《大南实录》若干问题探析

《大南实录》是越南阮朝国史馆编修、载有历代皇帝实录和历代人物列传的阮朝正史,是研究越南近代史的基本史料。本文从其编修过程,主要内容,版本及流传情况,史料价值,与史实不符的若干记载等方面对这部庞大的官修史书进行初步研究。     

故宫博物院藏哈克文化玉石器研究

故宫博物院收藏有一批早年出土于内蒙鄂温克族自治旗的玉器和细石器,经对出土地点的确认及与考古出土器物的分类对比,确定其归属于新石器时代内蒙呼伦贝尔地区的哈克文化。哈克文化主要是以细石器为代表的史前考古学文化,目前也发现了为数不多的玉器。而故宫所藏的11件玉璧不仅为研究东北呼伦贝尔地区史前玉器的起源提供了更多的资料,而且对中国玉器文明起源的多元化探讨也具有一定的参考意义。     

Between left and right: cooperation and the split between Yu Qiaqing and the CPC during the era of the Northern Expedition

During the Northern Expedition, the Communist Party of China (CPC) had close contact with certain businessmen; one of these was Yu Qiaqing of Shanghai, who played a role in the background of the Three Armed Uprisings of Shanghai Workers. Because of this contact, Yu Qiaqing was regarded as a leading figure of the leftist bourgeoisie. He was also considered an important collaborator with the provisional municipal government after these uprisings. However, his cooperation with the CPC did not jeopardize his alliance with the Nationalist Party. When Chiang Kai-shek, an old friend of his, arrived in Shanghai, Yu soon turned himself into one of Chiang's financial advisors. Although it is hard to argue that Yu Qiaqing's behavior was representative of most businessmen's party preferences, it does demonstrate that some businessmen had a profiteering attitude in politics and were open to taking advantage of the nexus between politics and business. Influenced by the political context and situation, the CPC was also able to flexibly apply its “class analysis” theory during that time to justify the policy of cooperating with people like Yu Qiaqing. However, the failure of cooperation with the bourgeoisie by 1927 became an excuse for opposing factions within the party to criticize this policy, and even affected the CPC's subsequent policy line afterwards.     

王引之《经义述闻》对虞翻《易》注的辨驳

论及清代<易>学,今人多仅关注其钩沉整理汉<易>之功,以至于对清代<易>学的认识有失片面.其实,清吴派学者对汉<易>多钩稽之业,而皖派学者对汉<易>则多所辨驳之功.吴派和皖派学者都以探求经籍本义为归.吴派学者因汉儒去古未远,因而致力于汉<易>的钩沉,以求古之途径而求是;皖派学者则认识到汉<易>亦非尽得<周易>之本义,因而信其所当信,疑其所可疑,以考据之途径而求是.皖派释经方法至高邮王念孙、王引之父子而益精.本文通过梳理王引之<经义述闻>中对虞翻<易>注的辨驳,从一个侧面探究皖派学者解<易>特色,冀对清代<易>学有更为全面的评估.     

俞吉浚的《西游见闻》与韩国开化期的经济思想

《西游见闻》是韩国开化期的代表论著之一 ,为开化派领导人物俞吉浚的主要著述。这本书体现出韩国开化期经济思想的三个来源 ,即朝鲜时代的实学、日本传来的西欧经济思想以及欧美的近代思想 ,反映出开化期的转折性特征。书中提出的政府管理、自由经济原则、商人之道与通商富国不仅直接影响了韩国开化期的思想启蒙运动以及制度改革 ,而且对韩国自身经济意识的形成具有长远的不可替代的作用。因此 ,对这本书的解释可以有助于理解近代以及现代韩国经济思想及发展实践的历史背景     

曾侯乙、曾侯■和曾侯■

曾侯乙之前的曾侯有曾侯和曾侯■。二者的年代关系,通过比较曾侯乙、曾侯■和曾侯■三位曾侯的青铜器铭文格式、铭文字体、青铜簠形制以及青铜戟形制的变化,观察曾侯和曾侯在相关因素中的系列关系,最后推测曾侯■的年代早于曾侯。     

隋代《区宇图志》的编纂问题——兼论隋炀帝对地理学的贡献

隋炀帝大业年间编纂了《诸郡物产土俗记》、《区宇图志》、《诸州图经集》3部大型地理图书。前后参与其事的编纂《区宇图志》者近50人,现在可考者约10人。隋炀帝时,《区宇图志》多次重修,其原因有三方面。一是修撰者的文体繁复,二是体例失当,三是修撰者狭隘的民族观、区域观念。而隋炀帝时编纂多种地理图书的条件之一,是隋朝对全国各地吏治、民情、风俗、物产的调查。其直接原因,则是隋炀帝的文化素养,以及实际的经济和政治目的,即地理图书作为国家征收赋税土贡的根据,以地理图书来记载其统一华戎的功业、以地理图书归美隋炀帝的政治目的。隋炀帝对地理学有其贡献。     

Singing Punishment and Redemption in the Taiping Civil War: Yu Zhi’s Plays

Among the dramatists who depicted the Taiping Civil War, attempting to find meaning in the carnage and chaos, Yu Zhi (1809–74) is unique. He wrote plays during and after the war, so he considers the chaos from two historical vantage points. As one of the earliest literati to write plays in the newly popular pihuang form, he addressed different actual and imagined audiences compared to his peers. Although virtually all extant plays take an absolute anti-Taiping stance, his plays differ from his contemporaries’ in their focus on morality rather than sentiment, and on edification rather than commemoration. At the root of these differences is an understanding of the nature of evil, redemption, and belief.     

《大元混一方舆胜览》的价值与缺陷

《大元混一方舆胜览》是现存唯一一部完整的元代地理总志, 迄今无人对其进行专门研究, 本文作者因整理之故, 举例若干, 就其价值与缺陷进行了较为全面的梳理, 勾画了一个大致轮廓, 希望有助于读者对该书的理解和使用。     

Crafting the ��New Woman�� in China��s left-wing cinema of the 1930s: Sun Yu��s three films

“New Woman” and “Modern Girl” discourse prevailed in China in the early twentieth century. The left-wing cinema of the 1930s engaged in this discourse and created a filmic space in which to negotiate gender and modernity. Focusing on three films directed by Sun Yu (1900–90): Wild Rose, Little Toys and The Highway, this paper compares Sun Yu’s new women with those in two other films: Lessons for Girls, a lesser known but interesting caricature of “new” women, and the New Woman, the best known of the “new woman” genre, both of which depict how urban, petty bourgeois women failed in their struggles for independence. In sharp contrast, Sun Yu used poetic realism to create a series of refreshingly independent working class women characters that successfully combined traditional moral values and modern patriotism and resisted the radical anti-traditionalism of the new woman discourse. This paper offers a differentiated analysis of the diverse and complex ways in which China’s left-wing cinema negotiated gender and modernity in the 1930s.