The Evolution of Theory, Method and Technique in Southern African Rock Art Research

Southern African rock art research has progressed from an essentially denigrating social and political milieu, through an empiricist period, to contemporary social and historical approaches. Empiricism, once thought to be the salvation of southern African rock art research, was a theoretically and methodologically flawed enterprise. Attempts to see the art through an emic perspective facilitated by copious nineteenth- and twentieth-century San ethnography is a more useful approach. It began briefly, but was then abandoned, in the nineteenth century. Today, diverse theoretical and methodological approaches are being constructed on an ethnographic foundation. The centrality of the San in South African national identity has been recognized.

瓷器热释光测定年代研究

本工作从标准的(即线性的)前剂量技术着手,研究了瓷器热释光测定年代的方法。在这个研究中,发现了瓷器的灵敏度对剂量的非线性响应和灵敏度随剂量变化的指数模式。因此,一个用饱和指数拟合的方法被提了出来。实验表明,这是一个测定瓷器年代的成功方法。另外,还对一些与测定年代有关的复杂因素进行了讨论。例如,当少数瓷器的灵敏度与剂量不呈指数关系时,就要改变拟合模式或采用B的平均值方法等。     

原始瓷的三种年代测定方法结果比较

采用常规的热释光细粒混合矿物法、热释光前剂量饱和指数法以及单片再生剂量光释光法三种测年方法,对中国上海、浙江萧山地区出土的7件西周、春秋、战国以及汉代的原始瓷样品进行了年代测定,并对测得的每个样品的3个年代结果与已知年代进行比对。用热释光细粒混合矿物法测定得到了较为理想的年代结果,与样品的已知年代结果相比吻合得较好。用热释光前剂量饱和指数法测定得到了该方法的上限饱和年代,即距今1800年左右。用再生剂量光释光法测定得到了这些样品的年代,只是实际年代的50％-80％左右,结果不太理想。因此,采用热释光细粒混合矿物法测定这类样品的年代,只要解决了制样问题,还是目前较好的测年方法。     

La Sociologie de la Musique de Max Weber Après un Siècle

In this article, the author wonders how the research program sketched out by Weber in early 1910 appears to us today, but also how it would appear if we wished to return to it one hundred years later, making the necessary modifications while remaining true to its spirit. To this end, the author envisions each of the three fundamental components of Weber’s program successively (the particular evolution of Western music, Weber’s emphasis on musical “techniques” and the fact that for Weber, the motor of change is rationalisation) and places them in the context of Weber’s work and of our contemporary concerns.     

有关曾侯乙尊盘铸造方法的证明——论中国青铜时代的熔模技术

中国青铜时代存在熔模技术毋庸置疑。笔者通过实践。对曾侯乙尊盘附饰的熔模铸造方法进行验证。     

丸都山城高句丽铁器的金相与工艺

为探讨高句丽铁器加工业发展状况以及魏晋南北朝时期钢铁技术水平,利用金相显微镜对吉林省集安市丸都山城遗址出土铁器样品进行金相学检测及工艺研究,并结合以往高句丽铁器检测结果进行讨论。检测结果表明,工匠制造铁器时采用了"生铁淋口"、铸造后脱碳退火、铸铁脱碳钢材料锻打成型、锋刃部淬火、熟铁、低碳钢等不同材质的锻接、折叠锻打等加工技术。铁镞03JWN2T105②:12是迄今为止应用"生铁淋口"工艺的最早实例,将这种工艺的使用年代,前推至魏晋南北朝时期,相对于明代文献的明确记载提前1000年左右,相对于已报道的宋代实例早600余年,其发明时间应该还在此之前,该项发现对构建魏晋南北朝时期钢铁技术发展序列,具有十分重要的意义。     

盘龙城商代青铜容器的初步考察

本对盘龙城青铜容器提出了一些看法。章对青铜器的一些特征进行了分析,对兽面纹的演变作出了轮廓形描述,并强调了铸造工艺对于器形特征的影响,如加厚容器唇部、鼎鬲的一足对一耳的特征皆出于工艺的需要。认为盘龙城铜器已经在器形、纹饰及铸造方面存在一些与郑州青铜器不同的因素,它们为殷墟化时期长江中游地区青铜明的发展打下了基础。     

Leroi-Gourhan, a Philosopher of Technique and Evolution

With the publication of two volumes on technology—L'Homme et la matière and Milieu et technique in 1943–45, and Le geste et la parole (translated into English in 1993 as Gesture and Speech)—-Leroi-Gourhan asserted himself as a major social anthropologist, prehistorian, and the founder of the French schools of the ethnology of technique and of prehistoric ethnology. This paper analyzes the innovative concepts and the content of these original works, which draw their inspiration and data from biology, physiology, psychology, anthropology, and prehistory to study evolution, and technique as its medium, to create a global science of humanity.     

双墩遗址黑陶渗炭工艺初探

双墩遗址是淮河流域新石器时代中期的一个重要遗址。该遗址出土了相当数量的黑陶,黑陶的制作工艺有多种,为探明双墩遗址黑陶的制作工艺,采用了XRD、喇曼光谱、重烧试验、显微、岩相、SEM和EDS探针等技术,对双墩遗址出土黑陶和局部发黑陶器进行了综合的测试分析。结果指出,陶器整个表层的黑色物质是炭黑。碳元素沿剖面的分布为:内外表层高而中间低,而内外表层0.6mm范围内炭含量的分布不甚均匀,存在明显的高低起伏,表明双墩遗址主要采用渗炭工艺制作黑陶。     

《红楼梦》与《桃花扇》

文章对《红楼梦》与《桃花扇》这两部古典名著进行了全面的比较,并指出思想性与艺术性的完美统一是它们得以成功的重要原因。