释殷墟卜辞中的“■”字——兼论“羑里”

殷墟甲骨卜辞中有一字,见于《甲骨文合集》(简称《合集》)和《殷墟花园庄东地甲骨划》[1](简称     

DAMS AND INDIGENOUS PEOPLES IN MALAYSIA: DEVELOPMENT,DISPLACEMENT AND RESETTLEMENT

Large dams have proliferated in Malaysia in recent decades. Constructed mainly to meet mounting domestic demand for water and energy, they have destroyed large tracts of species‐rich tropical rain forest and displaced many already poor and marginalized indigenous groups from their homes and ancestral lands without their consent. Evicted indigenes were promised a better life in resettlement villages, but for the most part this has not occurred. Invariably traumatized by resettlement and widely forced into cash‐based economies for which they were ill prepared, many resettled indigenes suffered from frayed social relationships, high rates of unemployment and enduring poverty, in large part because the authorities failed to internalize project costs. The consequences for indigenous groups of dam‐induced environmental change and development‐forced displacement and resettlement (DFDR) are explored through a critical reading of the literature on four large dams: Sungai Selangor, Babagon, Batang Ai and Bakun. More large dams are under construction and many others have been proposed, resulting in threats to the future well‐being of many indigenous communities. Generally speaking, the experiences of Malaysia's dam‐affected indigenes mirror those of other indigenous minorities in the greater Southeast Asian region.     

The evolving techniques of the social engineering of extraction: Introducing political (re)actions ‘from above’ in large-scale mining and energy projects

Ecological catastrophe and global inequality are pressing, yet socio-ecologically destructive natural resource extraction continues unabated. This special issue explores the strategies and tactics employed by large-scale mining and energy companies to render extraction socio-politically feasible in the face of multi-pronged opposition. Extraction, we contend, does not only need physical engineering, but requires social engineering as well. This entails shaping the behavior of people to ‘manage’ dissent and ‘manufacture’ consent. Situating the social engineering of extraction in key debates in the literature, this special issue introduction traces the evolution of its main technologies and techniques, related to colonialism, wars of decolonization, neoliberalism and the ‘green’ economy, respectively. We conclude by outlining a number of ways to advance research on the social engineering of extraction.     

Disciplined love: the Chinese Communist Party’s wartime restrictions on cadre love and marriage

ABSTRACT

During the Chinese War of Resistance against Japanese Aggression and the Civil War, the Chinese Communist Party (CCP) imposed restrictions on the marriage of its cadres, so as to maintain the Party’s effective control and combat cohesion. The Central Committee of the CCP did not issue uniform regulations on this topic; most decisions were made by the base areas, with the indirect support of the Central Committee. Marriage and love are personal matters, and the restrictions certainly caused emotional suffering for ordinary cadres affected. However, there were important reasons for the CCP’s implementation of these measures. Through punishment and guidance, these restrictions were carried out smoothly and did not cause great upheaval. As love and marriage became areas subject to the political power of the CCP, they unexpectedly became a focal point of the collision between individuality and Party spirit and between the individual and the group.     

墨学集合核心论

历来的墨学研究者各自提出了自己的核心论。总结了各种墨学核心论的思维模式及其所重构墨子思想结构的模型，使人考虑墨子思想体系并不是单一核心的思想体系，也不是杂多思想要素凑合的体系，墨子思想体系的核心是由天志、兼爱、尚同三大思想要素构成的“集合核心”。三者既各自成体系，又相互关联，构成墨子思想的完整体系。对墨子思想体系核心的思考，体现了“一”和“多”的辩证关系。     

Documentation of the Yazdi-Bandi Vault at the Plaza of Sadr-e-A’zam,Tehran

ABSTRACT

This article intends to document a previously unsighted sample of yazdi-bandi over an outlying structure in the old Bazaar fabric of Tehran, namely a plaza known as Timché-ye Sadre-A’zam. Recent renovations of the plaza have concealed the work under an austerely flat drop ceiling in gypsum. The old yazdi ceiling was only accidentally discovered by the authors following the trail of hearsay and local legends. The plaza is of late 19th century construction, a period that witnessed an evolutionary and aesthetic climax in all aspects of architectural geometry in the country, including the various branches of kaarbandi. With the limitations that the authors faced, basic tools were used in the scanning and surveillance of the ceiling. Photographs were collected using a wide-angle lens. They served as raw data for the reconstruction of the yazdi plan in AutoCAD, This article presents the findings, and for a better understanding of the entire premise by the reader, supplements them with preambles on the evolutionary history, geometrical analysis, a preview of the state of scholarship and a collection of relevant terms and concepts in the study of yazdi, in particular, and kaarbandi as a whole.     

At the limits of critical geography: Creative interventions into the exclusionary spaces of U.S. geography

Abstract

In recent years, geographers have increasingly called for and enacted more sustained engagements between geography and the arts. This creative (re)turn represents both a renewed interest in recovering interdisciplinary practices within the history of the discipline and a desire to create space for new methods and creative approaches. This article develops in response to two areas requiring further critical engagement and development within the creative (re)turn: questions about the place of identity in creative geographies and the potential for creative geographies to perform critical interventions into disciplinary spaces and identities. I explore and develop these areas of concern alongside a discussion of a critical-creative geographies exhibit, The Critical Futures Visual Archive. Through a presentation of select works in this collection and a candid discussion of the institutional obstacles encountered in curating it, I elaborate upon the challenges and critical potentials of integrating creative practices into geography as a form of feminist praxis.     

Yusuf Islam (aka Cat Stevens) and his anti-war and pro-peace protest songs: from hippy peace to Islamic peace

ABSTRACT

In the 1970s Yusuf Islam (aka Cat Stevens) inspired a generation with his songs on anti-materialism, finding self and peace in such classic albums as Tea for the Tillerman (1970, US 3x platinum) and Teaser and the Firecat (1971, US 3x platinum). In December 1977 he converted to Islam, gave up popular music and focussed on humanitarian and educational work, until he returned to popular music in 2006. Meanwhile, Muslims became associated in the West as intolerant and violent. Yusuf has emerged in the last decade as a voice for progressive Muslims. This article explores the continuities in his music from his Cat Stevens days to his comeback and how he has reconciled popular music and his Cat Stevens past with his understanding of Islam. The focus is on his anti-war and pro-peace songs. It argues that his earlier songs are similar in their messages of world peace through love and unity, though less dark than his post-2006 songs. Additionally, his recent songs have a new message that the world must be more inclusive to achieve world peace. This is connected to him being a Muslim in the West and his feeling of exclusion, in an age when many in the West portray all Muslims as extremists. Consequently, in his recent music he reflects his experience as a Muslim, in the same way as his earlier music reflected the counter-culture of that period. Thus he has gone back to his earlier self after adopting a progressive understanding of Islam. Not Started Completed Rejected.