30年来的中国近代思想文化史研究

30年来的中国近代思想史研究,依据研究重心的变化可以分为三个阶段:一是1978年到80年代末,研究重点集中于思想家个案及政治思想史方面;二是80年代末到90年代末,研究重心逐渐转变为以社会思潮史及思想家个案为主;三是90年代末以来,研究重心集中于社会思潮史和学术思想史领域.正是在研究重心的逐渐转移过程之中,近代思想史研究的广度不断拓宽,研究深度亦渐次深化.改革开放之后中国学术界最引人注目的现象之一,是中国文化史研究的复兴;90年代以后中国文化史发展的新趋势,是社会文化史研究的勃然兴起.长期无人问津或受人冷落的研究领域,如近代科技文化、民间宗教、民间意识与观念、文化心态、公共空间领域、新词语与观念变迁等,受到学术界的广泛关注并出现了许多研究成果.近代社会文化史正在成为史学新观念和新方法的一个重要生长点.     

Penetrating the ‘black‐box’ of ‘remembrance day’ playlist: bereavement and the induction mechanisms of glocalization – a study in cultural sociology

This article examines the musical repertoire broadcast on Israeli state radio stations on Remembrance Day. Commencing with the first Remembrance Day, Israeli radio stations have refrained from broadcasting songs that do not contribute to the glorification of the military mythology or failure to reinforce the consensual perception of national loss. In view of globalization – it might be assumed that Remembrance Day songs would undergo changes in tune with the times. From a musical point of view, new songs that belong to what Regev and Seroussi classify as ‘globalizing Israel’ penetrated into the nationalist arena. But, following Inglehart and Baker, these songs, despite their seemingly secular façade, remain limited hegemonic enclosures organized around the core of founding values. Apparently, this is an example of the process of glocalization of culture. The article seeks answers to the strategies employed to accommodate these new songs to the traditional ideology of the classical Remembrance Day songs and examines whether the mechanisms of legitimacy that enable the inclusion of new voices on Remembrance Day, can be identified. We argue that their choice is not arbitrary and that they illustrate the manner by which voluntary cultural entrepreneurs (musical editors) are co‐opted in the postnational condition.     

Imported memories: the Italian audience and the reception of American movies about the Second World War

Memories of the Second World War played a central role in shaping the European imaginary and in founding the European political order after 1945. Nevertheless, while the Second World War was a global event, its memories have been mainly studied from a national point of view, thus underestimating the conspicuous phenomena of transmission of narratives and representations of the conflict from one country to another. This article analyzes the Italian reception of American movies about the Second World War, as a way to overcome the preponderance of a nation-centered perspective and to open up to a transnational analysis mainly based on the concepts of communication, diffusion and exportation of cultural products. After a theoretical introduction, the article analyzes an original source of great use for the study of the reception of American movies: the evaluation forms produced by the audience of an Italian cineforum about five American war movies in the 1960s. The importance of the source lies in its rarity: direct testimonies of the opinion of a non-specialist public about a movie are very rare, and thus extremely precious for a bottom-up approach to such issues.     

The Tenco effect. Suicide,San Remo,and the social construction of the canzone d'autore

Abstract

Canzone d'autore is an indigenous expression that has no precise equivalent in other languages. Its social use identifies a genre of popular song that presuppose the existence of an ‘autore’ taken in its most vigorous sense, meaning a ‘creator’, an ‘artist’– but how did this claim to artistry originate? How did it insinuate itself into the world of song, a genre that by definition belongs to the realm of what is traditionally called in Italian ‘musica leggera,’ with unmistakably pejorative connotations? In this essay, I will put forward a sociological interpretation of the genesis of the canzone d'autore, using as a strategic conceptual device the idea of cultural trauma. The traumatic event that I propose to explore, making use of this concept and its analytical machinery, is the suicide of the singer-songwriter Luigi Tenco during the seventeenth San Remo ‘Festival della Canzone’ (‘song festival’) – that is the best-known, most controversial, and most influential single event in the field of Italian ‘musica leggera’, an annual event regularly attended every year – via radio, television, or audience participation – by millions of Italians. Through a reconstruction of that suicide and above all of the public and dramatic events that followed in response to it, the paper examines the social process that transformed an individual tragedy into a collective, social drama, a process that not only produced a new musical classification, but also a new cultural and aesthetic category.     

Rural Transformation and Cultural Industries: Popular Music on the New South Wales Far North Coast

This article explores the emergence of popular music as a niche cultural industry, connected to economic and social transformations on the New South Wales Far North Coast (also known as the ‘Northern Rivers’ region). The various images of the New South Wales Far North Coast as a ‘lifestyle’ region, ‘alternative’ locale and coastal retreat have attracted a diverse mix of ex–urban professionals, unemployed persons, youth subcultures, backpacker tourists and retirees. Yet, despite population growth, the region continues to suffer unemployment rates among the highest in Australia. Against this backdrop, diverse popular music ‘scenes’ have emerged, constituting an industry with linkages to cultural production in Sydney, Melbourne and overseas. While the region’s unique cultural mix has been suggested as a key site of comparative advantage, future employment is likely to remain transient, insecure, and governed by industry–wide labour relations. This case study illustrates some of the complexities underpinning contemporary urban–regional change in Australia, and provides cautious assessment of the capacity of the cultural industries to reinvigorate rural economies.     

一个了不起的铺路架桥者--杨生茂教授与中国美国史学科建设

杨生茂教授是中国美国史学科的创建者之一,也是中国世界近代史研究领域中一位成就斐然的学者。不论是作为学术的组织者,还是史学教育家,不论是作为微观的研究者,还是宏观的思考者,杨生茂教授的学术工作都促进了中国美国史学科的建设,增进了中国人对美国历史与文化的理解。他所提出的问题,他所研究的课题,他所尝试过的方法,他所追求的理想以及他所投身的事业,已经深深地影响了这一学科的后来人,并转化为中国美国史研究的宝贵财富。     

民初“二次革命”前知识分子群体关于联邦制的论争——以《民立报》、《庸言》、《东方杂志》为中心

清末传入中国的联邦制思想,在民初新的政治环境中,引起了知识分子群体的极大关注和论争.<民立报>所代表的革命派知识分子主张有限的中央集权,即某种程度的地方分权;<庸言>所代表的原立宪派知识分子主张中央集权;而<东方杂志>则折衷于二者之间.同时三者还提出了各自对地方制度的不同主张.他们的态度和主张与民初政局的复杂多变以及各自所代表阶层利益的不同有着很大的关系.     

The Sun and the Shakers,Again: Enga,Ipili, and Somaip Perspectives on the Cult of Ain

ABSTRACT The ‘Sun and the Shakers, Again’ resumes the conversation begun by Mervyn J. Meggitt in his 1973 article ‘The Sun and the Shakers’ concerning the circumstances and mindset of Enga and Ipili speakers on the eve (or in the early stages) of colonial penetration. The ‘Cult of Ain,’ as Meggitt termed a regional cult that broke out in the mid‐1940s, followed on the heels of devastating epidemics and famine and was in some measure, at least in most areas where it caught on, a response to those traumas. Yet there were other dimensions: apparent cargo cultism and millenarianism. Widening the geographical scope of reporting beyond that of Meggitt's article to include both the Somaip, as reported on by Hans Reithofer in The Python Spirit and the Cross, and the Ipili speakers of the western Porgera valley and the Paiela valley, this second and final installment reviews and critiques existing interpretations of the Cult of Ain in light of the ethnohistorical detail offered in the first installment and goes on to offer an interpretation of the cult that is inspired by the cosmological symbols common to all cult versions: most obviously the sun but also the sky. The Cult of Ain is viewed by participants and their descendants alike as the prelude to colonialism and missionization, and understanding it is crucial to writing the cultural history of the last 65+ years.     

The Sun and the Shakers,Again: Enga,Ipili, and Somaip Perspectives on the Cult of Ain Part One

ABSTRACT In the middle 1940s, at a time when white people were just beginning to penetrate the western highlands of what would become Papua New Guinea, a cult spread quickly among Engas, Ipili speakers, and Somaips. In the seminal article ‘The Sun and the Shakers' published almost 40 years ago, Mervyn J. Meggitt would call this cult the ‘Cult of Ain.’ The cult's core feature involved a massive sacrifice of pigs to the sun in an attempt to enlist the sun's aid. Participants stared at the sun and shook, entering a trance‐like state. While massive pig sacrifices to the sun occurred in all cult variants, local versions of the cult differed in emphasizing one or two themes: acquiring wealth (pigs and pearlshells but also white manufactured goods) and/or ascending to the sky. Interpretations of the cult reflect this variation, some focusing on apparent cargo cultic dimensions while others train on the cult's millenarian aspects. This reprise of Meggitt's article argues that the themes of wealth acquisition and ascent to the sky were at base the same, intelligible with respect to the cosmological discourse that so clearly informed all the cult's manifestations (hence the emphasis upon the sun), a discourse that this article attempts to interpret. This, the first of a two‐part article, summarizes what is known of Cult of Ain variants, highlighting the features other reporters have emphasized as well as those that may provide insight into underlying cultural and even transcultural logics.     

Maps,Mapping, Modernity: Art and Cartography in the Twentieth Century

While the history of cartography has freed itself from debilitating debates over the scientific and artistic status of maps, considerations of the relationship between art and cartography have continued to focus largely on pre‐modern maps, avoiding critical examination of twentieth‐century art and science in cartography and leaving intact the impression that these followed distinct paths in the modern period. In this paper, however, I have drawn on theoretical work in Science Studies and taken account of modern art's separation from aesthetics to suggest that an examination of art and cartography in the twentieth century should focus on mapping practices rather than on maps as such. A summary overview of modern‐art movements and selected works indicates a continued, if critical, engagement of avant‐garde artists with cartography, and the examination of more popular newspaper artwork produced in the context of the intensely modern visual culture of mid‐twentieth century Los Angeles indicates a similarly close connection between modernity, art and cartography.     

A Vast Inland Empire and the Last Great West: remaking society, space and environment in early British Columbia

In the late nineteenth and early twentieth centuries, a new order was imposed on the land and inhabitants of present-day interior British Columbia. From one perspective this was a story of human progress and improvement – the advance of colonizing Europeans into lands that they considered underutilized and unproductive and that they sought, often successfully, to bring within the growing orbit of global trade and world capitalism. Yet for many people and creatures the story of resettlement was far from a story of progress. In relatively short order – less than a century – the grasslands of interior British Columbia were swept and transformed by many of the most powerful currents of western modernity. The results of this transformation were uneven and often deeply inequitable. By the late nineteenth century native peoples had been dispossessed and struggled to survive on small resource-poor Indian Reserves; a few corporate and family-owned cattle ranches controlled the best range leaving small-scale immigrant ranchers with more or less marginal land; and many types of grassland had been heavily overgrazed. This paper explores these darker sides of European resettlement in present-day interior British Columbia by emphasizing the role of ranching in colonial resettlement, by describing the stratified rural society that ranching, in part, produced, and by revealing the different ways that cattle and ranches interacted with natural and economic processes to remake an environment.     

通识 专精 信念——瞿林东教授著《20世纪中国史学散论》读后

瞿林东教授勤于笔耕,著述丰富。他在中国古代史学史研究取得大量成果的基础上,对20世纪中国史学的研究又表现出特殊的重视。近十多年来,不断发表关于20世纪中国史学的长篇大作,在史学界产生了较大影响。瞿教授选取有代表性的论文24篇,另选2篇作为附录,结集为《20世纪中国史学散论》(以下简称《散论》)。