Writing for Immediacy: Narrative Writing as a Teaching Technique in Undergraduate Cultural Geography

Narrative inquiry is an innovative means of encouraging students to internalize concepts, reflect on experiences or create applications for theoretical ideas. The use of first-person creative writing in a second-year cultural geography course prompted initial scepticism from students but eventually highlighted their constructivist engagement with course concepts. Despite a number of ethical, evaluative and moral dilemmas, encouraging the use of creative writing as a form of narrative inquiry allowed students to tell their stories so that they were valued and connected to wider disciplinary concepts.     

Emplotment as Epic in Archaeological Writing: The Site Monograph as Narrative

To emplot a narrative as epic is to present a story of vast scope and multiple plots as a legitimate member of a tradition of other such stories. This article argues that emplotment as epic is the broadest of three levels of plot in archaeological writings. At that level, the site monograph emerges as a characteristically archaeological form of narrative, fundamental to archaeology as a discipline and a source of chronic anxiety for archaeologists. The ‘stories’ told in site monographs are epic in length, diversity of materials covered and multiplicity of themes, plots and authors. Indeed, the more complexities of that sort the better, since those are features that help to emplot the work as good archaeology.     

山水文笔任君行——编修旅游志之探索

文章介绍了第二轮旅游志编修的办法：1．巧用动词写景的险峻;2．巧用视角写景的秀美;3．巧用状物写景的神奇：4．巧用比喻写景的神韵。运用上述记述方法,把景物描绘得栩栩如生,从而达到把景点写真、写活、写美的目的。     

作为民间写经和礼忏仪式的维摩诘信仰

本文通过大量敦煌文物,从写经和礼忏仪式等方面,对民间的维摩诘信仰进行了考察,着重讨论了它不同于知识阶层的信仰特点。认为：维摩诘信仰在民间形成追求功德、广植福田的一般特征,迥异于当时士大夫阶层精密深微的义学佛教及僧伽阶层实践禅修的佛教。在民间,维摩诘一直被中国民众作为一位救苦菩萨来崇信的,其效验等同观音、药王等神祗,反映了中土庶民佛教信仰的多样性和渗透性。这一特征不仅表现在大量民间写经的题记中,亦表现在用于礼忏仪式的启请文、患文及维摩变相之中。     

Writing the First Draft of History: Anthony Lewis as Supreme Court Correspondent

The legendary Washington Bureau Chief and columnist of The New York Times , James Reston, with a push from Felix Frankfurter, decided that the paper of record would have its own correspondent specializing in the Supreme Court. ¹ With his eye for excellent young talent, ² Reston chose Anthony Lewis, already a Pulitzer-Prize winner before his thirtieth birthday, ³ and sent him to Harvard for the 1956–57 academic year as a Nieman Fellow to study law.     

浪下三吴求庄重 云横九派自飘逸——谈概述的体式、文风与写作

文章认为概述体裁的形成经历了六个阶段;首轮志书概述体武名称五花八门,应当庄重统一;概述的文风不同于记、志、传,可以使用述而有作的“快笔”和述而有论的“论笔”,注重文采,注重叙事,适当运用赋比兴等修辞手法;同时概述写法上要继承叙故事的史家法度。     

是"编"还是"编纂"

首轮志书和第二轮志书的大多数都在封面(护封)上署有"××地方志编纂委员会编",也有署"××地方志编纂委员会编纂"和"×××地方志编纂委员会"的."编"有编辑之义,指"对资料或现成的作品进行整理、加工".而"编纂"也有编辑之义,但多指资料较多、篇幅较大的著作.从地方志编纂的复杂程序、繁多的劳动和浩大篇幅看,非一"编"字所能涵括,应标明"编纂"二字.再者,标"编"容易把地方志理解成编辑作品,即汇编作品,而地方志是科学资料性著述,为避免误解,也以标"编纂"为好.     

漫话彩笺

一、形制 认识彩笺的第一步,是了解它的形制。不过,这样做的时候,我们会遇到一个不小的障碍：现存的绝大部分明清尺牍,几乎都经过了藏家的装裱甚至裁切,因此已不能完全反映笺纸的原貌了。要搞清它们原先的模样,需要分辨装裱前后不同的痕迹,做些推测。     

漫话彩笺（六）

第五章画笺：山水与人物一、山水山水笺明代格外少见,《钱镜塘藏明代名人尺犊》中仅得嘉靖曹金一札（册三,另杨一清一札则为人物的背景点缀）。明清易代之时,短版笺如彩云轩制“初升月”等套笺,虽小品而风气为开。上海图书馆藏姚鼐手札,作楼阁图,亭台回廊,为工笔界画,     

漫话彩笺（四）

笺纸上用花纹衬底,最直接的办法是通过染色,这在第一章里已经做过介绍,本章要谈的,是雕版刷印在笺纸上的花纹。     

漫话彩笺（七）

第六章 文人制笺及其他 自制诗笺虽创自女诗人薛涛，但“薛涛笺”之名却出自他人。元代的赵孟，“摩靖节像，其纸亦松雪斋自制笺，粉中隐起八分书‘子昂’二字”，才正式开了后代文人自制名号笺的先河。