三岛由纪夫美学观的形成和变异

三岛由纪夫是一位非常复杂的作家,其作品中表现出的男性之美以及健壮的肌肉,大海的波涛和南国的太阳等象征性描述,往往使读者感到迷惑,尤其是晚年的政治表现和切腹自杀的那幕闹剧,要使得学界围绕其人和其美学观长期争论不休,本文试图从病迹学的角度解释这位作家美学观的形成和变异。     

Partisan identity in the French civil war, 1405–1418: reconsidering the evidence on livery badges

This article examines the efficiency with which John the Fearless used his personal badges during his conflict with Louis of Orleans and the Armagnacs, and questions current thinking on the relationship between the emblems of both parties. As early as 1405, he began distributing emblems that corresponded directly to his ideology: first the carpenter's plane, and from 1410 onwards, his mason's level, two symbols that were representative of his platform for reform. In August 1411, his urban supporters in Paris and elsewhere began wearing crosses of St Andrew, his patron saint, as a means of identifying themselves as Burgundian partisans. This study argues that in making a conscious decision to link his symbols to his ideology, and in making them available to his vassals and urban supporters alike, John the Fearless forged a strong Burgundian community that transcended social barriers. In so doing, he also manufactured an Armagnac anti-community, a tangible entity against which his partisans' animosity was directed from 1411 onwards. As badges of allegiance, the symbols helped fuel a war that had, thus far, remained a private conflict between the princely houses of Burgundy and Orleans.     

Partisan identity in the French civil war, 1405–1418: reconsidering the evidence on livery badges

This article examines the efficiency with which John the Fearless used his personal badges during his conflict with Louis of Orleans and the Armagnacs, and questions current thinking on the relationship between the emblems of both parties. As early as 1405, he began distributing emblems that corresponded directly to his ideology: first the carpenter's plane, and from 1410 onwards, his mason's level, two symbols that were representative of his platform for reform. In August 1411, his urban supporters in Paris and elsewhere began wearing crosses of St Andrew, his patron saint, as a means of identifying themselves as Burgundian partisans. This study argues that in making a conscious decision to link his symbols to his ideology, and in making them available to his vassals and urban supporters alike, John the Fearless forged a strong Burgundian community that transcended social barriers. In so doing, he also manufactured an Armagnac anti-community, a tangible entity against which his partisans' animosity was directed from 1411 onwards. As badges of allegiance, the symbols helped fuel a war that had, thus far, remained a private conflict between the princely houses of Burgundy and Orleans.     

Hallucinations and pathological visual perceptions in Maupassant's fantastical short stories--a neurological approach

Maupassant excelled as a realist writer of the nineteenth century, with fantastical short stories being an outstanding example of his literary genius. We have analysed four of his fantastical stories from a neurological point of view. In "Le Horla," his masterpiece, we have found nightmares, sleep paralysis, a hemianopic pattern of loss and recovery of vision, and palinopsia. In "Qui sait" and in "La main" there is also an illusory movement of the objects in the visual field, although in a dreamlike complex pattern. In "Lui," autoscopy and hypnagogic hallucinations emerge as fantastical key elements. The writer suffered from severe migraine and neurosyphilis involving the optic nerve, which led to his death by general paralysis of the insane (GPI). Visual loss and visual hallucinations affected the author in his last years, before a delirant state confined him to a nursing home. Our original hypothesis, which stated that he could have translated his sensorial experiences coming from this source to his works, had to be revised by analyzing some of his earliest works, notably "Le Docteur Héraclius Gloss" and "La main d'écorché" (1875). We found hallucinatory symptoms, adopting the form of autoscopy and other elaborated visual misperceptions, in stories written at age 25, when Maupassant was allegedly healthy. Therefore, we hypothesize that they may be related to his hypersensitive disposition, assuming that no pathology is necessary to experience such vivid experiences. In addition, Maupassant's abuse of drugs, as illustrated in "Rêves," could have provided an additional element to outline his painstaking visual depictions. All these factors, in addition to his up-to-date neurological knowledge and attendance at Charcot's lectures at "La Salpêtrière," armed the author for repetitive and enriched hallucinatory experiences, which were transferred relentlessly into his works from the beginning of his career.     

从《味水轩日记》、《六研斋笔记》看李日华绘画史观之转变

明代书画家、收藏家李日华没有象董其昌那样用明晰的语句来概述他对绘画史的整体认识,但从李日华《味水轩日记》、《六研斋笔记》等著作对绘画作品的品鉴中,仍可看到他对绘画史有一个自成体系的把握和理解。本文试图将李日华现存著述、题跋中有关绘画的品鉴和个人认识汇集起来,从而勾勒出李日华的绘画史观念。     

Hallucinations and Pathological Visual Perceptions in Maupassant's Fantastical Short Stories- A Neurological Approach

Maupassant excelled as a realist writer of the nineteenth century, with fantastical short stories being an outstanding example of his literary genius. We have analysed four of his fantastical stories from a neurological point of view. In “Le Horla,” his masterpiece, we have found nightmares, sleep paralysis, a hemianopic pattern of loss and recovery of vision, and palinopsia. In “Qui sait” and in “La main” there is also an illusory movement of the objects in the visual field, although in a dreamlike complex pattern. In “Lui,” autoscopy and hypnagogic hallucinations emerge as fantastical key elements.

The writer suffered from severe migraine and neurosyphilis involving the optic nerve, which led to his death by general paralysis of the insane (GPI). Visual loss and visual hallucinations affected the author in his last years, before a delirant state confined him to a nursing home. Our original hypothesis, which stated that he could have translated his sensorial experiences coming from this source to his works, had to be revised by analyzing some of his earliest works, notably “Le Docteur Héraclius Gloss” and “La main d’écorché” (1875). We found hallucinatory symptoms, adopting the form of autoscopy and other elaborated visual misperceptions, in stories written at age 25, when Maupassant was allegedly healthy. Therefore, we hypothesize that they may be related to his hypersensitive disposition, assuming that no pathology is necessary to experience such vivid experiences. In addition, Maupassant's abuse of drugs, as illustrated in “Rêves,” could have provided an additional element to outline his painstaking visual depictions. All these factors, in addition to his up-to-date neurological knowledge and attendance at Charcot's lectures at “La Salpêtrière,” armed the author for repetitive and enriched hallucinatory experiences, which were transferred relentlessly into his works from the beginning of his career.     

Yellowstone embodied: Truman Everts' ‘Thirty-seven days of peril’

In September 1870, explorer Truman C. Everts, a member of the Washburn-Doane expedition to the then little-known region of the Upper Valley of the Yellowstone River, became separated from the main party and found himself without his horse and supplies alone in the ‘wilderness’. Everts spent 37 days struggling to effect his escape from his life-threatening predicament before being rescued by a two-man search party. The news of his separation, conjecture as to his possible fate, and reports of his subsequent rescue caused a sensation both locally and nationally and consequently earned celebrity for Everts and, crucially, for the place where the calamity occurred. Drawing on Merleau-Ponty's phenomenology and non-representational work in cultural geography which explores the relation between self and world, body and landscape, this article revisits Everts' 1871 account of his ‘perilous’ misadventure to consider how his encounter with Yellowstone was embodied and, through its retelling, ultimately became inscribed on the place itself.     

A Case of Murderous Sensibility: James Hackman,Interiority and Masculine Agency in Late Eighteenth‐Century England

After murdering Martha Ray in April 1779, James Hackman enjoyed an improbable media celebrity that rested largely on his ability both to embody and complicate the performative conventions of the late eighteenth‐century discourse of sensibility, which tied virtue to its embodied visibility. Supporters who lauded Hackman, but wanted to conserve his and their own moral agency, disentangled his character from his crime by attributing to him an interior space in which that character resided. Thus, while spectators delighted in the way that Hackman's sensible body registered his anguish at Ray's death, they could also paradoxically insist that his true intentions were hidden inside that suffering body, uncoupled from his violent deed. Such attributions of interiority helped to conserve both Hackman's masculinity and his agency by distinguishing his body from feminine bodies whose lack of such interior space rendered them vulnerable to a disordered and hysterical sensibility. The rhetorical energy devoted to defending Hackman provides a valuable case study of the ways that reconciliation was sought in the late eighteenth century between masculinity and agency within the discourse of sensibility and suggests that the differential, gendered distribution of interiority helped assuage fears about feeling's feminising potential.     

Metamorphosis: The Making of Daniel Guérin, 1904–1930

This article explores the early years of Daniel Guérin (1904–88), who from the 1930s onwards became known as a leading revolutionary socialist and campaigner for decolonisation, antimilitarism and homosexual liberation. It examines the ‘making of Daniel Guérin’ in two senses: (i) his transformation from a son of the grande bourgeoisie into a workerist revolutionary and anti-imperialist; and (ii) Guérin's own retrospective representation of his early years through his autobiographical works, as well as interviews. Based on a close reading of these sources, his two novels as well as his private papers and other archival material including police reports, it provides fresh insights into the formative influences on his ideological development. Rather than focusing exclusively on the influence of his liberal, Dreyfusard family, or the impact of his relationships with working-class men or his experiences of colonial realities, it brings to light the influence on him of Tolstoy and of Gandhi, an influence which would inform a strong ethical core in his libertarian conception of socialism. The article also argues that despite the apparently protean nature of his political itinerary, there was in fact always an underlying ideological consistency to Guérin's libertarian Marxism.     

Gregor Mendel: the genius of genetics

Abstract

'The Genius of Genetics', an exhibition celebrating the work of Gregor Mendel through science and art, opened in Brno on 21 May 2002 at the Abbey of St Thomas, where Mendel lived from 1843, becoming its Abbot in 1867. The exhibition is intended to be the first step in a larger programme to reestablish the abbey as a centre for life sciences, and its opening was accompanied by a major international conference on 'Genetics after the Genome'. This essay traces Mendel's intellectual development through his education in Vienna, his meteorological and astronomical studies, and his seminal experiments in plant breeding which at the time went unnoticed but fifty years later formed the foundations of classical genetics. The question is asked how it was that Mendel, an Augustinian friar in an out of the way abbey in Moravia, was able to make his momentous discovery. It is suggested that his was the most singular career of any of the great scientific innovators, and that his genius derived from his commitment to natural philosophy in the old sense, from his application of experimental techniques from the mathematical sciences to subject matter situated firmly in the natural sciences.     

Pierre Bourdieu: from ‘sociologue de la domination’ to ‘sociologue des dominés’

While Pierre Bourdieu's reputation as a sociologist is internationally recognised, the more explicitly political aspects of his thought and life are less well known. This is in part because he operated primarily as an academic, eschewing polemics and, as can be seen from his early publications on Algeria and on education, employing scientific sociological method to analyse and inform. However, from the 1980s, Bourdieu started to become more obviously involved in things political, starting with his support for Coluche in the 1981 presidential campaign and his denunciation of state repression in Poland. In the 1990s, Bourdieu became still more overtly political. This is evident, for example, in La Misère du monde (1993), in his work highlighting the situation in Algeria, his much publicised opposition to neo‐liberalism in general and in his support for the 1995 mouvement social in particular. All these later political prises de position were, Bourdieu insisted, underpinned by his work as a scientific sociologist.     

Newman and his Audiences: 1825–1845

This article examines Newman's communication with others in a variety of modes. It suggests there was a deliberate underlying theme of preaching in whatever he did, not only from the pulpit, where his skills were famous, but in virtually all his other forms of discourse, from letter-writing to his setting up of the "retreat" at Littlemore. He used whatever means were available, including marketing and journalism as well as scholarly work, to bring a concept of public witness to his mission. His social life, as evidenced in his generally scrupulously kept appointments diaries, is analysed to demonstrate that it too was part of his holistic approach. The suggestion is that Newman was much more aggressive and publicly aware than is generally recognized and that he combined an intense personal internalizing with active public performance in a wide range of spheres.     

Ruodlieb VIII, 103

The essential question in this article is why Cyprian chose to suffer martyrdom sub Valeriano and not sub Decio eight years earlier. In his letters Cyprian defended what he called his withdrawal from the persecutors by referring to his obedience to God but also to his responsibilities as a bishop. It is claimed that Cyprian both in 250 and 258 acted as a patronus for his congregation, his behaviour being typical of an aristocratic pattern of behaviour.     

War and Revolution: Friedrich Engels as a Military and Political Thinker

This article explores the link between political and military strategy and tactics in the work of Friedrich Engels. Though widely praised for his understanding of military affairs, Engels’ interlocutors have tended to be dismissive of his political works. By exploring his politics through the lens of his military writings this article challenges the view that Engels was a mechanical materialist and political fatalist thinker. It argues that his military writings cannot be understood apart from his political works, and that, whatever the historical limitations of the specific conclusions to which he came, his method in these writings illuminate his profound grasp of the relationship between strategy and tactics at both the military and political levels.     

“Art is a Sincere Martyrdom”: Circumventing Censorship by Encryption in the Work of Alireza Espahbod

This paper focuses on various aspects of Alireza Espahbod’s style of painting that encrypt his work. The period considered is from the just after the Iranian revolution until the artist’s death in 2007: in these years censorship had become severe, resulting in banning prohibition on his work being exhibited. Apart from the striking symbols that recur throughout his work, it is noticeable that he favors certain visual metaphors for encryption of humanitarian and satirical meanings. The discussion also focuses on the ways in which sequences of his individual paintings create narratives, like scenes in a play or a film. Unlike some preceding modernists, Espahbod is firmly rooted in his Iranian cultural milieu, and is in a line of artists who have used surrealism, beginning with Sadegh Hedayat in the modern literary world. He also follows a much older tradition that goes back to classical poetry and miniature art, in which image and word coalesce and are interchangeable, and where literature and visual art reflect one another. He uses these older techniques to comment allusively on the dramatic events and conditions of his own time. It is argued that his work amounts to more than that of an artist who merely fought against censorship, as his art rises above it and responds to it with a positive message for his audience.     

The Chief I Knew

Chief Justice William Hubbs Rehnquist died with his boots on. Those boots came each from his native Wisconsin and his adopted Arizona, and he loved them both. He worked until the end, but the enormous importance of his work did not detract from his other interests and talents, and it cannot begin to reflect his personality. This essay does not address his jurisprudence; rather, it is a collection of some personal memories that describe an admirable character whom I, and nearly everyone else, found to be most enjoyable company. Bill Rehnquist was one of the most thoughtful, considerate people I've ever known. He was a humble man with great good humor, and he was, to the very end, a man of surprises.     

Politician or Poet? The 6th Lord Byron in the House of Lords, 1809–13

Lord George Gordon Byron, 6th Baron Byron of Rochdale, is known internationally as, perhaps, the most famous Romantic poet of his generation. His work continues to be read across the globe. As a peer (succeeding to the title following the death of his great uncle, the 5th Baron Byron, in 1798) he was entitled to a seat in the Lords, and this article covers the period during which he was active in the House. He took his seat in 1809, but most of his work in the Lords took place between early 1812 and the summer of 1813. Thereafter, his financial troubles, his stellar literary career, and his personal problems, led him to spend little or no time in the House, and he lived abroad between 1816 and his death in 1824. In 1812, before he had become known for his poetry, except among a small London elite, he began actively to cultivate a political career, and he made his maiden speech on the Framework Knitters Bill in 1812. Byron was a prolific letter writer, and from his published correspondence as well as other sources of contemporary information, it is possible to document his growing career in the upper House, and to see how a young peer might make his way into politics in the absence of a particular sponsor.     

Kang Youwei and Confucianism in Canada and beyond, 1899–1911

ABSTRACT

Based on the new discovery of two of Kang Youwei’s writings composed in Canada in 1899, this article expands the historical research concerning his Confucian religious thoughts and movement within the Canadian context and the period of his overseas exile in 1899–1911. The article first focuses on Kang’s continual pursuit of Confucian religious cosmopolitism from China to Canada, especially his efforts to disseminate Confucianism overseas and to develop a new utopian vision that called for the removal of religious boundaries among human beings worldwide. Its second focus is on Kang’s use of Canada as both a starting point and a turning point in his search for the Confucian State Religion. He consequently sought to develop a conservative nationalism from traditional Chinese culture and through a utilitarian adoption of Christian institutions and Western cultures. The analysis of both Kang’s pursuit of Confucian religious cosmopolitism and his search for the Confucian State Religion reveals their positive and negative impacts on his reformist movement that affected Canadian Chinatowns and on the broader Chinese diaspora from 1899–1911. Kang’s promotion of Confucianism in Canadian Chinatowns and the Chinese diaspora in addition had implications for the failure of his religious movement in the early Republican Period.