Public funding of culture in the Czech Republic since the fall of the iron curtain: contemporary dilemmas

The article deals with explicit cultural policy and its outcomes in the post-communist Czech Republic. In the first part, the authors look at the organisational and conceptual impact on culture of the transition from a centrally managed economy to a pluralist parliamentary democracy following the collapse of the Eastern Bloc. The cultural sector experienced privatisation, property restitution, commercialisation, globalisation, decentralisation and devolution, as well as the emergence of the private sector and the non-governmental non-profit sector (NGO). Although the process of societal transformation is now complete, certain key issues of cultural policy remain unresolved. The authors focus on three contemporary issues in theatre, namely: political intervention in the management of public cultural institutions, the persistent debate on funding through grant systems and the lack of trust culture professionals have in the creators of cultural policy. As a result, even though after 1989 it was expected that the private or NGO sector would dominate in the area of culture, there still exists a relatively dense network of public cultural institutions (contributory organisations) characterised by a resistance to proposed organisational and funding changes.     

Discourses of nation among migrants from Northern Ireland: Irishness,Britishness and the spaces in‐between

Narratives of nation and identity are highly contested in Northern Ireland, with allegiance usually given to an Irish nation or a British nation, or located somewhere along a continuum between the two. The negotiation of one's identity along this continuum can become particularly complex once one migrates outside Northern Ireland. Adopting a sense of belonging to or exclusion from an Irish diasporic community is part of this process of negotiation. This paper explores these negotiations of identity among both Catholic and Protestant migrants from Northern Ireland to England. It utilises an oral history archive of interviews with individuals who migrated in the latter half of the 20th century, and focuses on narratives of nation and identity among these migrants. Drawing on the notion of England as a diaspora space, in order to make sense of these narratives, the intersections between diasporic Irishness and different British identities are untangled in an attempt to draw out the spaces ‘in‐between’ two, often polarised, narratives of nation.     

章太炎与端方关系案

章太炎与端方关系的这桩公案,在同盟会时期是件大事,它涉及同盟会与光复会的分裂,对章太炎本人来说,也至关重要。本文试图将该案的始末作全面梳理,以揭示当时革命党人之间的派系纷争和章太炎的固执派性。     

论建设社会主义新农村的科学内涵和重大意义

社会主义新农村,是指在社会主义制度下,反映一定时期农村以经济发展为基础、以社会全面进步为标志的社会状态。建设社会主义新农村,关系到巩固党执政的社会基础、实现党执政的历史任务,关系到最广大人民的根本利益,关系到全面建设小康社会的全局,关系到社会主义现代化事业的成败。     

文化保存与香港新方志的发育

由于社会制度的不同,香港地方志的发展环境不同于大陆内地,其新方志的发育基本上是源于香港本土社会的内在张力。风物志作为香港地方志的初级形态,显示了地方志在香港本土的生命力。目前正在酝酿的《香港地方志》是香港回归后文化回归和文化对接的重要组成部分。有关香港新方志的构想和开展计划,显示了作为中国传统文化的方志形态在现代化社会的生存方式问题,在中国新方志的发展史上将具有重要意义。     

Burning wood or burning bone? A reconsideration of flotation evidence from Upper Palaeolithic (Gravettian) sites in the Moravian Corridor

This paper compares archaeobotanical and other data from new excavations at two Upper Palaeolithic sites — Dolní V?stonice II and P?edmostí I — in the Moravian Corridor, Czech Republic. Both contain the traces of broadly contemporary ‘Gravettian’ occupations during the warmer episodes of the Pleistocene which preceded the last glacial maximum. Yet their archaeobotanical remains show striking differences — those from Dolní V?stonice II being dominated by large quantities of conifer wood charcoal, while those from P?edmostí I are much more scanty and dominated by vitrified plant remains, in association with large quantities of burnt bone. We argue that these differences between these two datasets arise from different uses of fuel at either site: bone at P?edmostí I and wood at Dolní V?stonice II. Subsequently, we explore the possible reasons for this difference and argue that once likely taphonomic distinctions are accounted for, these data on fuel use offer fresh insights into the functions and durations of these Upper Palaeolithic occupations of the Moravian corridor and some possible implications for how archaeobotanical data from such sites should be interpreted.     

续补创新，规正昭来——读《邗江县志（1988~2000）》有感

《邗江县志（1988~2000）》是全国第二轮修志试点单位的成果之一,也是出版较早的一部。笔者虽退隐林下,观棋耕园十有余年,但多年工作经历中留下难舍难弃的“地方志情结”,还是促使我以浓厚的兴趣来览读这部新志。粗读一过,觉得这部志书果然出手不凡,没有辜负人们的期望。令人印象最深的是编纂者们的努力探索和大胆创新精神以及本志的垂范意义。     

明清宫廷绘画与宫廷画家——天津博物馆明清宫廷绘画展

明清宫廷绘画与宋元院体画风格体系一脉相承,作品多工整细致,注重写实并带有皇家的雍容华贵之气。宫廷绘画是一种与封建皇权体制息息相关的特殊的艺术形式。在以皇权为核心的封建社会的上层建筑中,代表意识形态的宫廷绘画艺术更多地被赋予了树立主流美学典范、弘扬封建正统思想,传达统治者政治意图的职能。宫廷绘画的创作受到诸多限制,宫廷画家一般要遵守作画前绘制稿本,待皇帝批准后再“照样准画”的绘画制度等,这些都导致了宫廷绘画整体风格的谨严性和统一性。     

原始瓷胎料的粒度分析与产地探索

本文介绍了古陶瓷粒度分析的原理与方法。利用该方法,对我国不同地方出土的原始瓷产品进行了分析,发现南北方出土原始瓷有所差别,这一结果表明我国商代原始瓷应有多个产地。     

司马金龙墓出土木板漆画屏风残片的初步分析

为了解山西大同北魏司马金龙墓出土木板漆画屏风的颜料使用情况和制作工艺信息,利用Micro-Raman、FrlR、XRF、断面切片等技术,对屏风残片上的四种主要颜色(红,黑,黄,白)、红色漆底层、断面分层进行分析与鉴别,结果如下:(1)屏风所使用的颜料有朱砂、炭黑、雌黄、雄黄、石膏.(2)屏风的红色底层系由生漆与朱砂调和、结膜而成,其中可能未曾添加桐油.(3)屏风彩绘部分的颜料分层十分明确,各层的厚度相对均匀,反映出制作者较为高超的绘画技法.(4)在颜料层、木胎与红色漆底层之间的"过渡层"中,分别观察到一些白色物质.初步分析后认为,"过渡层"中白色物质为羟基磷灰石的可能性较大.颜料层中白色物质的成分和物相仍有待进一步的分析.