明代东南地区的海潮灾害

海潮灾害是古往今来危害人类生命和财产安全的主要灾害之一。明代我国东南地区是海潮灾害频发的地区。海潮灾害主要是由台风引起的,多发生在阳历的6月至11月间;和一般的水灾相比,海潮灾害具有突发性和狂暴性的特点,因而更容易造成大的危害。明代海潮灾害不仅吞噬大量生灵。还淹没农田。冲毁房舍。毁坏盐场。造成极大的财产损失。明代对海潮灾害的救治和防范措施有赈灾、蠲免和加固海塘以及佥补灶丁等。     

乌江流域土司时期文化环境审视

乌江流域土司时期的文化环境是该地社会进步、经济发展和民族团结的现实空间,地域特征极其鲜明。一是有深厚的人文积淀,二是强化的汉文化教育,三是开放的文化心态,四是丰富的物质资源,五是鲜明的民族风情,六是剧烈的社会动荡。笔者认为,理清乌江流域土司时期的文化环境,对挖掘该地深厚的土司文化资源,促进现今民族地区的经济发展、社会进步和民族团结具有十分重要的意义。     

Partisan identity in the French civil war, 1405–1418: reconsidering the evidence on livery badges

This article examines the efficiency with which John the Fearless used his personal badges during his conflict with Louis of Orleans and the Armagnacs, and questions current thinking on the relationship between the emblems of both parties. As early as 1405, he began distributing emblems that corresponded directly to his ideology: first the carpenter's plane, and from 1410 onwards, his mason's level, two symbols that were representative of his platform for reform. In August 1411, his urban supporters in Paris and elsewhere began wearing crosses of St Andrew, his patron saint, as a means of identifying themselves as Burgundian partisans. This study argues that in making a conscious decision to link his symbols to his ideology, and in making them available to his vassals and urban supporters alike, John the Fearless forged a strong Burgundian community that transcended social barriers. In so doing, he also manufactured an Armagnac anti-community, a tangible entity against which his partisans' animosity was directed from 1411 onwards. As badges of allegiance, the symbols helped fuel a war that had, thus far, remained a private conflict between the princely houses of Burgundy and Orleans.     

Partisan identity in the French civil war, 1405–1418: reconsidering the evidence on livery badges

This article examines the efficiency with which John the Fearless used his personal badges during his conflict with Louis of Orleans and the Armagnacs, and questions current thinking on the relationship between the emblems of both parties. As early as 1405, he began distributing emblems that corresponded directly to his ideology: first the carpenter's plane, and from 1410 onwards, his mason's level, two symbols that were representative of his platform for reform. In August 1411, his urban supporters in Paris and elsewhere began wearing crosses of St Andrew, his patron saint, as a means of identifying themselves as Burgundian partisans. This study argues that in making a conscious decision to link his symbols to his ideology, and in making them available to his vassals and urban supporters alike, John the Fearless forged a strong Burgundian community that transcended social barriers. In so doing, he also manufactured an Armagnac anti-community, a tangible entity against which his partisans' animosity was directed from 1411 onwards. As badges of allegiance, the symbols helped fuel a war that had, thus far, remained a private conflict between the princely houses of Burgundy and Orleans.     

无损光谱技术在纸质文物分析中的应用研究进展

纸质文物是重要的文化遗产.由于纸质文物本身材料的特性,容易受保存环境的影响发生老化降解.科学的分析诊断和评估是长期保护纸质文物的前提.受样品限制,无损分析测试技术是文物分析的发展趋势.根据纸质文物的特点,本文重点介绍红外光谱、拉曼光谱、核磁共振和X-射线光谱等方法在纸质文物评价和鉴定分析中的研究状况和发展前景.如何将多项无损测试技术联合运用,并加以规范化,以最小的损伤,获取更多的信息,建立完整的纸质文物无损分析体系,是今后的重点课题.     

Korea's Aristocratic Moods: Re-examining Chos[obreve]n Social and Political History

Despite the vast influence of “Chinese culture” on Korea, the Chos[obreve]n dynasty (1392–1910) was a distinct cultural sphere governed by its own internal logic that centred on the aristocracy. Over the past twenty years, the importance of this fact has received emphasis in detailed studies by Deuchler (1992 Deuchler, Martina. 1992. The Confucian transformation of Korea: A study of society and ideology, Cambridge, MA and London: Council on East Asian Studies, Harvard University.  [Google Scholar]), Palais (1996 Palais, B. James. 1996. Confucian statecraft and Korean institutions: Yu Hy[obreve]ngw[obreve]n and the late Ch[obreve]son dynasty, Seattle and London: University of Washington Press.  [Google Scholar]) and Duncan (2000 Duncan, B. John. 2000. The origins of the Chos[obreve]n dynasty, Seattle and London: University of Washington Press.  [Google Scholar]). The recent works by Hwang, Park and Kim that are the subject of this essay constitute a triptych of studies that further illuminate theimplications of social status in Chos[obreve]n and show how South Korea's transformation over the past five decades represents a radical deviation from the defining characteristics of its Confucian past.     

近出[口白]畁盉铭文考释

[口白]畁盉出于山西,应为西周穆恭时期器。此器铭之“[口白]畁”应是器主。《左传·昭公十五年》说,诸侯受封皆受明器于王室……故能薦彝器于王之礼,由本铭可以得到验证。“ ”字应释为“盘”字,此铭文为盔亦可以称为“尊般（盘）盉”提供新证。     

Virgil's Fourth Eclogue and the Eleusinian Mysteries 1

This article argues that Virgil's Fourth Eclogue can in part be understood in light of the influence of the Eleusinian Mysteries on Roman religion. In particular, it argues that the child can be compared with Ploutos and that the return of the Virgo reflects the myth of Persephone. The myths of Demeter at Eleusis are assimilated to the Roman myth of a golden age under the rule of Saturnus. The return of Persephone from the Underworld and the birth of the child signify an end to war. The possible significance of the poem to Augustan propaganda is also discussed.     

汉代铸造铸钱金属范之陶范的分析研究

汉代的铸钱遗址中出土了大量铸造铸钱金属范的阳文陶范,阳文陶范既反映出了铸造金属范时的铸型,又可看出所铸造的铸钱金属范的铸型.为揭示铸钱金属范的铸造工艺及变迁,本工作从铸造工艺角度对阳文陶范进行分析,通过对汉代阳文陶范出土概况的统计,了解了阳文陶范铸型的变迁.以西安相家巷和窝头寨铸钱遗址采集的阳文陶范为基础,对陶范的面层与背层进行了X射线荧光成分分析,在电子探针下对型腔面进行了形貌和成分分析.分析结果表明,阳文陶范分层制作的原因是为了将模上的钱币铭文和形状清晰地复印到陶范上,型腔面的检测不能表明是否使用了表面涂料.     

South Korea's Meandering Path to Globalisation in the Late Twentieth Century

Globalisation, or segyehwa1 1. The system of romanisation for the South Korean language that is used in this article is the revised system proclaimed by the South Korean Ministry of Culture and Tourism in July 2000. Exceptions to the revised system are proper nouns – e.g. the names of the former presidents of South Korea and of jaebeol (chaebol) groups such as Samsung, Hyundai, Daewoo and Sunkyung. View all notes in Korean, has recently been the central theme in discussions of South Korean political economy, particularly in strategic policy-making discourses since the outbreak of the Asian financial crisis, which was triggered by the collapse of the Thai baht in 1997. The serious nature of the South Korean currency meltdown in 1997 resulted at first glance in a striking transition in the South Korean political economy from state-driven market and industrial policies, and a strong nationalist policy towards foreign capital (inflow of foreign direct investment), to a neo-liberal policy of globalisation. This article critically examines the paradoxical nature of Korea's globalisation efforts under three political regimes (February 1993–February 2008), as a response to new economic conditions embedded in the nature of developmental capitalism. The paper argues that South Korea's globalisation effort over the period has been highly pragmatic and selective in policy and regulations but has resisted embracing the principles of market-driven globalisation. South Korea's globalisation drive or segyehwa therefore appears only a temporary phenomenon rather than a carefully structured strategic policy.     

Documentation of the Yazdi-Bandi Vault at the Plaza of Sadr-e-A’zam,Tehran

ABSTRACT

This article intends to document a previously unsighted sample of yazdi-bandi over an outlying structure in the old Bazaar fabric of Tehran, namely a plaza known as Timché-ye Sadre-A’zam. Recent renovations of the plaza have concealed the work under an austerely flat drop ceiling in gypsum. The old yazdi ceiling was only accidentally discovered by the authors following the trail of hearsay and local legends. The plaza is of late 19th century construction, a period that witnessed an evolutionary and aesthetic climax in all aspects of architectural geometry in the country, including the various branches of kaarbandi. With the limitations that the authors faced, basic tools were used in the scanning and surveillance of the ceiling. Photographs were collected using a wide-angle lens. They served as raw data for the reconstruction of the yazdi plan in AutoCAD, This article presents the findings, and for a better understanding of the entire premise by the reader, supplements them with preambles on the evolutionary history, geometrical analysis, a preview of the state of scholarship and a collection of relevant terms and concepts in the study of yazdi, in particular, and kaarbandi as a whole.     

“日本”国号起源再考

因中日两国史书皆缺乏明确的记述,故就开始使用“日本”这一国号的时间和是谁创造了这一国号众说不一。本文认为以往认识似乎都缺乏坚实的史料依据和令人信服的说理过程,并基于历史事件发生的时间与被记述的时间、记述者与当事者的关系最为接近的史书及其撰者乃最恰当的研究线索这一观点,推定“日本”这一国号似乎应该出现在武则天会见日本使者的公元702年当年或之前的一小段时间,其出自或如《史记正义》作者张守节所说,来源于武皇后的改名。     

鸠·鸠杖·鸠车

鸠杖、鸠车在汉代甚为流行。对于这一文化现象,作者在对鸠的原始造型及其文化含义作简要分析的基础上,进一步剖析鸠杖、鸠车在汉代受到青眯的原因,指出鸠杖、鸠车流行于汉代是当时尊老爱幼之风甚盛的物质体现。     

从和平外交到革命外交——20世纪50年代中后期我国外交战略大转变国际原因探析

20世纪50年代中后期,我国外交战略经历了一个从“和平外交”到“革命外交”的大转变。促使这种大转变发生的原因是复杂的、多元的,其中国际因素占有重要地位。本文对此进行分析、归纳与研究,以就教于方家。     

Temporal and Narrative (Dis)junctures: Guillermo Núñez’s Aesthetics of Memory and the Museum of Memory and Human Rights (Santiago,Chile)

Focusing primarily on Guillermo Núñez’s work, this essay juxtaposes two almost-identical exhibits of his ‘exculturas’ (sic: xculptures/ex-cultures) – one at the Chilean-French Cultural Institute in 1975, which resulted in his detention and exile, the other in 2010 for the official inauguration of the Museum of Memory and Human Rights (MM) – to explore their relationships to memory production in Chile four decades after the military coup. In the first, Núñez offered a pointed critique of the repressive post-coup context through a series of caged and netted objects; the second reconstructed the first as a memory gesture, framed within the ultra-modern, state-sponsored MM, in its designated art space, at once included and physically separated from the historical narrative of the Museum. How do the politics, aesthetics and design of the MM work to complement, complicate, or contradict Núñez’s – and, perhaps, any – artistic proposal? What challenges might the aesthetic of memory in Núñez’s work pose to the Museum’s narrative frame? Examining Núñez’s ‘exculturas’ (and, briefly, Gonzalo Díaz’s reconstructed Lonquén) reveals several tensions – around politics of inclusion and exclusion, the state’s role in memorysites, and the relationships between human rights concerns and museological and artistic strategies – marking the social production of memory in Chile today.     

Peter Kozler and His Map of the Slovenian Land and Its Provinces (1849–1871)

Early modern regional maps of Europe usually indicated the area occupied by people who were beginning to refer to themselves as Slovenians under various names. It was not until the mid-nineteenth century that the actual extent of the Slovenian language was depicted on a map and Slovenians were recognized as a nation within the Austrian Empire. Much of the credit for the systematic recording of the distribution of Slovenian speakers can be attributed to Peter Kozler, the Gottscheer German lawyer who compiled his pioneering The Map of the Slovenian Land and Its Provinces [Zemljovid slovenske de?ele in pokrajin] during the political upheavals associated with the ‘Spring of Nations’ and the 1848 Revolution in the Habsburg Monarchy. Although Kozler’s map was completed in 1852 and first printed in 1853, the authorities repeatedly delayed its publication until 1861. This article uncovers the history of the map’s production and eventual publication.     

关于博物馆文化衍生产品开发的认识与思考

文化衍生产品的开发工作是博物馆文化产业体系中的核心环节,目前在我国尚处于起步阶段,其理念、体制、资金、政策、模式等均有待思考与探索。只有根据我国博物馆的具体实情,借鉴国外博物馆的成功经验及运作模式,革新理念,遵循正确的开发原则,掌握科学的开发方法,才能形成品种齐全、种类多样、特色鲜明、优势突出、富有竞争力的博物馆文化衍生产品体系。