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.     

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。     

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.     

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.     

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.     

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.     

隋唐宫廷绘画机构概述

唐代是中国宫廷绘画发展的第一个高峰期。其间名家辈出,名作累累。以往美术史界对其制度与机构的研究甚少。本文首次对唐代宫廷绘画的制度与机构作了较全面的介绍与分析。     

潘柽章、潘耒兄弟之明史学成就考述

明末清初史学家潘柽章、潘耒兄弟二人一生致力于明史的撰述工作。柽章撰《国史考异》、《明史记》,考证精审;《今乐府》为史诗性著作,保存了大量历史资料。潘耒应诏入明史馆,参与《明史》纂修,提出多项修史建议,堪为后世典范。二人毕生致力于明史研究的学术精神成就了中国文化史上的一段佳话。     

Andrew Dury's map of the present seat of war,between the Russians,Poles, and Turks (1769)

Abstract

The chance assembling of a number of different impressions of Andrew Dury's Map of the present Seat of War between the Russians, Poles, and Turks (1769) in the British Library led the authors to examine the map's carto‐bibliographical history. Nine states of the map, two of which were sometimes sold with printed paste‐ons, have been identified to date. The two earliest states of the map are now in the State Historical Museum, Moscow. Although both are best described as proof, or pre‐publication, impressions, each bears evidence of intensive use at the highest levels of the Russian army command. Indeed, the circumstances leading to the creation of the map by Andrew Dury and Peter Bell and to a succession of different versions over the three decades or so of intermittent Russian‐Turkish hostilities highlight the interplay of international politics, individual initiative and commercial factors in late eighteenth‐century map production in London.