was at heart an early modernist who did not abjure specialization.However, he insisted that specialized study must be accompanied by “philosophical” reflection on the workings of a constant human nature present throughout history, a type of reflection best pursued by reading classical historians such as Gibbon and Burckhardt.Yet this imperative in turn fostered purely historical research into the history of historical writing – another branch of the history of ideas.