大清国官场“艳照门”

<正>清朝光绪年间,照相作为一件时髦玩艺,渐渐盛行起来。凡是有几两银子的,不论三教九流、公卿布衣,都喜欢照上一张像留作纪念。特别是那些贵族子弟,更是爱得入迷,甚至穿上种种不     

票据史话

正一张票据,一个时代,一段历史。从这种被称为票据或票证的纸券诞生开始,这一枚枚小小的纸张上就凝聚了许许多多人们的希望、精彩、辛酸、失意……票据实在太多,一时难以道尽。请跟随我的脚步,慢慢走近票据博物馆,慢慢走近那些时代、慢慢走近那些人、那些事。     

我在毛主席专列工作的日子

在我床前,挂着一张珍贵的照片,那是一张和毛泽东主席的合影。每当我看到它,就会想起随毛主席专列跑车的那些难忘的日子,使我沉浸在幸福的回忆中……     

三块手表

又要搬家了,家里的老物件都要清理。虽然搬进新家,房子更宽敞了,但我总还是割舍不掉这些颇具历史记忆的老物件。在老伴的再三催促下,我便逐一对那些老东西进行清理。在收拾一张旧桌子时,打开抽屉,里面整齐摆放着见证我工作和成长经历的笔记本,翻开这一本本笔记,泛黄的纸张上记载着“伟大的无产阶级文化大革命万岁”,“我国第一颗人造卫星‘东方红’上天”,     

《老年告状》告出个壁画县

一个燥热的下午,我在图书馆翻阅着那些年代久远、落满灰尘的旧报刊。在泛黄的纸页间,一张特别的画吸引了我的目光——     

投稿

周末回到父母家,找寻过去挺重要的一个记录本。老爸指指床底下说,咱家那些故纸堆都在这下面呢。我钻到床下,费劲地一连拖出四五个大纸盒子。记录本找到了,可纸盒子里的那些旧书本、旧文章却让人爱不释手,我索性搬了个马扎子,坐下来细细翻看。翻着翻着,竟然发现了一张20世纪70年代的用稿通知单。我知道老爸年轻时也是个业余撰稿人,可一直没兴趣看他写的那些电子技术方面的东西,眼下,这张泛黄的用稿通知单却引起了我     

老相机 时光机

<正>Agfa德爱克发Agfa Optima500系列,镜头Sensor1:2.8/42cm,Paratic,左手柄上弦。全自动感应相机。1966年产。1966年产德爱克发相机在170年前的法国,皇室贵族们会在太阳底下站上30分钟以得到一张自己的照片。那些     

可爱的蔷薇花

正我们小区里有户人家种了几簇蔷薇花。蔷薇初开的时候是那么生机勃勃。那些洁白的花儿就像一群可爱的白雪精灵在风中翩翩起舞;肉粉色的则像小公主,优雅中带点儿娇气;淡紫色的是细心敏感的少女,轻轻地半张着花瓣;梅红色的     

生动描写那定格的一刻

正【教材原题】家中的相册里,总有一些老照片。选取其中你最难忘的一组或一张,在描写的基础上,回忆一下:这张(组)老照片是什么时候、与什么人一起拍的?在它的背后是否记录着一些难忘的人与事?试以"老照片的故事"为题,写一篇不少于500字的作文。【写作导引】相册轻启,掀开了那些尘封已久的记忆,一张张泛黄的照片仿佛在述说着一段段美好的回忆。老照片,因为有时间的坐标,岁月的     

生动描写那定格的一刻

正【教材原题】家中的相册里,总有一些老照片。选取其中你最难忘的一组或一张,在描写的基础上,回忆一下:这张(组)老照片是什么时候、与什么人一起拍的?在它的背后是否记录着一些难忘的人与事?试以"老照片的故事"为题,写一篇不少于500字的作文。【写作导引】相册轻启,掀开了那些尘封已久的记忆,一张张泛黄的照片仿佛在述说着一段段美好的回忆。老照片,因为有时间的坐标,岁月的     

TO CATCH THE ECHO: RETHINKING ACTS OF WITNESSING TO THE SHOAH

In light of recent revelations about global ignorance and disbelief regarding the Holocaust, first‐hand testimonies acquire fresh significance. Two disparate books frame this discussion of how writings by survivors serve to deepen our understanding of the Shoah. Otto Dov Kulka's memoir, Landscapes of the Metropolis of Death, is a carefully crafted account by a professional historian who survived as a child in Auschwitz. Thomas Trezise's work, Witnessing Witnessing, is an analytical inquiry into the literary and epistemic issues that frame different genres of testimony ranging from video to poetry. Kulka's slender account is situated in the context of other works by survivors, including Saul Friedländer's When Memory Comes, Charlotte Delbo's Auschwitz and After, and a more recent work by Joseph Polak, After the Holocaust the Bells Still Ring. The emphasis in this discussion is upon the challenges that survivors face in articulating horror, especially to readers in the twenty‐first century. Trezise's more voluminous work is based upon the literary and philosophical theories of Adorno, Levinas, and Freud, among others. The question raised in this essay focuses upon which of these narrative strategies might work better to convey the complex meanings of the Shoah after the generation of survivors has departed from the historical scene. In the end, the halting words of those who went through the death camps is all we have to counter the ignorance and disbelief spreading around the world. Kulka's book, combining memories, dreams, and art works, fosters an imaginative encounter with inconceivable historical realities. Trezise's theoretical engagement with indexicality and with the phatic function of language helps us to understand the impact of testimonies within the scholarly literature. It does not, however, point a clear path toward conveying the importance of the Holocaust to the public at large. For this purpose, we need books such as Kulka's that enable the generation after the Holocaust to listen to silences embedded in survivor narratives. These silences must be carried forward in time, along with the ethical mandate not to forget the atrocities of the Shoah. If we can embrace this mission, we may be able to diminish the reign of hate running amuck today.     

去尼泊尔看古庙

<正>尼泊尔首府加德满都在形成城市之初,和其他旧城一样,对人口迅速膨胀没有准备,也未想到将来会有汽车。现在市区狭窄的街道充塞着无序的人流,机动车夹杂其     

HISTORY TO THE MAX

Steven G. Smith advocates a maximal approach to history by both historians and theorists of history, maintaining that a commitment to fullness or totality should always serve as an ideal. In my review, I try to explain what the author means by this ideal, and consider how practical such an ideal can be. He further maintains that history is mostly about shared action, and is itself an instance of shared action. I have certain reservations about this notion, though I think Smith's book deserves credit for calling attention to it.     

西行险事

当远方的风景成为无法抵挡的诱惑时,我们已经身不由己。一路奔走,激情与险情并行,沿途所遇虽无可夸耀之事,但人和车共同经受的考验丰富了旅途内容,罗列出来对同样痴迷于此的影友们也算个出行参考吧。