中国马克思主义史学发展道路的思考

从五四运动到新中国成立前,自李大钊开始传播唯物史观,此后经郭沫若、吕振羽、范文澜、翦伯赞、侯外庐等的努力,马克思主义史学家坚持革命性与科学性结合,显示出自己建构研究中国历史体系的规模和力量,因而20世纪把中国史学推向了新阶段。建国后17年,马克思主义史学虽然经历过严重的曲折,但成绩仍是主要的,主要表现在:以唯物史观原理与中国实际相结合的方向得到坚持,形成百家争鸣的局面,在通史、断代史和专史领域以及大规模整理历史文献等方面都有重要成果;1958年以后教条化严重泛滥时,郭沫若、范文澜、翦伯赞等挺身而出进行抵制,一批熟悉历史考证的学者在唯物史观指导下,使史学达到新的境界。在改革开放的新时期,经过批判和反思极“左”路线危害,解放思想,史学出现了开拓进取、欣欣向荣的新局面。     

建国初期的冀朝鼎

新中国诞生后,百废待兴。冀朝鼎在帝国主义实施禁运和经济封锁的困难面前,积极探索中国外经贸的新体制,加强外汇管理,以灵活的外交,与11个国家签定了外贸协定,还成功地与日本、英国等未建交国家进行“民间贸易”．打破西方列强的孤立政策．开创了中国对外交往与贸易的新局面。     

三朝本《三国志》版本略谈

由于三朝本《三国志》系经过多次补版印刷,其版式不一,对其版本的认识容易产生混乱;综合多方面资料,至少存在三种三朝本《三国志》。     

存世《出师颂》墨迹本与刻本关系考

本文将《隋贤书出师颂》墨迹本与传世《出师颂》的八种刻本进行排比梳理,归纳出三个系统:即“萧子云”系统、“索靖”系统、“隋人”系统。通过各本文字校勘比较和文献考证,证明“索靖”系统刻本的母本即史载北宋“宣和本”,“隋人”系统即史载南宋“绍兴本”,而此两本与北宋《兰亭续帖》所刻“萧子云本”,俱出自同一个更古的祖本。进而对辑入《出师颂》文字的《文选》一书的版本进行分析,论证“绍兴本”应是隋和初唐书家的临摹本,即《隋贤书出师颂》墨迹。     

论"白家庄期"商文化

分布和影响地域广袤的"白家庄期"商文化,因时代接近于商代中期而在商文化中具有承前启后的地位.有关考古新发现显示,"白家庄期"商文化本身可以区分为三个不同的时间段.在其所代表的历史阶段中,郑州商城的衰颓与小双桥商都的兴建形成了鲜明对照.这一现象出现的历史背景是,有关文献所记商王朝此时所面临的内忧外患局面以及仲丁迁隞历史事件的发生.     

"文革"中的知识青年上山下乡运动研究述评

"文革"中的知青上山下乡运动是当代中国的重大事件之一.中外学者对这场运动进行了深入的探讨研究,取得了不少成果,发表了一批论文及专著,整理和公布了许多资料,目前在许多问题上已达成共识,与此同时也存在很大分歧,如关于"文革"中的知识青年上山下乡运动的基本动因问题、历史进程及其评价问题,对知青"返城风"及上山下乡运动终止原因等等,这些都有待研究者进行深入细致的研究.此外,在研究中还存在资料收集困难、研究力量薄弱、研究方法单一等困难与不足.     

Evidence of Metallic Plating on Archaeological Artefacts by Voltammetry of Microparticles

Voltammetry of microparticles using a paraffin‐impregnated graphite electrode (VMP/PIGE) was applied as a very local and non‐invasive analytical technique in order to investigate the presence of remains of metallic plating on two ferrous and one cuprous artefact from the medieval period. The analyses have been performed locally and selectively on regions presenting particular features, such as texture, cohesion and colour differences. The results confirm local differences in chemical composition, leading to conclusions about the presence of metallic plating on these artefacts.     

Electron Microprobe Analysis of 9th–12th Century Islamic Glass from Córdoba,Spain

Twenty‐six samples from domestic assemblages of 9th–12th century Córdoba were subjected to electron microprobe analysis. The results reveal two main compositional types. The first, encountered in 13 of the samples, seems to result from the combination of plant ashes with high‐impurity sand, and has some contemporary parallels from Syria and Egypt. The second type is a lead–soda–silica glass, encountered in a relatively high proportion of the glasses (11 of the 26 sampled), possibly formed by the addition of lead metal to existing glasses and with very few known parallels. These are among a very small number of results available to date on the chemical composition of glasses from medieval Spain, and the presence of a high proportion of lead–soda–silica glasses is particularly interesting, possibly indicating a technological practice unique to, or originating in, the western Muslim world.     

Identification of Green Pigment Used in Persian Wall Paintings (ad 1501–1736) Using PLM,FT–IR,SEM/EDX and GC–MS Techniques

The technique of oil painting was introduced to Iran via a cultural exchange with Europe in the Safavid period (ad 1501–1736). Since the first attempt at scientific conservation of wall paintings in Iran in the 1960s, the nature of green pigment used in Persian wall paintings has not been clear, although work on contemporary miniature paintings has identified malachite and verdigris. PLM, FT–IR, SEM/EDX, GC–MS and the study of contemporary historical treatises of the Safavid period were the main tools used in the present study to identify the green pigments in Persian (oil‐based) wall paintings. Eight samples taken from the two famous Safavid buildings, Chehel Sotoon Palace and the Sukias House in Isfahan, were analysed. Here, the identification of copper‐based pigment and of verdigris in oil as oleate amends the existing knowledge of the green pigment used in these paintings. It also suggests that oleate was introduced to Persian artists via the European influence on Persian painting as a result of cultural exchange in the Safavid period, when the technique of Persian painting changed from tempera to oil painting. However, as verdigris in oil and resin can appear as oleate over time, it is unknown whether the Persian artists did this deliberately or accidentally.     

Between east and west: Glass beads from the eighth to third centuries bce from Poland

The study analyses the chemical composition of 57 glass samples from 40 beads discovered at 20 archaeological sites in Poland. The beads are dated to Hallstatt C–Early La Tène periods (c.800/750–260/250 bce ). Analyses were carried out using laser ablation-inductively coupled plasma-mass spectrometry (LA-ICP-MS). Two groups were distinguished among the glasses based on the MgO/K₂O ratio: high-magnesium glass (HMG), five samples; and low-magnesium glass (LMG), 52 samples. The former were melted with halophyte plant ash, the second with mineral soda. These glasses were produced in the Eastern Mediterranean (more likely in Mesopotamia or Syro-Palestine than in Egypt) and transported in the form of semi-products to secondary glass workshops in Europe. Some of the white opaque glass was coloured and opacified in Europe.