Feminist Adventures in Hypertext

Through a discussion of the intentions behind two hypertext works, Ruth Tringham’s Chimera Web and Rosemary Joyce’s Sister Stories, we present an argument that the new digital media offer unique opportunities for feminist archaeology to realize some of its deepest values. Through the medium of hypermedia and hypertext (multilinear) narratives the complexities of the feminist practice of archaeology (including its multivocal interpretive process) can be grasped, enjoyed, and participated in by a non-archaeological audience more fluidly than in traditional linear texts. We draw attention to the way in which recent developments in digital technology, especially through the Internet, have transformed our ability to share freely the fruits of our creative thought with an ever-expanding audience.

Adventures in happy land

Abstract

Interpretation proved to be a key to the successful outcome of three overseas aid projects in Asia and the Pacific. In Vanuatu, interpretation games were used to interest and involve local villagers in writing a management plan to protected a recently protected Pacific Kauri (Agathis macrophylla.) forest. The rapid establishment of national parks in Indonesia required staff to be trained in a variety of disciplines including interpretation. Park interpretation manuals were also written. Small scale tourism ventures in Fiji, where locals are the interpreters, are part of a management plan to protect a private forest park forest from logging.     

“独行侠”历险五彩山

<正>多次去过甘肃,但从未听说过张掖的五彩山,在旅途中意外获知,便一改行程火火赶去。汽车穿过村落,绕上扬尘的路径,惊然望见形状奇异、色彩火红的山峦。登上山顶环视,山梁纵横交错,山体纹理清     

Creole Performance in Wonderful Adventures of Mrs. Seacole in Many Lands

Mary Seacole's autobiography has been read as a feminist performance as well as a paradigmatic Victorian travel narrative. While these assessments address important aspects of the memoir, neither affords the author's Jamaicanness significant space in its analysis. This essay addresses the silences left when Wonderful Adventures is removed from its Jamaican context, then offers a reading of it from this perspective. Grounded in histories that document nineteenth‐century Jamaican social categories, the article analyses Seacole's book using Caribbean literary perspectives that explore raced, ‘coloured’ and geographically‐located identities. The result is an interpretation of the memoir that offers insight into Jamaica's Creole population, its status and colour politics, and identity concerns. All have been expertly shaped by Seacole's rhetorical manoeuvres.     

一个美国人的飞虎队之旅

我最初的目的是收集老兵的口述历史,可悲的是,许多非常有价值的人都去世了,有的因年老无法表述清楚.在今后的5到10年里,将再也没有老兵和见证人了.我常常遇到同样的回答:"某某可以告诉你这一问题,但是他在两年前去世了."     

Construction of Meaningful Contexts On War,Lions, Dogs,Birds and a Vineyard

The present article argues that 1 Kgs 20-22 are not well-suited as historical sources for the Aramean wars, but are of considerable importance in the reconstruction of the world of ideas of that time. It is shown how animals and plants can be used as codes in the narrative. The use of lions, dogs and birds in 1 Kgs 20-22 illustrates one and the same theme: killing and devouring. Yahweh can appear as a lion or send a lion, but even though the lion kills, it does not “devour” the disobedient prophets of Yahweh. Yahweh is also behind the treatment of Ahab, Jezebel and the prophets of Baal, but Yahweh leaves it to dogs and birds to devour them. The king of animals is connected to Yahweh's prophets and the unclean animals to the apostate royal house. Through the codes we gain insight into certain basic modes of thought in Old Testament cosmo-ontology. For linguistic expressions acquire their meaning not only from the narrative sequence in which they are used, but also from the system in which they are included.     

《寻羊冒险记》的艺术开拓——村上春树小说论

《寻羊冒险记》是村上春树青春三部曲的压轴之作,为作家带来了不可动摇的文坛地位。《且听风吟》和《1973年的弹子球》先后奠定了村上小说文本的语言风格,这部作品则在语言的叙事性与作品的故事性有机结合的领域,显示了作家的艺术开拓与创造精神。“羊”所体现的象征意义尤为读者和批评界所称道。     

Re‐sampling for Soil‐caesium‐137 to Assess Soil Losses after a 19‐year Interval in a Hunter Valley Vineyard,New South Wales,Australia

Soils in a lower Hunter valley vineyard, New South Wales, Australia, were sampled and analysed for caesium‐137, an indicator of soil erosion status, in 1984–1985 and 2004. From the time of the vineyard's first establishment in 1971 to 1985, estimated soil losses were 250 tonnes (equivalent to 64.2 t ha^?1 yr^?1). Re‐sampling in 2004 showed that soil losses were 48 tonnes in the 19 years since 1985, equivalent to 9.7 t ha^?1 yr^?1. The decline in erosion rates may be explained by a change in land and soil management from intensive cultivation to one of no cultivation (sod culture) in 1998, and a lower annual rainfall and fewer rain‐days per year in the period from 1986 to 2004.