延展城市的半径：试驾全新奔驰M级越野车ML350

无论品牌还是历史,奔驰的ML都很容易得到褒奖。但最终车还是要尽人所用,于是这次便不同,ML是以城市为圆心生存的大型动物,我单人单车将它开出市区,在渐渐远离圆心的过程中发现它的性格。     

THE ROAD LESS TRAVELLED: REFLECTIONS ON A CAREER IN GEOGRAPHY

'The Road Not Taken'
Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveller, long I stood And looked down one as far as I could To where it bent in the undergrowth;
Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same,
And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back.
I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I -I took the road less travelled by, And that has made all the difference.     

苏有朋 人生角色需变换

他是平和外表掩饰之下的性情中人。他觉得上天交给自己一个重任,于是必须去完成,靠自己的努力,坚韧,智慧与毅力。15岁出道,踏进娱乐圈20多年的苏有朋,成长,困惑,痛苦,转型,蜕变,完成得自在坦然。人生征途在而立之年愈发稳健。如今,行走的他,又多了一份跳脱出来的清醒与平静。     

姐姐你大胆地往黔走

<正>在《旅游纵览》2007年12期(总第121期)中,曾经刊登过一篇文章,题为《七婆娘闯西南》。文章讲述的是7个平均年龄在55周岁的半老徐娘,因为爱好旅游和摄影而结识,组成一个小团队,克服重重艰难,勇闯祖国大西南的故事。     

A NOTE ON A LESS WELL KNOWN EPOXIDE RESIN

This short paper describes the potential of a relatively new epoxide based resin, Petropoxy 154, for ceramic thin sectioning. It can be used for all stages of the thin sectioning process and has given good results on a wide variety of ceramic types. Its greatest advantages over other methods include its low viscosity, its short cure time, its high bonding strength, and its long shelf life.     

4. THREE DOGMAS (MORE OR LESS) OF EXPLANATION1

What ought to count as an explanation? Such normative questions—what “ought to be” the case?—typically mark the domain that those with a type of philosophical aspiration call their own. Debates in the philosophy of history have for too long been marred by bad advice from just such aspirants. The recurrent suggestion has been that historians have a particular need for a theory of explanation since they seem to have none of their own. But neither the study of the natural sciences nor the study of narrative compels or even makes plausible the view that it will be possible to adduce the norms of explanation, either in history or elsewhere, in advance of identifying theories that explain. I readily concede to Stueber, Carr, and Førland the use of a certain vocabulary when speaking of others. But it is one thing to point to a pervasive habit of explaining behavior in certain terms. It is quite another to document that these explanations have any value as explanations. What apart from habit or philosophical dogma establishes any of their proposals as explanatory? Explanation by invoking the myth of the shared should be replaced by explanations that have empirical content.     

ALL THIS HAPPENED,MORE OR LESS: WHAT A NOVELIST MADE OF THE BOMBING OF DRESDEN1

Kurt Vonnegut's novel Slaughterhouse‐Five (1969) was a popular and critical success when it first appeared, and has had a notable impact on popular perceptions of “the bombing of Dresden,” although it has been criticized by historians because of its inaccuracy. This article analyzes the novel's quirky, comic style and its generic mixture of science fiction and testimony, showing how Vonnegut consistently used ingenuous understatement as a way of imaginatively engaging his readers with the horrors of war. The article argues that the text's aesthetics are closer to those of graphic novels than of realist narratives and that, accordingly, we can understand its cultural impact only by approaching it as a highly artificial linguistic performance with present‐day appeal and contemporary relevance, and not merely by measuring the degree to which it gives a full and accurate mimesis of past events. The article uses the case of Vonnegut to advance a more general argument that builds on recent work in cultural memory studies: in order to understand the role that literature plays in shaping our understanding of history, it needs to be analyzed in its own terms and not as a mere derivative of historiography according to a “one model fits all” approach. Furthermore, we need to shift the emphasis from products to processes by considering both artistic and historiographical practices as agents in the ongoing circulation across different cultural domains of stories about the past. Theoretical reflection should account for the fact that historiography and the various arts play distinct roles in this cultural dynamics, and while they compete with one another, they also converge, bounce off one another, influence one another, and continuously beg to be different.