叶县、保利博物馆藏索氏劫簋铭文与年代

叶县与北京保利博物馆所藏索氏劫簋与簋盖,属于殷民六族中的索氏族所有,作器者之名应释为劫,而不是结.该铜簋的年代为西周晚期.     

Introduction: Danto and His Critics: After the End of Art and Art History

In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History (Princeton,1997). This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory . Danto presented his view of the nature of art in The Transfiguration of the Commonplace (1981). He then added in the Mellon lectures a sociological perspective on the current situation of the visual arts, and an Hegelian historiography. The history of art has ended, Danto claims, and we now live in a posthistorical era. Since in his well-known book on historiography, Analytical Philosophy of History (1965), Danto is unsympathetic to Hegel's speculative ways of thinking about history, his adaptation of this Hegelian framework is surprising. Danto's strategy in After the End of Art is best understood by grasping the way in which he transformed the purely philosophical account of The Transfiguration into a historical account. Recognizing that his philosophical analysis provided a good way of explaining the development of art in the modern period, Danto radically changed the context of his argument. In this process, he opened up discussion of some serious but as yet unanswered questions about his original thesis, and about the plausibility of Hegel's claim that the history of art has ended.
Hegel . . . did not declare that modern art had ended or would disintegrate. . . . his attitude towards future art was optimistic, not pessimistic. . . . According to his dialectic . . . art . . . has no end but will evolve forever with time.     

The Archaeology of Myth: Rock Art,Ritual Objects,and Mythical Landscapes of the Klamath Basin

Recent research in the Klamath Basin has shown that rock art and landscape are intimately connected, mutually informed by indigenous notions of sacred places. Modeling this landscape has been possible through an understanding of Klamath–Modoc myth. This has led some researchers to derive general interpretations of the rock art that are largely in agreement with Klamath–Modoc spiritual beliefs. I take this approach a step further and propose interpretations for specific rock art images and ritual objects, arguing that oral traditions harbor the fundamental logic that underpinned shamanic rituals that led to the creation of these paraphernalia.     

The management of World Heritage sites in remote areas: The Sierra de San Francisco,Baja California,Mexico

Abstract

The long-term management of sites that are far removed from population centres taxes the resources of heritage agencies. The Sierra de San Francisco in the Baja California peninsula of northwest Mexico is a remote area containing outstanding rock art sites that are inscribed on UNESCO's World Heritage List. Through a collaboration between four Federal, State and nonprofit organizations, a new management plan for the sites has been implemented, using a participatory model involving all interest groups. The paper summarizes the background to the plan, the problems that made it necessary and the process used to develop it. It describes the new visitor management strategies now in force and the role of the Sierra's resident population in contributing to the success of the plan.     

Archaeology, History, and Material Culture: Grounding Abstractions and Other Imponderables

United States national programs for historic preservation have a great influence on public memory and commemoration. Decisions about what may be listed in the National Register of Historic Places or designated a National Historic Landmark may commemorate or silence parts of the past. Historians invoke the concept of integrity as a gatekeeper to control access to these lists. Archaeologists have the opportunity to contest some of the imposed silences and make these lists more inclusive of underrepresented groups.     

历史与实践:纽约大都会博物馆的中国艺术收藏

纽约大都会博物馆的中国艺术收藏已有130年的历程。其间收藏的器类始于制作精美、雅俗共赏的明清瓷器,继而扩展到玉器、金银器、珐琅器、牙雕等整个明清时代的装饰艺术,再进一步扩展到中国古代的青铜礼器、玉器、陶塑和佛教造像,并且随着西方对于中国艺术的研究的深入,观众和收藏家逐渐领略到中国书画艺术深邃的文化内涵,最终全面地了解绵延不断的中华五千年文明;其收藏历程则见证了美国,或是说西方对中国文化艺术的认知过程,收藏过程中所形成的收藏家、赞助人和博物馆业务主任成功的合作模式和经验或许可以给中国的博物馆提供有益的借鉴。     

登封王城岗遗址浮选结果及分析

王城岗遗址包含有自龙山晚期至春秋时期基本连续的文化堆积,应用浮选法从中发现了丰富的古代植物遗存,包括有粟、黍、稻谷、小麦和大豆五种农作物品种。本文通过对浮选结果的量化分析,认识和了解当地农业生产特点及其变化规律,为深入探讨古代农业发展与华夏文明起源之间的关系提供新的资料和启示。     

Translation de Domicile: Rethinking Sedentarity and Mobility in the Early Modern French Countryside

Was the countryside of early modern France marked fundamentallyby mobility or sedentarity? Tax rolls suggest the former, highendogamy rates the latter. For the period 1660–1720, ararely used source, the registers of translation de domicile(change of tax domicile), provide a more comprehensive answerthan civil or tax records. They suggest that, first, 60,000–70,000better-off families moved each year; second, poor migrants,such as day labourers, rarely made declarations; third, thosewho owned land, moved far less often; fourth, laboureurs typicallymoved between 10 and 40 kilometres to take on farms of greaterimportance; fifth, cottagers and day labourers moved to a nearbyvillage, rarely more than 5 kilometres away and finally, menand their families moved for economic gain, whereas women movedbecause of economic loss, after the death of their husband.Because the laboureurs dominated the villages—for example,paying most of the taxes—their movement shook the villagein fundamental ways. The translation de domicile registers indicatevillages open to the outside, full of in-migrants, whose economicstatus often bore a close correlation to the distance of theirmove (high-long, low-short).