聚焦盘锦 了解斑海豹的秘密

<正>对于斑海豹的了解,许多人都是从海洋水族馆得到的,那憨态可掬的萌宠样子,聪明伶俐的表演天赋,确实招人喜爱。可是,野生斑海豹的真正家园在哪里?它们又是怎样生存和繁衍的呢?今年首届"八仙过海杯"全国水生野生动物保护摄影大赛在辽宁省盘     

Re(ge)ndering Gender(ed) Studies

McAuslan, Ian and Walcot, Peter (eds) Women in Antiquity Archer, Leonie J., Fischler, Susan and Wyke, Maria (eds) Women in Ancient Societies: ‘An Illusion of the Night’ Hawley, Richard and Levick, Barbara (eds) Women in Antiquity: New Assessments Richlin, Amy (ed.) Pornography and Representation in Greece and Rome Sorkin Rabinowitz, Nancy and Richlin, Amy (eds) Feminist Theory and the Classics Reeder, Ellen D. Pandora: Women in Classical Greece     

世界水族馆 科尔特斯海

正世界水族馆大约500万年前,频繁的地震和火山活动撕裂了墨西哥大陆的西部,形成了加利福尼亚半岛和本土间的巨大鸿沟,太平洋海水灌入,从而产生了如今的科尔特斯海(Sea of Cortez),又叫加利福尼亚湾(Gulf of California);持续的火山喷发形成了科尔特斯海中诸多的小岛。墨西哥征服者埃尔南·科尔特斯听闻这座海域的岛上遍地黄金,海里到处是珍珠,于是派遣了弗朗西斯科·乌略亚前去勘探,结果自然是没有找到珍宝,不过乌略亚还是用他上司的名字——科尔特斯命名了这片海域。     

“邛”“江”考辨

江、黄是周代南土地区相邻的两个嬴姓诸侯国,古书亦常并称,如《左传》僖公二年:"秋,盟于贯,服江、黄也。"僖公五年:"楚斗谷于菟灭弦,弦子奔黄。于是江、黄、道、柏方睦于齐,皆弦姻也。弦子恃之而不事楚,又不设备,故亡。"江在今河南省正阳县东南、息县西南一带(2),周襄王二十三年(前623)灭于楚。     

北周宇文俭墓清理发掘简报

北周宇文俭墓位于陕西省咸阳国际机场新建停机坪西南部，东跑机场候机楼２００余米，南距机场东西公路２５０余米。１９８６年至１９９０年，机场建设初期，在宇文俭墓东发现有王德衡墓、王士良墓、若干云墓、独孤藏墓，在其东北有尉迟运墓，西北有叱罗协墓等①，总计十余座。１９９３年１２月，机场在候机楼西侧建设停机坪时又发现了宇文俭墓，陕西省考古研究所随即派人对其进行了抢救性清理发掘，现将发掘情况简报如下： 一、墓葬形制 宇文俭墓为一斜坡式带天井土洞墓。墓总长５０、深１１米。由墓道、过洞、天井、南道、墓室几部分组成（…     

伏虎罗汉、行脚僧、宝胜如来与达摩多罗——11至13世纪中国多民族美术关系史个案分析

本文从分析宁夏贺兰山山嘴沟所见伏虎罗汉入手,梳理了汉藏罗汉图像的差异,重点考察了藏传佛教罗汉中伏虎罗汉、布袋和尚与达摩多罗图像的来源。作者认为,达摩多罗名号与图像的形成与吐蕃禅宗、禅宗保唐派、唐五代行脚僧及其变化的宝胜如来信仰密切相关,并与佛陀波利以及流行于两宋的布袋和尚信仰相互交织。论文解释了新罗僧与宝胜如来的信仰如何引发藏传罗汉达摩多罗与宁夏贺兰山之间特殊的联系,这些错综复杂的信仰与图像演变是中国11—13世纪多民族美术关系史的集中映现。     

The Labor of (Re)reading Plantation Landscapes Fungible(ly)

This article centers Saidiya Hartman's and Hortense Spillers' theorizations of Black fungibility as well as two speculative visual works in order to read Black bodies on plantation landscapes as symbols of transition, process, genderlessness and boundarylessness. I argue that reading Black bodies in this way breaks with the totalizing visual, conceptual and ontological regime of labor that tends to over determine Blackness within critical theories. Two visual fields help me with this counter read: William Gerrard De Brahm's 1757 “Map of South Carolina and a Part of Georgia”, as well as Julie Dash's 1991 images of the porous indigo‐stained hands of former slaves who worked indigo in the film Daughters of the Dust. While these two images oppose one another, their visual conventions enable a break with colonial and humanist scopic regimes like “Black labor” that tend to subsume multiple and intricate processes into the governing logic of labor.