殷墟甲骨文倒书现象研究

殷墟甲骨文倒书现象可归纳为笔画倒书、偏旁倒书、单字倒书、多字倒书与单例刻辞倒书、多例刻辞倒书、整版刻辞倒书等多种情况。在习刻刻辞与记事刻辞中,倒书现象相对比较常见。甲骨文倒书属于特殊形态,它既体现了甲骨文字的“原始性”,也展示出刻手的契刻习惯、技巧与态度对于文字刻写的巨大影响,而部分倒书现象则可能与内容区分、刻手习刻、龟骨登记等有关。倒书现象生动展现了甲骨文契刻的真实面貌。     

关于《史记·将相表》的倒书

《史记·将相表》之倒书 ,是《史记》研究中存疑较多的的一个部分。本文在全面评述和吸取前人研究成果的基础上 ,试图从表格形式 ,笔削微义入手 ,通过对御史大夫、太尉、丞相三者之间微妙关系的揭示 ,进而探讨君权与三公权力之间的斗争。认为《将相表》是内容与形式完美结合的典范 ,太史公以倒书的《将相表》揭示了皇权在与三公权力斗争中不断加强的轨迹     

刘向校书动机发微

先秦时期文献的丰厚积累,秦始皇焚书和秦末动乱对典籍流传的破坏,西汉初中期图书文献的增加,以及汉朝的求书、藏书和校书传统,构成了刘向校书的学术背景.然而元、成二朝郊庙礼制改革的论争,以及成帝胡灾异屡降,迫使成帝急需理论的依据和历史的借鉴,加之成帝个人对典籍经书的喜爱,便效法前朝以求书、校书来寻求解决现实政治问题的传统,这才是成帝下诏校书的真正的动机.刘向适逢其时,以其特殊的身份承担了历史交托给他的重大使命.因此,唯有全面理解刘向校书在学术文化与现实政治上的功能,才能更充分地掌握成帝下诏校书的实质目的和整体意义.     

小议图书馆丢书赔偿制度

本文通过对现有丢书赔偿制度的思考,提出了以"以书赔书"来解决在图书馆日常工作中最容易出现的纠纷的思路。     

同书异名、同名异书现象新探

同书异名为命名者使用不同的摹状词为同一部书命名而产生;同名异书则是命名者为不同的典籍命名时选择了相同摹状词的结果.避讳、商业行为、个人喜好,以及称引书籍时的随意性均可能导致同书异名;同名异书则与四部典籍自身的类别属性密切相关.一部典籍异称的多少通常与该书影响力、流传范围成正比;而那些影响小、传播不广的书籍,更容易出现同...     

民国时期的日书汉译

在中国近代翻译史上,自甲午至抗战前夕,汉译日书数量一直处于各语种译书之领先地位。晚清之际,这一领先地位居于压倒性优势。民国初期,受国家政局的影响,出版业整体衰落,汉译日书事业亦大大退步。五四时期杂志繁荣而图书冷淡。战前十年堪称民国出版业的“黄金十年”,也是日书汉译的鼎盛时期。近代以来,中国人对翻译日书一直存有某种矛盾心态：一方面认为通过日本学习西方文化,因经过“去粗取精”的中间环节,可以“力省效速”;另一方面,又觉得西方文化被日本人“咀嚼”过后,难免掺和着日本文化的“唾沫”,难得西方文化的“本相”和“真传”。清末之际,尚处“蒙昧”状态和急于求成的中国人大多怀着前一种心态;五四以后,已被初步“启蒙”的中国人渐渐倾向后一种心态。在前一种心态下,认为“游学之国,西洋不如东洋”,“译西书不如译东书”。在后一种心态下,留学西洋与留学东洋有“镀金”与“镀银”之分;转译东书远不如径译西书。     

宋朝“敕命”的书行和书读

北宋前期的知制诰和以后的中书舍人及翰林学士负责撰写敕命或制敕包括诰词的初稿,称为“书行”,又称“书名行下”、“签书行下”、“行词”、“行”、“命词”、“演词”、“撰述”、“草”等。知制诰和中书舍人及翰林学士一般应在本人撰写的敕命或制敕包括诰命初稿后面署上自己的名或姓名,偶尔还在其后写“行”字。给事中负责复看或复审这些初稿,也在其后署上自己的名或姓名,初步断定在最后面并不签书一个“读”字。有时由於皇帝或权相的干预,出现过命令给事中或起居舍人、中书门下检正诸房公事“书行”,或者命令中书舍人或中书门下检正诸房公事“书读”等反常情况,而一些中书舍人、给事中、起居舍人等也往往严词拒绝。     

民国时期的日书汉译

在中国近代翻译史上,自甲午至抗战前夕,汉译日书数量一直处于各语种译书之领先地位。晚清之际,这一领先地位居于压倒性优势。民国初期,受国家政局的影响,出版业整体衰落,汉译日书事业亦大大退步。五四时期杂志繁荣而图书冷淡。战前十年堪称民国出版业的黄金十年,也是日书汉译的鼎盛时期。近代以来,中国人对翻译日书一直存有某种矛盾心态:一方面认为通过日本学习西方文化,因经过去粗取精的中间环节,可以力省效速;另一方面,又觉得西方文化被日本人咀嚼过后,难免掺和着日本文化的唾沫,难得西方文化的本相和真传。清末之际,尚处蒙昧状态和急于求成的中国人大多怀着前一种心态;五四以后,已被初步启蒙的中国人渐渐倾向后一种心态。在前一种心态下,认为游学之国,西洋不如东洋,译西书不如译东书。在后一种心态下,留学西洋与留学东洋有镀金与镀银之分;转译东书远不如径译西书。     

法国伯希和旧藏西汉鸟虫书铜壶铭文研究

<正>伯希和旧藏西汉鸟虫书铜壶的铭文,分布于器身的颈、肩、腹部以及下腹部,以变形云气纹结合凤鸟装饰而成篆文,文字的所有笔画均用银丝错嵌,铭文和纹饰带成环状间隔分布,浑然一体,虽繁复但不凌乱。与伯希和旧藏西汉鸟虫书铜壶形制和铭文书体风格一致的,见于河北满城西汉中山靖王刘胜及其妻窦绾墓出土的两件鸟虫书铜壶     

释明俭《曝书图》相关问题考

镇江博物馆藏有一卷释明俭所绘的《曝书图》,真实还原了阮元焦山书藏的曝书场景,让后人得以了解藏书、护书的艰辛。     

Carto-fiction: narrativising maps through creative writing

Abstract

This study reacts to the recent call for a narrativisation of maps’ life in post-representational cartography, proposing ‘cartographic fictional writing’ as a means to move geography’s ‘creative (re)turn’ from a place-centred to a ‘carto-centred’ perspective, and as an epistemological tool to go on rethinking maps from post-representational perspectives. First, ‘carto-fiction’ is defined as a self-reflexive (autoethnographic), ethnofictional, creative carto-centred product/practice of research. Second, by including the entire short story entitled ‘Unfolding Berlin’ and an autoethnographic account on how it emerged, this study strives to both theorise and perform carto-fictional writing as an embodied and trans-subjective mapping experience. My goal is to propose ‘carto-fiction’ as a prolific tool to let emotional, subjective cartographies emerge and to narrativise maps as mapping practices. The article further strives to focus on the mapping power of creative writing, and carto-fictional writing and reading will be interpreted as mapping performances, in which subjects are bodily and emotionally engaged. The inclusion of original illustrations aims to involve readers in a visual experience and to further stimulate their spatial imagination: each reader is asked to reflect on his/her own mapping experiences to interpret the fictional story and, thus, the paper itself attempts to unfold unpredicted creative cartographic practices.     

历史撰述的叙事与议论

优秀史家的基本要求,是史才、史学、史识兼备.这也是从事历史撰述的基本要求.从历史撰述本身来看,叙事和议论是两个主要部分.全面认识叙事的要求和议论的魅力,对于提高历史撰述水平,有直接的意义.     

The representation of Mongolia in contemporary travel writing: imaginative geographies of a travellers' frontier

This article analyses the representation of Mongolia in five works of travel writing published since the fall of the country's communist regime in 1990. It argues that this travel writing is characterized by a discourse that generates and circulates an ‘imaginative geography’ of Mongolia as a ‘travellers' frontier’. Support for this argument is derived from highlighting sets of collective, cohesive representations, performances and speaking positions that crosscut the works studied. It is maintained that these have the effect of naturalizing a very particular conceptualization of Mongolia as a frontier destination in the age of globalization and mass tourism. This research adds to an established body of geographical scholarship on travel writing, but departs from it by considering contemporary works rather than ones from the colonial period. In doing so it attempts to illustrate the relevance of contemporary travel writing as an object of study for geographers seeking to explore the anatomy of today's imaginative geographies, which have clear links to, but are not entirely mediated by, the discourses that characterize colonial travel writing.     

Matthew Paris on the writing of history

Matthew Paris was one of the most prolific and influential historians of the central middle ages. Matthew's significance rests both on the range of his interests and the scope of his writing. Yet, even basic questions about his outlook on writing, his concept of history, or the relationship with his audience, have hardly been asked. These issues are central themes of this article, and will be used to consider wider questions about Matthew's concept of truth, his handling of information, and his view of the world around him. The article, furthermore, extends coverage beyond the Chronica majora or Matthew's vernacular writings to consider his concept of history as it emerges from the totality of his oeuvre.     

Matthew Paris on the writing of history

Matthew Paris was one of the most prolific and influential historians of the central middle ages. Matthew's significance rests both on the range of his interests and the scope of his writing. Yet, even basic questions about his outlook on writing, his concept of history, or the relationship with his audience, have hardly been asked. These issues are central themes of this article, and will be used to consider wider questions about Matthew's concept of truth, his handling of information, and his view of the world around him. The article, furthermore, extends coverage beyond the Chronica majora or Matthew's vernacular writings to consider his concept of history as it emerges from the totality of his oeuvre.     

宣州制笔业的兴衰及其成因探析

宣笔在中国毛笔发展史上具有重要地位,不仅是唐宋时期毛笔的杰出代表,而且对湖笔等毛笔制作技艺的发展产生过重要影响。宣笔兴起的主因是拥有原料优势,持续蓬勃发展的动力是掌握核心技艺和不断推陈出新,最终走向衰落则受到政治、经济、文化等社会因素变迁的影响。     

Deviations from the known route: writing and walking in Ciaran Carson's Belfast

Considered as a whole the work of Ciaran Carson is perhaps distinguished above all by its sheer miscellaneity, but within this catholic remit of interests the city of Belfast continues to occupy a central place, manifesting itself in complex and various forms. Disclosing a dialectic of recollection and revision at its centre, Carson's work balances a desire to record everything about the city, and thereby to know Belfast in its totality, against the necessity of knowing it in terms of its provisional details and contingent multiplicity. This fundamental tension can be explored through his variations upon the theme of walking in the city, a mode of perceiving and navigating urban space that precludes any privileged position of detached objectivity in favour of active engagement in the writing and re-writing of the city-text. Moreover, I argue that whilst Carson's writing contains unusally sophisticated representations of Belfast as both labyrinth and panopticon, walking in the city also implies for him an utopian spatial politics through which resistance to state surveillance and paramilitary terror might be both imagined and effected.     

The patron function in eighteenth-century book dedications: the case of Croatian religious writing

This paper analyses book dedications in a specific genre, religious writing, in a linguistically small and peripheral region of the Habsburg Empire, endeavouring thereby to open up new comparative perspectives in the understanding of the system of patronage. After a review of the most frequent problems encompassed by recent research, the specific features of the concrete original research corpus are elaborated, with an emphasis on problems hitherto less investigated: the correlation of the dedication and other paratextual parts of the book; the practice of dedicating works to saints of the Catholic Church, which relativises the understanding of the dedication as a form of the exchange of authorial work for material benefits; and the functionalisation of the name of the patron, which enables the creation of the concept of the patron function. The analysis supports the understanding of patronage as a dynamic system that rested upon the human interactions possible in the given and specific spatial and temporal contexts.     

Ungraded writing assignments in geography classes

Abstract

Two examples of ungraded writing assignments are described: in‐class writing and periodic writing. The purposes of these assignments are (1) to increase the use of writing as a learning tool to complement lectures and readings, and (2) to enable students to write more frequently in geography classes without unduly burdening the geography instructor with papers to correct.     

唐代监修国史制度考

唐代监修国史初设于贞观三年 ( 62 9) ,之后遂形成定制 ,直至唐亡。唐代监修国史的职责大体包括以下内容 :奉诏引进史馆修撰人员负责史书编修工作 ;裁断疑难 ,审正史稿。唐代监修国史制度在漫长的岁月中曾经历过一些变化。太宗贞观时期实行的是一相监修制 ,终太宗之世 ,担任监修国史的只有房玄龄一人。高宗、武则天、中宗、睿宗及玄宗开元前期 ,实行的基本上是多相监修制。自玄宗开元后期起以迄唐亡 ,实行的又是一相监修制。唐代监修国史者绝大多数都是宰相 ,但偶尔也有其他人员充任。玄宗以前 ,监修国史之称号恰如其名 ,玄宗至德宗时 ,改称“修国史” ,德宗之后又恢复旧称。