略论钱谦益对明代史学的认识

钱谦益指出记注制度缺失、实录流布民间以及官方对本朝重大事件记载失实是造成明代"三史"舛驳的原因。他批评师心自用的俗学,直陈史学界存在的三种谬误,倡导恢复尊经重道、严谨求实的治史传统。钱谦益既效仿郑晓和王世贞辩证明代史事的治学路向,又批评并纠正了两人不少谬误。     

England,France, the papacy and the Flemish succession, 1361-9

International politics in the 1360s were dominated by a diplomatic duel between England and France to secure the marriage of Margaret de Male, only child of the count of Flanders and ‘the richest heiress in christendom’. This struggle ultimately involved every major European power, including the papacy and the Empire, and resulted in wars in areas as far apart as Hainault, Castile and Lombardy. It was eventually won by the French, leaving the English with a bitter resentment both toward the Flemings and, more especially, towards the papacy, which had been instrumental in securing the victory for France.     

A new approach to the tympanum of Neuilly-en-Donjon

Romanesque sculpture can be profitably studied by trying to create the thought processes of those responsible for designing the programs. In particular, the thought pattern of associating various biblical stories which contain the same or similar words can be applied to the program of the little church of Neuilly-en-Donjon (Allier). It is clear that the various stories depicted are related to one another by sound - for example the Adoration of the Magi and the fall of Simon Magus and Mary Magdalen at the house of Simon the Pharisee. However, just as the genius of a monastic author such as Bernard of Clairvaux was the thematic unity he could use to organize these aural associations, so does the importance of the program at Neuilly derive from the sophisticated thematic unity of the program around the theological virtue of faith. From this study, we can learn not only to appreciate the genius of the designer of the program at Neuilly but also to attempt to unlock other secrets of Romanesque sculpure by applying this or other elements of contemporary thought processes to the parts of a program.     

Anglo-Saxon women and the law

Scholarly investigations of Anglo-Saxon social history have usually drawn the conclusion that women during that period enjoyed a favourable position in comparison with their successors in post-Conquest England. The following study aims to qualify this view, by demonstrating that the position of women was more complicated than is usually acknowledged. An examination of the Anglo-Saxon legal documents shows that the position of women varied according to circumstances such as rank, marital status, and geographical location. However, an overall improvement between the early and late period is clear. In fact, this improvement is so considerable that there is a much closer resemblance between the situation obtaining in late Anglo-Saxon England and post-Conquest England than there is between the early and late Anglo-Saxon period. Thus, to describe Anglo-Saxon E England as a time when women enjoyed an independence which they lost as a result of the changes introduced by the Norman Conquest is misleading.     

关于中共党史学理论的若干问题

关于中共党史学理论和方法的研究一直比较薄弱,而且其中若干问题尚存有争议。关于中共党史学的理论方法论体系、学科性质与特点、学科的研究对象与研究内容、党史的体系与历史分期等问题,有进一步探讨、研究和厘清的必要。     

Out of The Shadow of Vasari: Towards A New Model of The ‘Artist’ in Colonial Latin America

Within shifts affecting colonial studies, a ‘life-work model’ employed in colonial art history has been left unexamined. Developed by a contemporary of Michelangelo, Giorgio Vasari (Italy, 1511–1574), this methodology was grounded in particular European social conditions that allowed the creation of the ‘artist’ whose ‘artwork’ was the inalienable product of a single mind and hand. Following the art historical paths laid by Vasari in the viceroyalties leads to dead ends: indigenous artists who efface their individuality; painters who exist with little social or historical context; and artworks whose conservation denies finding the traces of the hands that made them. Because artworks were and are the connective tissue of complex social networks, reconfiguring concepts of ‘artist’ and ‘artwork’ and recasting them in accordance with social practices within Latin America, gains us purchase on how colonial subjects, in their engagement with their material worlds, came to be constructed.

Resemblance to European prototypes is an essential historical reality of colonial artworks: much artwork, particularly the painting, of colonial Latin America ‘looks’ like that of early modern Europe and thus has generated a foundational expectation, laid out in purest form by Manuel Toussaint (Mexico, 1890–1955), that Latin American art history might also look like Europe's. We argue that a mismatch with Europe and its methodologies means that certain, foundational historiographic assumptions about writing art history for Latin America need to be reassessed, in particular the ‘artist’ and ‘artwork.’     

Researching and Writing in the Twilight of an Imagined Conquest: Anthropology in Northern Rhodesia 1930–1960

The rich corpus of material produced by the anthropologists of the Rhodes Livingstone Institute (RLI) has come to dominate our understanding of Zambian societies and Zambia's past. The RLI was primarily concerned with the socio‐cultural effects of migrant labour. The paper argues that the anthropologists of the RLI worked from within a paradigm that was dominated by the experience of colonial conquest in South Africa. RLI anthropologists transferred their understanding of colonial conquest in South Africa to the Northern Rhodesian situation, without ever truly analysing the manner in which colonial rule had come to be established in Northern Rhodesia. As such the RLI anthropologists operated within a flawed understanding of the past. The paper argues that a historical paradigm of colonial conquest that was applicable to the South African situation came to be unquestioningly applied by anthropologists to the Northern Rhodesian situation, and discusses what the consequences of this paradigm are for our understanding of Zambian history.