基于人地关系的书法地理学研究

已有的书法地理研究局限于书法现象的地域分异。本文讨论了书法景观的概念、特征及类型,指出书法地理研究应该包括书法作为具有区域分异特征的人文景观元素的研究、书法作为人地关系中景观组成元素的研究以及书法审美作为人地关系的影响物的研究,并进行了详细阐述。书法地理学未来需要通过多学科方法引入进行研究,书法地理学对于旅游、城市规划等多个方面有着潜在应用价值。     

Conserving Rainforest 4: aural geographies and ephemerality

Works of installation sound art are inherently spatial. Documentation of this form, which dates from the 1950s, involves an engagement with diverse histories of geographical knowledge and oral-historical methodology. David Tudor's Rainforest 4 (1973) is a performed sculptural sound installation which remains the best-known of his pieces. Its durability—when most other of his works remain unperformed, partly because they are too hermetic to decipher or depend on unavailable technologies—belies its “score” which consists of a simple diagram and a few words. Oral history, formal and informal, is not only key to understanding the history of the piece, but is integral to its performance. This paper explores some historical geographies of Rainforest 4 and the aesthetic of ephemerality in live electronic music, for which documentation of performance is secondary. In examining the paradoxes of Rainforest 4's conservation, we explore Tudor's engagement with particular notions of nature and spirituality as well as the social hierarchies and conservative impulse which keep the piece alive.     

Trauma,Mourning and Resistance in Spozhmai Zaryab's Short Stories

The war in Afghanistan (1978 to the present) is one of the longest and bloodiest wars in modern history. From the early 1980s war intensified between the Leftist regime and the opposition Mujahideen and touched the life of every citizen. Bombardments, rockets and landmines killed and injured hundreds of thousands of civilians and caused massive displacement. Women were the direct and indirect targets of the war; some women lost members of their immediate family, others were displaced and emigrated, some were raped, and others were enslaved and sold. Thus trauma and mourning mark the lives of the majority of Afghanistani women. Given the political nature of the conflict—with superpowers and regional powers behind the warring sides—and the nature of socio-cultural bonds that required women to keep silent, how did women deal with these traumas? One of the areas in which this can best be seen is in women's literature—most notably narrative works. These works, in which the authors were themselves either victims or witnesses, voice women's resistance to the war and portray war and its consequences for ordinary women's everyday lives. In the narrative works of Spozhmai Zaryab (the pioneer of the anti-war fiction in Afghanistan), women and trauma are multi-dimensional. In some of her short stories women mourn publicly; in others, women cope with war and resist it by whatever means available to them. In others, women visualize war, invasion and destruction of all socio-cultural bonds. Women are transformed by a profound change, including in their perception of gender relations.     

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.     

Trump: Transacting trickster

Donald Trump's recent election victory has been greeted with horror and disbelief by many. In particular, the glaring inconsistencies and open self‐contradictions that marked his campaign should have rendered him unelectable by the standards of conventional reasonable political practice. But rather than being a problem to be explained away, it is Trump's open embrace of contradiction that explains much of his appeal. By holding contradictory trends and opinions simultaneously, he presents himself as being capable of embodying seemingly mutually exclusive social trends, such as an intensification of economic competition on the one hand and a radical denunciation of that competition's effects on some of the losers from that process on the other. By doing so, he presents himself as a powerful figure with charismatic abilities to contain such contradictions within himself – abilities that are not available to ordinary career politicians, but that are strikingly reminiscent of the powers attributed to so‐called ‘trickster’ figures in anthropological literature.     

Fragments of the Modern City: Material Culture and the Rhythms of Everyday Life in Victorian London

This essay analyses the influence of Charles Baudelaire's and Théophile Gautier's fetishist poetics on the early works of Algernon Charles Swinburne. If the crucial role played by the Victorian poet as a cultural ‘passeur’ between France and England has often been highlighted in recent criticism, his aesthetic delight in certain forms of sexual deviance such as podophilia has rarely been explored in relation to the verse of his French mentors. Swinburne, Gautier, and Baudelaire may have indeed shared this erotic fascination with feet: this is a fascination that was partly grounded in these poets' common interest in antique literary models, in particular in Sappho's poetry. Rather than extolling the Hellenic ‘sweetness and light’ which some of his contemporaries set so high, Swinburne indulged in dangerously eroticised Dionysian aesthetics which were perceived as both ‘too Hellenic’ and ‘too French’. I argue that the fetishism of the poetic foot may be read as one of the keys to the Victorian poet's subversive shift away from the serenity often associated with Victorian neoclassicism in favour of a Dionysian energy that anticipates Friedrich Nietzsche's works.     

Engineering Art and Telling Tales: Anish Kapoor at the Royal Academy

Anish Kapoor has become well known for his enormous architectural installations and for his use of vibrant colour. Much of his work depends critically on good engineering and he has collaborated closely with engineers for many years. I discuss several of Kapoor's large works, approaching them from an engineer's perspective. I also show how Kapoor weaves layers of narrative in some of his work: so that a naïve understanding of a piece's construction is a falsehood layered over the true engineering solution. The story seems initially obvious to the audience but a little digging, a little thought, reveals that it is a fiction and that reality is something other.     

几件姚绶书画作品的考辨

在姚绶存世及见于著录的作品中,存在着若干需要解决的问题。笔者通过对其中几件作品的考证、分析,得出结论,认为姚绶《行书诗笺》是从钱选《浮玉山居图》卷中散佚出去的一段题跋,《吴山归老图》卷是后人拼配之作。此外,本文还通过对姚绶生平部分内容的考察,确定了3件见于著录的姚绶作品为伪迹。     

Le statue di marte e venere nel tempio di marte ultore sul foro di augusto 1

This paper explores the question of whether any circumstances, events or activities can be identified that may have made Cicero feel that he and / or other people were experiencing a moment or period of happiness in their private or public lives. By reviewing meaningful excerpts from a variety of Ciceronian works, this contribution presents examples of possible conditions and instances of happiness in Cicero's life (as far as it is possible to discover the feelings of an individual exclusively on the basis of their writings to other people). While Cicero hardly ever mentions preconditions for his own ‘happiness’ or states explicitly that he is ‘happy’, it can be inferred that he took pleasure in a range of situations that are generally regarded as blessings for human beings, such as having a family or a comfortable home. His special intellectual capability and his political career presented Cicero with further possibilities of winning success and satisfaction. Yet Cicero's feelings of happiness in all respects seem to have a basic component oriented towards community. Because Cicero's personal life is so intertwined with his public life and he has also considered the issue philosophically, his emotional disposition in ‘normal’ and ‘extraordinary’ moments is of a particular quality: he was able to derive joy from beliefs such as that he had saved the Republic, beyond the ordinary pleasures of all human beings such as conversations with good friends.     

‘The Materialls for the Building’: Reuniting Francis Bacon’s Sylva Sylvarum and New Atlantis

Bacon’s Sylva Sylvarum and his New Atlantis both appeared soon after his death, edited by his chaplain, Rawley. The works are, on the face of it, dissimilar, and have been treated as unrelated, on the assumption that Rawley was merely attempting to rush out (in the wake of his employer’s death) two works that had occupied his last years. In order to establish just what their relation is, we need to establish, first, whether New Atlantis was simply a last‐minute addition to the Sylva volume; second, what Rawley says about their association and how he effects it; and third, whether the two works have other concerns in common that would have led Bacon himself to consider them as companion pieces. Such an examination shows that there were intrinsically connected pieces, and can be used to throw light on the aims of both works.     

Challenging the Quimera (Sirena) Negra: Unamuno Reads Pardo Bazán

This article examines the literary relationship of Emilia Pardo Bazán and Miguel de Unamuno by analyzing Unamuno's 1905 review of La Quimera, as well as his tribute to Pardo Bazán on the occasion of her death in 1921. These two critical pieces, together with Unamuno's Dos madres and La tía Tula, reveal that while Unamuno dismisses Pardo Bazán's realism in his discussion of her works, he develops in his own fiction alter egos who struggle with dominant female figures, just as he competes with Pardo Bazán's model of authorship.     

Woman and Violence in Artistic Discourse of the Russian Revolution and Civil War (1917–1922)

This article examines visual and literary representations of violence against women produced during the period. The image of a woman suffering from violence is presented from different points of view in literary art works of the Revolution and Civil War time. It was created and circulated among Red and White camps mainly in accordance with the task of propaganda bodies. Among the object of violence there are allegoric women's figures, symbolising Russia, revolution, freedom, well‐known heroines from literature, historic personages and contemporary women – ordinary victims of civil confrontation and direct participants of the Revolution and war. Men or symbols traditionally personifying masculine origin were nearly always the perpetrators of violence, and the image of the female victim was exploited for the strong emotions it evoked. In most cases physical violence against women was treated as anomaly. But the control of the regime over the woman's emotional sphere had become a standard everywhere.     

书法景观旅游地游客地方感影响因素分析——以陕西汉中石门十三品为例

书法作为我国传统文化的象征,是旅游者地方文化感知的重要符号元素。本文选取了我国陕西汉中著名的书法碑刻群-"石门十三品"作为案例地,将游客地方感分为情感依恋、景观原真性、社会文化氛围、书法功能四个维度,构建了书法景观旅游地游客地方感影响因素模型。通过单因素方差分析,聚类分析得出游客年龄、对景区的熟悉度、旅游动机在情感依恋维度上的差异显著。距离对游客地方感的影响则主要体现在社会文化氛围维度上,而不同书法背景的游客则在书法功能维度上差异显著。地方理论与书法景观的应用研究为书法旅游资源的规划和管理提供了依据,具有一定的实践指导意义。     

The biography of Ignatios the Deacon: a reassessment of the evidence

Abstract

The recently published critical editions of three of Ignatios the Deacon's works, his correspondence and two of his hagiographical texts, may have enhanced our familiarity with an important scholarly figure, but have apparently not established a consensus as regards his educational curriculum and ecclesiastical career. This is not surprising in view of the lack of explicit information on crucial periods of his life and the wide diversity of the literature associated with his name. However, the discussion has become all the more confused as some of Ign.'s autobiographical references have been called into question (to my mind, not reasonably) or not taken into account in their entirety. Setting aside the divergences between the biography sketched by Cyril Mango and that by myself, which mainly concern the tentative period of Ign.'s episcopate and the period he became skevophylax, a very different interpretation of Ign.'s biographical data has been offered by Georgios Makris, the editor of the Life of St. Gregory the Decapolite. And a more recent reconsideration of his biography, presented in the Berliner Prosopographie der mittelalterlichen Zeit and published in full length by Thomas Pratsch in this journal, without radically disputing the basic chronological framework of Ign.'s lifetime as proposed by Mango, has tried to rearrange the scattered pieces of his puzzling career. Several hypotheses regarding Ign.'s ecclesiastical career were also put forward by Michel Kaplan in his inquiry into Ign.'s letters dateable to his period as metropolitan of Nicaea. Finally, in his posthumously published History of Byzantine Literature, Alexander Kazhdan, demonstrating excessive skepticism, distinguished the author of the anonymously preserved correspondence from Ignatios the Deacon, as well as denied him the composition of other works that have been assigned to him. The purpose of the present note is to re-assess the biographical evidence provided in Ign.'s own work.     

Georges Perec’s experimental fieldwork; Perecquian fieldwork

This paper traces key themes in contemporary experimental fieldwork – explorations of ordinary places by artists, writers, activists, enthusiasts, students and researchers – to the works of Georges Perec. Preoccupations of this work – including playfulness, attention to the ordinary, and writing as a fieldwork practice – are all anticipated and elaborated in Perec’s oeuvre, where they converge around an ‘essayistic’ approach. Exhibiting these traits, some contemporary fieldwork is more convincingly Perecquian than psychogeographical or Situationist, despite the tendency to identify it with the latter. Through Perec, it is therefore possible to bring contemporary experimental fieldwork into focus, identifying a coherence and sense of project within it, while speaking to the question of what it means and could mean to conduct fieldwork experimentally. Particular attention is paid in this paper to Perec’s most accomplished and sustained field texts, both of which have been translated into English: An Attempt at Exhausting a Place in Paris (2010, from 1975 original in French) and Species of Spaces (1999/1974).     

Art Museums,Old Paintings,and Our Knowledge of the Past

Art museums frequently remove old paintings from their original settings. In the process, the context of these works of art changes dramatically. Do museums then preserve works of art? To answer this question, I consider an imaginary painting, The Travels and Tribulations of Piero's Baptism of Christ, depicting the history of display of Piero della Francesca's Baptism of Christ. This example suggests that how Piero's painting is seen does depend upon its setting. According to the Intentionalist, such changes in context have no real influence upon the meaning of Piero's painting, and consequently museums can be said to preserve works of art. According to the Skeptic, if such changes are drastic enough, we can no longer identify the picture's original meaning, and museums thus fail to preserve works of art. Skepticism deserves attention, for such varied influential commentators as Theodore Adorno, Walter Benjamin, Maurice Blanchot, Hans‐Georg Gadamer, Martin Heidegger, Hans Sedlmayr, and Paul Valéry hold this pessimistic view of museums. I develop the debate between the Intentionalist and the Skeptic. Ultimately skepticism is indefensible, I argue, because it fails to take account of the continuities in the history of art's display. But Intentionalism is also deficient because it is ahistorical. In presenting the history of Piero's painting, The Travels and Tribulations of Piero's Baptism of Christ shows that we can re‐identify the original significance of Piero's work and the recognizable continuities that obtain through its changes. It thus makes sense to claim that at least in certain circumstances art museums can preserve works of art.     

Stories of fracture and claim for belonging: young migrants' narratives of arrival in Britain

This article brings an anthropological approach to bear on the question of ‘children's voices’ and, particularly, on the stories told by some young migrants about their recent arrival as asylum-seekers in Britain. Young migrants' narratives are examined as situated and self-conscious claims to a certain identity as child refugee. The question of why a particular narrative of ‘arrival in Britain’ was offered by a diverse group of young migrants and asylum seekers is discussed. These stories present a view of their tellers as alone and irreconcilably detached from past lives and relationships. These narrative repertoires as well as their telling draw from and elaborate certain views of the ‘proper refugee child’ that circulate through various regimes of immigration, welfare and emancipatory community work that all involved these young people. An approach to the stories as accomplished as well as situated performances that collapse the ordinary division between stories as ‘facts’ or ‘fictions’ is introduced. In this sense, the ‘children's voices’ heard in this study are recognised as situated and interested products of a research relationship.     

Rutherford – Simple Genius

Abstract

From a superficial glance, it might be thought that men of science are barely represented in Westminster Abbey, among the kings, courtiers, naval and military men, poets, statesmen and heroes of Empire. This is not so. One of the most splendid works of sculpture of the 18th century is the monument, adjacent to his grave, to Sir Isaac Newton. Many Fellows of the Royal Society are there as well, though this might be coincidental as they were also bishops or deans. Not all might be buried in the Abbey, but physicians, astronomers, and engineers are commemorated by marble statues or tablets, in stained glass, by monumental brass, or, like the Herschels, only by their gravestones. It is true that some have had to wait a long time for a memorial: Edmond Halley's stylised comet appeared only four years ago. These are, however, in good company, for even Shakespeare (buried at Stratford-on-Avon) had no memorial in the Abbey until well over a century after his death. Nor should men of science feel that they have been overlooked, because of all the country's architects, only one or two are represented, and only one painter is commemorated, and he is not John Constable.     

Prospects for Oil and Gas Development in Russia's Sakhalin Oblast

This paper examines the oil and gas industry of Sakhalin Oblast and its offshore areas, as well as the status of major investment projects. Sakhalin is the site of two of Russia's largest oil development projects with Western companies, both envisaged as major multibillion-dollar ventures. Both projects are described in detail, and remain contingent upon enactment in Russia's parliament of key pieces of oil legislation, most importantly a law on production sharing. The paper argues that even if such changes in Russia's legal and fiscal environment are forthcoming, the profitability of these projects remains uncertain, with actual development far from assured. 1 map, 2 tables, 11 references.     

DOCUMENT AND TIME

This article explores what it calls the “documentarist” hypothesis: the belief that the subject matter of history, the past, is structurally absent and thus can be reached only by way of documents, testamentary traces of various sorts (not only written texts, but artifacts, land arrangements, oral witnessing, and so on). The first part of the article works out the documentarist position through interpretations of creative works that embody it and of a variety of reflections on historiography—those of Michel de Certeau and Paul Ricoeur, as well as some “postmodern historiography.” It argues that documentarism ultimately faces an insoluble problem: it presupposes the pastness of the past, yet it cannot give itself the latter by way of the documents to which it believes itself confined. Documentarism assumes as already at hand a historical‐temporal horizon of past, present, and future, for which it itself cannot account. In the second part of the article, accordingly, I turn to the historiographical portion of Faulkner's The Bear to expose the operativity of this always already given temporality. Faulkner's tale gives us access to a more radical historicity than any upon which documentarists reckon; yet this historicity turns out to sit askew from the usual frameworks of history as we know them, especially those of periods and epochs. The tension in Faulkner's own work between periodizing and event‐laden explanations, I conclude, points to questions that fall beyond history as currently conceived.