History and Tradition

English-speaking soldiers of the Great War created a large ‘trench press’, a body of periodicals by, for, and about their experiences. They contain a wealth of folkloric material and indications of its significance and functions. While acknowledging the constraints involved in retrieving once-living traditions from the fragmentary survival of mostly makeshift periodicals, this article describes and discusses the processes involved in the creation and development of an especially well-defined folk culture in unprecedented and extreme circumstances. While some elements of soldier folklore, especially song, verse, and language, have been the subject of usually discrete interest by folklorists, this is the first attempt to understand a range of folkloric practice and expression in the context of a particular set of combat circumstances.     

中国的通史传统与世界史编纂

中国的通史传统是指在长期、丰富的通史编纂实践中,中国历史学家逐渐形成的以通古今之变为核心的历史认识理论和通史编纂思想。通史传统是中国历史编纂学重要的理论资产之一。在世界史研究和编纂过程中,应当通过对通史传统的深入挖掘和不断发扬,赋予当代中国世界史研究理论体系鲜明的民族特色,并进一步推进马克思主义理论、中国史学优秀传统和当代中国世界史研究的融会贯通。     

德意志“历史学派”传统与纳粹主义

不少历史学家与经济学家将罗斯福“新政”与希特勒“新经济政策”视为凯恩斯主义模式运用上的开端 ,这早已成为一种习惯。美国著名经济学家约翰·肯尼思·加尔布雷思曾著文《凯恩斯主义在美国》 ,对此作过一点小小的“修正”。这位前美国哈佛大学教授谈到 ,1 933年罗斯福就任美国总统并开始奉行“新政”以后 ,凯恩斯本人以及他的思想在美国仍然遭到冷遇 ,以致于美国既未能真正克服 1 92 9至 1 933年的经济大危机 ,也未能阻止 1 937至 1 938年危机的到来 ,只是到 1 939年 9月第二次世界大战爆发后 ,凯恩斯主义的补救方法才真正为美国所接受。…     

中国古代修史的传统及其对国史研究的重要启示

编纂历史是一门大学问 ,中外古今许多历史学家都曾研究过。中国是世界上惟一有几千年不间断历史记录的国家 ,一是因为中国人历史意识强烈 ,认识到历史学的重要性 ,以研究、编写历史作为自己的责任 ;二是因为有制度上的保证 ,即开馆修史 ,专门设立国史馆、历史研究所、历史编纂的机构。在中国史学著作很多 ,主要的题材有传记体、编年体和记事本末体 ;中国的史学评论也很多 ,并且明确提出了对史学家的要求 ,即史才、史学、史识。当代史与现实密切相关 ,具有强烈的政治性 ,修史者必须有正确的立场、观点和方法 ,同样一件史实 ,从不同的政治立场看待 ,会有截然不同的看法和评价     

Abraham Lincoln and the Movies

Comparatively little work has been done on how Abraham Lincoln has been represented in American cinema. Yet movies have been a major – and during the first half of the twentieth century probably the major – influence on how his memory has been constructed in American popular culture. This article analyzes changing representations of Lincoln on screen, showing that differing cinematic constructions of the sixteenth president were shaped by a range of factors, including popular biographies and the biases of directors. They also echoed salient issues of the era in which they were produced and more general changes in American attitudes.