闽台财政改革与各方权力纠葛--雍正朝台湾县知县周钟蠧案解析

雍正三年,台湾县知县周钟蠧被控贪污,由于牵涉到闽台财政改革的大背景,此案引起了雍正皇帝的高度关注,并演变为震动闽台官场的一桩大案,涉案人等都被卷入了皇权与地方官员博弈的大漩涡。案件的审理过程,伴随着闽台财政改革的全过程,从清查仓谷亏空,到耗羡归公和养廉银制度化的最终完成。透过考察周钟蠧案,闽台地区财政改革的过程得以完整呈现。在皇权的强势施压下,闽省官员提出的耗羡归公方案显得仓促而草率。     

元代徽州路的军功家族

文章利用《汪氏渊源录》和《回岭汪氏宗谱》以及相关元代文集为主要参考资料,研究了元代徽州路的军功家族群体,尤其是其中的典型个案———婺源回岭汪氏。作者认为婺源回岭汪元龙、汪元圭兄弟在宋元易代之际,因为归附蒙元及“保障乡里”之功走上致身荣显的仕宦之路,他们不仅自身建立了可观的权势,而且有效地将之世代传承,以与元朝统治相始终,最终使婺源回岭汪氏家族成为“朱紫满庭”的“新安巨室”。在元代的徽州,类似的军功家族分布广泛,人数众多,深具影响。他们的出现,与元代统治者重视“根脚”的政治铨选原则紧密相关,与那些在蒙元征服战争中出现的“汉军世家”具有相似的来源和特点。     

明代年例银制度形成探论

明代年例银制度是经过长期演变逐渐形成的一项军事供给制度。宣德十年(1435)首先出现京运银,历经景泰、天顺时期,京运银两中有一笔银两开始向"岁例"发生制度性转变的趋势;成化、弘治之际,"常数"、"岁运"、"岁例"、"年例"、"年例银"等名称的出现是这笔京运银两制度化发展的结果,标志着明代年例银制度的初步形成;嘉靖十六年(1537)年例银一年一发的规定以及年例银会计预算制的出现,意味着明代年例银制度的完全确立。年例银制度的形成和确立,改变了明代国家的军事供给体制,是明代军事财政史上的一个重大变革。     

明初大运河南旺分水枢纽水工技术考

明朝初年,国脉皆仰东南,为解决南方粮财物的北运问题,宋礼和白英受命组织修建了大运河山东段南旺分水枢纽。该枢纽主要包括引汶济运、导泉补源、设立水柜和置闸节流四个组成部分。其中,引汶济运是工程之重点,包括戴村坝、小汶河、南旺分水以及配套工程等四个子系统。这些水利设施组成一个和谐的系统工程,保证了该段运河的水量稳定充足,从而实现了大运河500余年的正常通行。南旺分水枢纽代表了我国古代运河水工的最高科学技术成就,堪称世界水利史上的一大经典范例。     

清末两级地方自治中的官治与自治模式

清末地方自治包括府厅州县和城镇乡地方自治两个层级,并建构了两个层级不同的官治与自治模式,即在城镇乡一级实行"以自治辅助官治",而府厅州县则实行"自治与官治合并"之制度。两种模式都借鉴了日本自治制度,但都有所不同。就清末城镇乡地方自治的运行来看,由于地方自治章程赋予官府监督自治之权,也由于自治团体为谋求地方利益,常常也会与官府对立,所以,官治与自治常常处于矛盾冲突之中。     

The Jaws Effect: How movie narratives are used to influence policy responses to shark bites in Western Australia

This article examines the way political actors use film narratives to influence policymaking following shark bites. To analyse these relationships I propose the concept of the Jaws Effect, where film-based historical analogies are used as a political device to frame real-life events in ways that make the events governable and prejudice certain policy options. Three elements of the Jaws Effect are reviewed including the intentionality of the shark, perception that these events are fatal and the belief that ‘the shark’ must be killed. These elements are applied to a case study of policy responses to shark bite episodes in Western Australia in 2000, 2003, 2011 and 2014. The reasons why this political device may not always work are also suggested.

本文研究了政治主体以什么方式使用电影叙事来影响鲨鱼咬人之后的政策制定。笔者提出“《大白鲨》效应”的概念,也就是以取自电影的历史类比为政治手段来言说现实生活中的事件,让事件根据言说者的需要,不利于某些政策选择。本文分析了《大白鲨》效应的三要素：鲨鱼的目的性;现实生活的事件性命攸关;鲨鱼必须被杀死。笔者将三要素用于研究2000、2003、2011和2014年西澳大利亚鲨鱼要人事件之后的政策反应。文章也探讨了为什么这种政治手法并不总能凑效。     

Middle Bronze Age Arsenical Copper Alloys in Southern Portugal

In the Iberian Peninsula, the copper metallurgy from the Chalcolithic to the Middle Bronze Age (MBA) was mostly characterized by low arsenic contents. A collection of 53 MBA artefacts from southern Portugal was analysed by micro‐EDXRF, optical microscopy, SEM–EDS and Vickers to investigate the metal composition and manufacture. No technological distinction was found between artefacts from domestic and funerary contexts, which were radiocarbon‐dated to 2000–1500 cal bc . The arsenic contents of almost 100 MBA artefacts from this region, including the above‐mentioned set, have a Gaussian distribution with a high average (3.9 wt% As). Possible explanations are discussed for this distinctive metallurgy at the south‐western end of the Iberian Peninsula.     

Contemporary Irish theatre,the new Playboy controversy,and the economic crisis

Abstract

This article examines the impact of the economic crisis on contemporary Irish theatre. More specifically, I contend that the legal controversy surrounding Bisi Adigun and Roddy Doyle’s second production of Playboy of the Western World: A New Version in 2008 provides a case study of how professional theatre productions that dramatised stories of immigrant empowerment during the Irish economic boom were profoundly inhibited by the bust that followed. Their collaborative version of the new Playboy was widely regarded as Ireland’s most successful intercultural play and a commercial success when it was first staged at the Abbey Theatre in 2007. The subsequent breakdown in their relationship and ensuing legal dispute is more symptomatic of Celtic Tiger Ireland in economic collapse, I suggest, than the content of the play itself, or most other productions mounted in the period. I argue that this dispute did not simply reflect but also reinforced the social effects of the economic crisis, through its prolonged litigation, enormous expense, and especially the missed opportunity that it represented to position the multicultural and migrant themed Playboy within the Irish theatrical mainstream. More broadly, I suggest that the economic crisis has been marked by the disappearance of immigrants from the professional Irish stage, a void which was only partially filled by community theatre productions. A case in point is Adigun and Arambe’s most recent adaptation of Jimmy Murphy’s The Kings of the Kilburn High Road in The Paddies of Parnell Street (2013), a play which I positively appraise as an example of successful “intercultural re-appropriation”.