光绪之死

在距今一百年前的1908年(光绪三十四年),名义上是清朝皇帝,实际上却被囚禁在瀛台的光绪帝和统治中国近半个世纪之久的慈禧太后几乎同时死去.皇帝死于光绪三十四年十月二十一日酉时(下午五至七时),太后死于十月二十二日未时(下午一至三时),相距不到二十小时.     

The Black Death

The purpose of the present research is to examine various theories concerning the origin of the Black Death, to record its routes of dissemination in the Nordic countries and across the British Isles, and to compare the pattern of that dissemination with trade routes carrying grain throughout northern Europe in the period up to and including 1350.     

噶尔丹死亡问题考辨

噶尔丹是清初我国厄鲁特蒙古准噶尔部族首领。康熙十八年(1679)自称博硕克图汗,后引军东向,侵喀尔喀。康熙帝乃三次亲征,噶尔丹兵败而死。噶尔丹死因问题,于史事关系颇大,而且牵涉清代史料应用上的思想方法,值得加以深入探讨。一、关于噶尔丹死亡问题的不同说法噶尔丹具体死因,史学界主要有两种说     

Plutarch's Death of Antony

This article maintains that there is actually no discrepancy between Plutarch's depiction of Antony's death at Antony 76-7 (which may seem positive with a superficial reading) and the negative evaluation of his suicide in the Synkrisis (6.2). In fact Plutarch carefully subverts the Roman at Antony 76f. and in the following chapters of that Life.     

将要下雨的下午

(一)整个下午太阳始终不肯露面乌云向南倾斜云往南水上船谚语在树梢间毫无遮拦地传播寂寞的石头暗藏起心事等待在雨水里洗掉灰尘保持最为纯洁的硬性成群结队的蚂蚁长途跋涉占据山顶最安全的部位悬崖上最后一只蚂蚁不幸跌下山谷随着松落的石块所有的蚂蚁都回头转身注视着它最后一个造形伸张的脚趾在虚空里划下一道深痕沿着优美的曲线走向生命的终端其实摔碎的不止一颗心将要下雨的下午空气最初在蚁群间潮湿(二)远处闪电划开乌云的帷幕照亮整个下午干裂的树皮啪啪作响敲响老去的秋天我握住信守的笔怀念过去的过去那年秋天我和父亲在麦地里挽起…     

Death of Living Buddha Bomi

In 1995, Living Buddha Bomi drew a lot from the golden um in front of the statue of Sakyamuni in the Jokhang Monastery. As a result, a boy from Jiali was confirmed as the soul boy of the late 10th Panchen Erdeni. When he later became the 11th Panchen Erdeni, Living Buddha Bomi was     

Death ritual in fifteenth-century manuscript illumination

Realistic images of death and burial appear in unprecedented numbers as illustrations for the Office of the Dead in late medieval prayerbooks. Taking issue with the traditional, generalized interpretations of these images as expressions of the late medieval preoccupation with death, the author argues that the iconography of death ritual that emerged after 1375 was actually a manifestation of the popular need to assert the restoration of social and religious traditions that had been suspended during the period when the Black Death ravaged western Europe. Viewed against the background of pre-plague catholic death rituals and the literary evidence of the disruption and suspension of those rituals resulting from the onslaught of bubonic plague, the new iconography of death and burial assumes social significance that sets it apart from more eschatologically oriented visual and literary themes associated with death and dying during the late middle ages.     

Death in three scenes of recitation

In the discourse of Bhagat Singh and his comrades, their own death is not presented merely as a necessary means towards a desired political end. Instead, it is often invested with an intense significance that exceeds its political function. This essay proposes that literary and poetic tropes borrowed from available languages of love, revolution, and religion played a central role in this imagining of death. It argues that we cannot comprehend the sphere of the political inhabited by Bhagat Singh, Ram Prasad Bismil, and their comrades without taking seriously this literary dimension. Political action, in this sphere, in large measure depended on “reciting”—that is to say, appropriating and performing—gestures, phrases, and stances learnt from an astonishingly varied repertoire of literary texts. The essay also critically examines contemporary recitations of the work of the revolutionaries, with special attention to the discourse of the right-wing Bhagat Singh Kranti Sena on the one hand, and that of the popular film Rang de Basanti (2006) on the other. It argues that such appropriations focus only on the revolutionaries’ fidelity to the nation, while neglecting or repressing the critique of the state evident in Bhagat Singh's work, and especially in his admiration of the anarchists.