《三国志·吴书》七事质疑

近读《三国志·吴书》,记有疑之史事七.今胪列如次,供治史者参考.《吴主传》建安十九年:“(孙)权大怒,……使鲁肃以万人屯巴丘,以御关羽.”按:《吕蒙传》云:“(孙)权时住陆口,使鲁肃将万人屯益阳拒(关)羽,而飞书召蒙(助肃).……蒙留孙皎委以后事,即日行军赴益阳.”又《鲁肃传》云:“肃住益阳,与(关)羽相距.”再《三国志·蜀书·先主传》亦云“令关羽入益阳”.可见鲁肃当时所屯之地在益阳而非巴丘.     

阿志清真寺建筑艺术特点

据<阿城县大事纪年表>记载:阿城清真寺始建于清代乾隆四十二年(1777),寺址座落于旧时阿勒楚喀城(今阿城市区)西部高地回民聚居区(今称清真小区),是黑龙江省建造最早的清真寺之一,是东北地区颇具盛名的伊斯兰教寺之一,也是全国百家著名的清真寺之一.     

对于赤壁所在地的一点看法

公元二○八年(东汉建安十三年)的“赤壁之战”,是我国历史上以少胜多、以弱胜强的著名战例,是奠定魏、蜀、吴三国鼎立局势的决定性战役。弄清楚“赤壁”所在地,对研究这次战争是有意义的。南北朝以来,有所谓“临嶂赤壁”说(在今汉阳蔡甸东、汉水中间的一个洲上),“汉川赤壁”说(在今汉川县西八十里的赤壁草市,汉水支流的汈河口上),“黄川赤壁”说(即今黄冈城外的赤壁磯,长江北岸)。这些都是好事者牵强附会之词,并没     

赤壁考

一《三国志》及裴注关于赤壁之战的记载赤壁之战是我国历史上一次著名的以少胜多的战争。晋陈寿《三国志》及南朝宋裴松之注引《江表传》等记载了战争的过程。建安十三年(208年)七月,曹操率军南征刘表。八月,刘表卒,子刘琮代。九月,曹军至新野,刘琮以荆州降。寄居荆州屯军于樊的刘备率部南撤。曹操将精骑五千急追之于当阳长坂。刘备败退夏口(今武汉市),遣诸葛亮联结孙权,共拒曹军。曹操率大军自江陵顺流东下。孙权派周瑜等率军与刘备并力逆曹军于赤壁。“时曹公军众已有疾病,初一交战,公军败退,引次江北。瑜等在南岸。”瑜将黄盖以“寇众我寡”,建议火攻。     

宋代荆江堤防的历史考察

长江中游自今湖北枝城市(原宜都县)东南之枝城街市(在焦枝铁路桥北面不远)东南流至城陵矶(今属湖南),通称为“荆江”河段,呈西北至东南(偏南)流向,以藕池口(今公安县东南,宋属石首县)为界,以上称“上荆江”,为顺直微曲性河段,水流枝分,汊河发育;以下为“下荆江”,河道蜿蜒曲折,素有“九曲回肠”之称,江水泛滥的问题尤为严重,因此堤防的修筑至关重要。今荆江两岸有长达数百公里的人工堤防,其中以位于北岸,上起江陵枣林岗、下迄监利城南,全长182.4公里的荆江大堤1最为著名。有关荆江堤防的研究已有一些成果,从清人撰修的《荆州万城堤志》,到当…     

肇域志

〔湖北·续〕襄阳府表邑为国都者〔一〕。后梁肖登(詧)寻徙江陵。元襄阳路总管府。本朝改为襄阳府。《读史方舆纪要》卷七十九:“后梁肖詧初国于此,附庸西魏,西魏得之改曰襄州。“北接宛、许,南阻汉水”。晋庾亮《表》。《山堂考索》:江、淮所恃以为藩篱者,江陵也。江陵所恃以为唇齿者,襄阳也。秦兼天下,自汉以北为南阳,即今邓州。自汉以南为南郡,即今江陵。襄阳乃南阳、南郡二郡之地,故南接江陵,北接邓州,西接巴、蜀,实为冲要,南北必争之地。襄〔阳〕至江陵,步道五百里。《郡志》云:“势同唇齿,无襄阳则江陵受敌”。故江陵以襄阳为西捍。     

略论湖北秦墓

自西周初年楚熊绎封丹阳至战国中期的八百余年,湖北一直是楚国的政治、经济和文化的中心地区。秦昭王二十九年(公元前278年),秦将白起攻下楚国郢都(今湖北省江陵城关北五公里的纪南城),并建置南郡,至公元前207年秦灭亡的七十余年期     

“赤壁之战”应为江汉之战

吴佑和在《南充师院学报》1985年第3期撰文认为,有人把“赤壁之战”改称“乌林之战”虽有一定道理,但并不确切。他根据《三国志·吴志·吴志传》中一段为人所忽略的史料看,“赤壁之战”应为“江汉之战”。首先,孙、刘联军继赤壁初胜后,又组织了乌林火攻战,水陆并进,占夷陵,围江陵,奋战不已。孙权、张昭在淮南开辟第二战场,迫使曹操自荆州撤兵。在江汉地区有一连串的战役行动,其整体性是不可分的。所以说,“赤壁之     

阿城清真寺建筑艺术特点

<正>据《阿城县大事纪年表》记载:阿城清真寺始建于清代乾隆四十二年(1777),寺址坐落于旧时阿勒楚喀城(今阿城市区)西部高地回民聚居区(今称清真小区),是黑龙江省建造最早的清真寺之一,是东北地区颇具盛名的伊斯兰教寺院之一,也是全国百家著名的清真寺之一。阿城清真寺蕴含着悠久的历史文化传统,它是科学技术同艺术的完美结合,是现存规格较大,建筑精美,保护完整的古建筑群。它具有独特的建筑艺术特色,是我国民族文化遗产中的一颗明珠,在古建筑上自成系统,独树一帜。其建筑特点主要有五个方面:     

金上京故城内发现窖藏银器

一九七八年秋,在金上京城(今黑龙江省阿城县境内)北城南偏东处出土一批银器。这批银器是一社员在古建筑址地表下60厘米深处发现的,当即送交国家收藏。这批银器中,包括: 1、银锭一(照片1;拓片1),银锭切块四(拓片2)。银锭上有“伍拾两文”、“库使”、“库副”、“库子”、“行人王林”、“瓦使”及“使□”等錾刻;今重1,950克。银锭切块上,仅残存“拾玖两玖钱”及“使□”錾刻,按上京地区过去出土的银锭及这件实物看,当为“肆拾玖两玖钱”,唯     

“Remember me”: Hamlet,memory and Bloom’s poiesis

Although memory is not explicitly named in “Hades”, it nonetheless features centrally. Intertextuality is an example of memory, and in “Hades” Shakespeare’s Hamlet is remembered – specifically the Ghost’s relation to Hamlet, whom he bids to “Remember” and “revenge”. Derrida calls this relation “hauntological”: it is characterised by an uncertain gaze, the father telling his son what to do, and the son mourning for his father. In Bloom’s mourning for his father, Virag, hauntology might be expected. However, it is Bloom’s late son, Rudy, who hauntologises Bloom, thereby revitalising the latter; this adjusts Shakespeare’s original hauntology. While considering repeatable ways of maintaining this hauntology, Bloom jocularly reverts to new technology: the phonograph and photograph. His plan reveals his relish for liminality and poiesis: being and non-being at the same time. Bloom is thus remembered into the future, all the while Ulysses is haunted by Hamlet.     

Ireland’s eternal Easter: Sorley MacLean and 1916

Abstract

This essay examines the treatment of the 1916 Easter Rising by Scottish Gaelic poet Sorley MacLean. From his early work onwards, the Rising assumes a mythical significance in MacLean’s poetry. Throughout, this aetheistic, socialist poet uses rhetoric borrowed from the Gaelic Christian tradition to present the rebels of 1916 as exemplary secular martyrs. James Connolly plays a crucial role as the Scottish son of Irish immigrants. MacLean’s later praise poem for Connolly, “Àrd-Mhusaeum na h-Èireann”, deploys biblical rhetoric to present the Rising as an act of ritual sacrifice, recalling Patrick Pearse’s “Fornocht do Chonaic Thu”. MacLean’s valorisation of violence takes place against the backdrop of the modern Troubles, and prompts a reassessment of the political legacy of his poetry.     

Ancient “Red Cliff” battlefield: a historical-geographic study

The famous battle of Chibi, or “battle of Red Cliff”, took place in 208 CE, the 13^th year of the Jian’an period of the Eastern Han dynasty. This paper holds that the whole battle consisted of three inseparable stages, namely the initial clash at Chibi, the chase battle to Wulin, and Cao Cao’s disorganized escape along Huarong Road. The Red Cliff battlefield thus extended across a distance of more than 300 li (150km). Even if the Chibi where the initial military engagement took place (that is, Chiji Hill, southwest of Wuchang in modern Wuhan City) has already disappeared, it should be restored to its proper historical position. The chase battle along the Yangzi River came to an end at Wulin, across the river is Chibi Hill in today’s Chibi City. Although this Chibi is not the Chibi where the initial combat took place, it nonetheless forms an integral part of the ancient Chibi battlefield as a whole. The Huarong Road along which Cao Cao escaped runs through the middle of today’s Jianghan Plain. Finally, the text aims to show that Chibi (Red Nose) Hill in modern Huangzhou City has nothing to do with the Chibi of the “battle of Red Cliff.” __________ Translated from: Fudan Xuebao 复旦学报: 社会科学版 (Fudan Journal, Social Sciences), No.3, 2004, by Han Zhaoqing and Fabien Simonis. Han Zhaoqing thanks Merrick Lex Berman for his help in revising this version     

Seamus Heaney and the “place of writing”: technique as evidence of redress as a construct

This article re-examines the significance of redress for Seamus Heaney’s poetry and prose by illustrating that redress is a deeply considered intellectual construct which incites, facilitates and renews creativity throughout Heaney’s career. Redress neither constitutes a project of self-fashioning nor indicates uncertainty in terms of equivocation. Rather, it suggests Heaney’s characteristic uncertainty of how to create a space for himself from and within which to write. In his early work in particular, his contemplation of redress is indicated by his ritual recourse to spatial metaphor. Having arrived at the “place of writing”, the process of unwriting is immediately initiated and the space deconstructed. It is this deconstruction of the created place and the unwriting of what has been written which, in Heaney’s words, “makes the renewal of artistic effort contemplatable”. And it is that contemplation which functions as an impetus for poetry. This article therefore explores Heaney’s diction, rhetorical strategies and ritual performance of redress.     

“纸生仔”现象的历史现实与文学想象*--以伍慧明《望岩》为例的分析 A

论文结合历史事实和伍慧明的《望岩》对“纸生仔”的形象塑造,分析探讨了“纸生仔”对美国华人的个人关系、家庭关系以及对整个华人社区的影响。“纸生仔”作为美国华人历史上的一个重要现象,一方面,它给众多通过“纸生仔”进入美国的个人及其家庭、整个华人社区造成了长久影响;另一方面,“纸生仔”的影响是代际传递的,它影响了整个华人社区的社会关系。同时,《望岩》展示了在麦卡锡时代和“坦白计划”背景下的华人社区,揭示了“纸生仔”对华人社区造成的持续伤痛。     

Shelley’s “Letter to Maria Gisborne” as Workshop Poetry

ABSTRACT

Shelley’s “Letter to Maria Gisborne” is a playful improvisational verse epistle, widely praised for its urbanity and its display of the poet’s invention. The verses turn on a catalogue of the collection of odd scientific and mechanical objects that Shelley found scattered around him in the place he composed the letter, the Livorno workshop of Gisborne’s son, a young engineer who was building a new-model steamboat at the time (with Shelley’s financial and intellectual backing). In the context of that space, the poem reads as a response to competing notions of invention. For Shelley, the engineer’s workshop is an attractive alternative to the poet’s tower—which was uncomfortably close to a Grub Street garret. Verbal and visual images of poets’ and scientists’ workshops, from Hogarth and Mary Robinson, to Joseph Wright of Derby and Frankenstein, illustrate the tensions embodied in the physical location and poetic performance of Shelley’s celebrated “Letter.”     

涂山地望再研究

夏人的祖先鲧死后化于墠渚,地在伊水之滨的三涂山旁。墠渚的合读即涂、即羽,三涂即是墠渚周方言的读音,即墠渚的异读。涂山、羽山、三涂山实为一山,双音与单语的区别缘于方音的不同。其地为夏人的祖山圣地,禹合诸侯于涂山即是在祖山大会诸侯。于宗庙赏罚黜陟。这是夏时的礼法。会稽是越语羽(涂)字的复音形式,禹合诸侯于会稽出于越人,或者是越人的伪造,也有可能是夏之后人辗转迁徙于此,奉禹之祀于其地,将旧地名带入新地方,由当地语音读出。     

东吴长江防线兵要地理初探

东吴长江防线的形成,是三国政治形势、长江地理条件、东吴国力水平的综合产物。整个防线共划分为江陵防区、武昌防区和建业防区三部分。其中江陵防区约有部队5万人,建业防区约为13万。东吴经营防线的策略是守江而争淮汉。长江防线的存在,使东吴割据政权得以长期维持;东吴对长江防线的经营,促进了沿江城市的发展;长江防线的巩固,促成了东吴君臣的偏安心理。防线最后的崩溃,与其西端没有牢固的依托点密切关联。     

Constantin Frantz and the intellectual history of Bonapartism and Caesarism: a reassessment

The conservative German publicist and political theorist, Constantin Frantz (1817–1891), occupies an ambiguous place in German intellectual history. Some, such as Friedrich Meinecke, located him within the rich intellectual tradition of German federalism, highlighting his hostility to the idea of the “nation-state” and the traditions of nationalism, Realpolitik and militarism. Others, by contrast, have situated him within a long genealogy of German fascism, identifying his remarkable 1852 work, Louis Napoleon, as a kind of precursor or antecedent of twentieth-century fascist ideology. This interpretation raises broader questions about the historiography on Bonapartism and Caesarism, which has often been motivated by an interest in the intellectual origins of modern fascism. The present article supplies a reinterpretation of Frantz’s thinking about Bonapartism (Napoleonismus) and Caesarism by focusing on a much broader range of his intellectual output and by tracking the development of his view of Bonapartism’s significance between 1851 and the early 1870s. The main outcome is not just to question Frantz’s place in the “prehistory” of fascism, but also to show how deeply nineteenth-century debates about Bonapartism were connected to concerns about liberalism, democracy, nationalism and imperialism.     

Professor Camillo Negro’s Neuropathological Films

Camillo Negro, Professor in Neurology at the University of Torino, was a pioneer of scientific film. From 1906 to 1908, with the help of his assistant Giuseppe Roasenda and in collaboration with Roberto Omegna, one of the most experienced cinematographers in Italy, he filmed some of his patients for scientific and educational purposes. During the war years, he continued his scientific film project at the Military Hospital in Torino, filming shell-shocked soldiers. In autumn 2011, the Museo Nazionale del Cinema, in partnership with the Faculty of Neurosciences of the University of Torino, presented a new critical edition of the neuropathological films directed by Negro. The Museum’s collection also includes 16 mm footage probably filmed in 1930 by Doctor Fedele Negro, Camillo’s son. One of these films is devoted to celebrating the effects of the so-called “Bulgarian cure” on Parkinson’s disease.