中越古代书籍交流考述

越南是受汉文化浸润最深的中国邻国之一.古代越南与中国的历史是融为一体的,从秦末赵陀建立南越政权至公元968年丁部领建立大瞿越国,此间的一千多年里,越南曾作为中国的一个行政区域存在;尽管此后越南进入了自主时代,但是以推行汉文化为实质的科举制度却从公元1075年持续到1918年;秦汉时期,汉语文教育就开始在南越开展,严可均《全宋文》卷六三所收释道高、法明《答李交州淼难佛不见形》等文是现存最早的越南文献;《全唐文》卷四四六收录了越南第一位进士--爱州人姜公辅所著的《白云照春海赋》、《对直言极谏策》.     

戈鲲化与中美跨文化交流

近代以来,中美两国之间的文化交流长期处于极不对称的单向交流状态.1879年戈鲲化应聘出任哈佛汉语言文学教职之举,才最终打破了这种极不对称的单向交流局面,正式开启了中美跨文化双向交流的进程.戈鲲化以他诗人特有的气质,以诗歌、梅花笺等为载体,在美国不遗余力地传播中国文化,不仅赢得了美国朋友的尊敬,极大地改变了美国人对中国人的偏见,而且也使美国精英人士看到了中国文化的独特魅力,认识到在中国人身上,在中国文化里边,也有很多值得他们学习的地方.     

萨珊波斯帝国在拜占廷金币传入过程中的影响

地处东西两大文明交汇点的萨珊波斯帝国,不仅本身创造出灿烂辉煌的文明,也为东西商贸文化交流做出了巨大的贡献。本文以中国出现之拜占廷金币及其仿制品为线索,考察萨珊波斯帝国在罗马帝国（及拜占廷帝国）与东方之间的联系作用,证明它在拜占廷金币向东传播、流向中国的过程中有着非常重要的影响,是古代东西经济文化交流的重要媒介之一。     

明清转边手卷镶接工艺探究——以《明仿米芾行书明道观壁记卷》为例

手卷是最早出现的中国传统装裱形式,在历经从晋至清的千余年发展后,形成了撞边手卷、套边手卷和转边手卷三种经典样式,其中转边手卷又可分为挖嵌式与镶接式两种工艺。流传至今的清代至民国时期的转边手卷大多为更节省绢料的镶接式装裱工艺,但此工艺复杂繁琐、技术难度较大,到了当代,有所式微,面临失传的境地。本研究主要以上海博物馆藏《明仿米芾行书明道观壁记卷》转边手卷的修复重裱为例,叙述对原装裱用料、配色、镶接工艺等的研究,以及原尺寸恢复其原本镶接式转边手卷的过程,旨在为古人优秀传统技艺的研究、保护和传承提供一定的参考。     

Touchstones: some aspects of their nomenclature,petrography and provenance

Touchstones are pieces of fine-grained black stone which are used for assaying gold by comparing the colour of streaks made on the surface by alloys of known composition with the colour of the streak from an object of unknown composition. The technique has been in use since at least the 6th century BC.The petrographic aspects of the identification of touchstones are reviewed and 42 historical touchstones or museum specimens of similar looking stone are described, most of them including the results of petrographic examination.The results show that touchstones usually consist of sedimentary rock types, of which the most frequently occurring ones are tuffs, cherts and siltstones.     

Autistic culture online: virtual communication and cultural expression on the spectrum

In this article, I examine cultural narratives about the lives and places of women with mental illness in the commercial Hollywood film: Girl Interrupted (1999). In contrast to most of the disability studies literature concerned with cultural representation, this article explicitly examines how the spatiality of ‘mad women's’ lives is constructed through film. Drawing on post-structuralist, and feminist perspectives on disability, and on conceptual ideas from the limited social geographic literature concerned with the lives of persons with mental illness, I explore the contradictory cultural narratives about the lives and places of women with mental illness constructed through this film. This approach recognizes that representations of ‘mad women’ and their places in society and space involve contradictory, tension-laden relationships between spectator and cultural product, complex discursive negotiations of meaning, and gendered processes of meaning-making, in some ways affirming mad women's lives and in others perpetuating negative stereotypes about women with mental illness and where they belong.     

Changing Values in the Art Museum: rethinking communication and learning

In changing times older art-museum values are coming under challenge and new emphasis is being placed on museum-audience relationships. The professional development of new communicative approaches in art museums can be seen as a form of action research. Older modernist models for communication based on the transmission of authoritative subject-based facts to a mass of passive receivers are being superseded by new approaches that acknowledge 'active audiences', constructivist and interpretist learning theories and the complexities of cultural politics. New roles for art museum professionals, the concept of differentiated audiences, the intervention of new voices and the exposition of new narratives offer possibilities for the reconceptualisation of art museums that are rooted in late 19th-century modernist culture.