西晋镇墓兽与青牛、髯奴

西晋墓葬中出现的镇墓兽是东汉时期出现的独角类镇墓兽的继承和发展。这类镇墓兽常伴有武士俑的出土。而在西晋时期,流行着青牛、髯奴的御鬼辟邪术,这种辟邪观念很有可能就是西晋墓中出土的镇墓兽及武士俑的创作源泉。     

浅析明末版画《程氏墨苑》的图像元素

明朝末期可称作中国版画发展史上的黄金时代。明中叶以后,"市民文化"渐渐充斥着人们的精神世界,各种以图画为主的图谱也如雨后春笋般出现。实时,制墨本为平常之事,然有爱好者将墨的形制、图案进行创新变革,刻成墨模之后,进而印出"墨谱"。虽说"墨谱"的产生源于墨的生产,但其中所表现的些许图像元素和艺术形态却值得研究。文章从明末徽派制墨名家程君房所出墨谱《程氏墨苑》为载体并进行延伸,对其中的图像内容、形态进行浅析,说明了当时社会的艺术理念和审美倾向。各种图形都是作者基于现实或想象思维的一种验证,代表着创作者的思想意识,也是当时社会民众视觉冲击力的一种验证。     

谈语文新课程教学

初中语文教学长期采用“课堂十课外练习”的传统教学模式,学生围绕着教师的指挥棒转,忽视了学生学习语文的创新能力和实践能力的培养,因而学生的创新思维受到束缚,表现出厌学的情绪。要改变这一现状,教师在课堂教学的各个环节中增“趣”添“味”是一种很有实效的做法。它能刺激学生积极去学,有效地提高学生的语文素质,培养学生的创新能力和参与实践的能力。     

Towards a Multi-Agent-Based Modelling of Obsidian Exchange in the Neolithic Near East

This paper examines an alternative approach to previously proposed models of prehistoric exchange such as the law of monotonic decrement or the down-the-line exchange model developed by Renfrew (Proceedings of the Prehistoric Society 34: 319–331, 1968, Renfrew 1977) to explain the distribution of obsidian across the Near East during the Neolithic period. Renfrew’s down-the-line model, which results in a very regular and clustered network, does not permit the circulation of obsidian to regions of the Near East that are further than 300 km from the source zones, as is shown in the archaeological data available. Obsidian exchange is a complex system where multiple factors interact and evolve in time and space. We therefore explore Agent-Based Modelling (ABM) so as to get a better understanding of complex networks. ABM simulations of an exchange network where some agents (villages) are allowed to attain long-distance exchange partners through correlated random walks are carried out. These simulations show what variables (population density, degree of collaboration between villages…) are relevant for the transfer of obsidian over long distances. Moreover, they show that a type of small-world exchange network could explain the breadth of obsidian distribution (up to 800 km from source) during the Near Eastern Neolithic.     

Juan Moreira: Romantic Outlaw,Liberal Hero

Since its appearance in 1879–1880, Juan Moreira has been read as an illiberal novel, casting its eponymous hero (the historical bodyguard and electoral henchman of the same name) as a metaphor for the plight of variously-defined subalterns in liberal and neoliberal Argentina, and a condemnation of the social order they brought about. Contrary to that assumption, and reading the novel in its original context (the newspaper La Patria Argentina, in the months leading up to the Buenos Aires rebellion that would settle the fate of Buenos Aires, and end the cycle of civil wars in Argentina), the article argues that Moreira should be read as an strictly liberal novel, inventing a version of the gaucho not as a premodern barbarian (i.e. Sarmiento’s version) but as the embodiment of a modern liberal notion of subject (and citizen, even citizen-in-arms), produced by a functional market economy and a modernizing state, whose descent into criminality is a consequence and a cautionary tale not of the evils of the liberal order, but of what for Gutiérrez was the illiberal (at the same time conservative and barbaric) embodied in his political opponents presidents Nicolás Avellaneda and Julio Argentino Roca.     

扶风任家村西周遗宝离合记

<正>民国二十九年阴历二月初一,也就是公元1940年3月9日,陕西扶风县任家村农民任玉和他的本家兄弟任登肖、任登银等人在村西南的土壕内正在给自家拉土,忽然一镢头下去土崖崩塌,显现出一个大窖穴,