地方发展变迁与居民地方感关系研究——以广州荔枝湾涌历史文化街区为例

本文以广州荔枝湾涌历史文化街区为例,运用扎根理论研究荔枝湾涌1940年代以来地方发展变迁与居民地方感的关系,进而挖掘居民地方感变化机制。研究发现：荔枝湾涌居民的地方感主要受生态环境、建筑与配套服务、集体记忆、活动类型、人际关系等因素的影响,其中生态环境起主导性作用;积极地方感主要来源于集体记忆的保留与延续;消极地方感主要来源于破旧的居住环境及落后的配套服务;此外,文章提出内向型地方感和外向型地方感的概念,认为随着城市发展,在地方发展变迁过程中,地方感由内向型地方感转变为内向型和外向型相结合的地方感。两种地方感相互作用,互相调节,更有利于地方稳定、开放、包容地发展。     

Indigenous Bioregionalisms (Love Mother Earth) Relationship,Creation, Ethics,Love

Indigenous Bioregionalisms (Love Mother Earth) are identities, methods, and philosophies defining our relationships between beloved Home Land Place and all Living Beings (written here as Home/Land/Place). Indigenous Bioregionalisms actively creates, maintains, and ensures the continuance and thrive‐ance of all Beings. It proposes a way to understand Indigenous belonging to and with Home/Land/Place—the expansive physical, natural, and SuperNatural source of life, transformance, and regeneration—of every Being.     

Knowledge,Morality and ‘Kastom’: SikAIDS among Young Yupno People,Finisterre Range,Papua New Guinea

ABSTRACT This paper investigates the extent of knowledge about HIV/AIDS among young Yupno women and men. Local understanding of sikAIDS is shaped by cultural, moral and religious concepts and processes that are based on social values and practices. Difficulties these young people face in accessing information about HIV/AIDS and using it to implement preventative measures — for example by obtaining condoms — have to be seen in the framework of ‘kastom’ and a moral discourse coined and influenced by the Lutheran Church. As the research shows, there is an urgent need for a broad and contextually sensitive approach to sexual health, including information about conception, family planning methods, and sexually transmitted diseases when planning awareness campaigns for teenagers in rural regions.     

Analysis of adhering organic residues of two “coupes-à-socles” from the Neolithic funerary site “La Hougue Bie” in Jersey: evidences of birch bark tar utilisation

The “coupes-à-socle” (footed cups) are ceramics which can be found in domestic Neolithic contexts in Brittany (Castellic, Auzay-Sandun), but more generally in non-domestic areas. Their ceremonial function has often been evoked, in particular as a perfume burner. The analysis by GC and GC/MS of two samples from the “Hougue Bie” (Jersey) passage graves showed the presence of vegetable fatty acids, degraded n-alkanes and terpenoïds, biomarkers of birch bark tar. The presence of such substances could be explained either by the use of the “coupes-à-socle” for burning birch bark tar as an odoriferous product or their use as an everyday vessel for heating and increasing tar plasticity. However, the limited occurrence of this type of ceramic in habitat sites supports the former utilisation. This first report of the presence of birch bark tar in “coupes-à-socle” thus suggests use of this tar as an odoriferous product, in addition to its numerous, previously recognised, more technical uses.     

Neither ‘America’ nor ‘Québec’: constructing the Canadian multicultural nation

ABSTRACT. Although researchers have deconstructed the myth of stark social differences between the various North American sub‐societies, an assimilating American melting pot and an ethnically oppressive monocultural Québec are still popular representations within Canadian majority discourses, such as the English‐language mainstream media and parts of academia. In this paper, I argue that images of ‘America’ and ‘Québec’ play important roles for the multicultural reconstruction of Canadian nationhood. Examining selected op‐ed articles from two Toronto‐based mainstream newspapers during the 1990s, I develop and exemplify a theoretical understanding of how national identities are constituted and transformed within inter‐ and intra‐national relations of power and alterity. I pay special attention to the particularisation of Canada through the confrontation with American nationhood, the ambiguities of recognising the distinctiveness of Québec inside Canada, and the consequences of projecting Québec's supposedly ‘ethnic’ nationalism outside the boundaries of Canadianness.     

Different Preparation Techniques – Similar Results? On the Quality of Thin‐Ground Sections of Archaeological Bone

Palaeohistology as a valuable diagnostic instrument is dependent on the production of high‐quality thin‐ground sections from dry bone. The objective of this study was to consider technical differences and assess the qualitative outcomes of five techniques for preparing thin‐ground sections from dry archaeological bone. Established techniques with long follow‐up times and excellently documented results were compared with simpler and cheaper time‐saving techniques. Evaluations were made of the quality of thin sections obtained by one classical machine‐based embedding technique, two revised versions of the same technique, one manual moulding technique based on Frost's rapid technique and one manual hybrid technique. Five osteological specimens of differing quality were prepared following the manuals for these five techniques and examined microscopically with respect to a list of standardised histological and diagenetic parameters. Alterations in the specimens attributable to preparation effects were recorded, and observations were scored with reference to three criteria: section quality, technical quality and staining. The results show that embedding techniques are to prefer. Superglue should not be used as a mounting or embedding medium. Manual grinding comes with several limitations, and machine cutting and grinding are preferred. Haematoxylin staining can be successfully applied to embedded specimens, giving more information on microscopic diagenetic processes. A stepwise manual for a revision of the classical embedding technique is presented. The time required for producing sections using classical embedding techniques is shortened from 6 weeks to 3.7 days by refining the preparation/polymerization processes involved with no loss of osteological data. Copyright © 2014 John Wiley & Sons, Ltd.     

A Case of Ancient Bladder Stones from Oluz Höyük,Amasya, Turkey

A biological object was recovered from the pelvic region of an adult woman coded to SK13 unearthed from Oluz Höyük in Amasya, Turkey. The skeleton was dated to the medieval period on the basis of the burial customs and the calibrated ¹⁴C dates. The find was identified as a bladder stone on morphological, radiographic and chemo‐analytical grounds with the help of X‐ray diffraction, polarised energy dispersive X‐ray fluorescence spectroscopy, confocal Raman spectroscopy, and microscopic techniques. The mineralogical composition of urinary stone was found to be as calcium phosphate (apatite). Bladder stone disease is endemic in poor agricultural regions where the typical diet is mostly based on grain carbohydrate consumption with scarce intake of animal protein. Copyright © 2013 John Wiley & Sons, Ltd.     

锶同位素分析技术在考古学中的应用研究

在考古化学这个新领域内,考古学家们经过努力,成功地将锶同位素分析技术运用于考古学领域,通过对遗址中人类骨骼的锶同位素分析来对古代人类的迁移情况进行研究。由于考古材料间存在着差别,各个实验室所采用的方法和实验步骤间也存在一些差异,因此还没有统一的分析方法和步骤,至今仍处于进一步的探索之中。在我国的考古学研究中,这项技术还处于起步阶段,迄今为止还未见到相关的研究成果。本文主要对这项技术在考古学上应用的原理及研究中注意事项进行了较为详细的论述,并且计划今后进行这方面的实验研究,希望能为国内同仁进行这方面的研究时提供些许借鉴。     

Forbidden Images: Rock Paintings and the Nyau Secret Society of Central Malaŵi and Eastern Zambia

This paper examines the rock art of the nyau secret society of eastern Zambia and central Malai. The art dates principally from the nineteenth and early twentieth centuries. It has been known to researchers since the 1970s but has given up few of its secrets. I examine the questions of why the art was made and why the tradition ceased. Key to answering these is the realization that the art belonged to a specific historical and geographic context: the era and area where nyau was forced to become an underground movement because of its suppression by Ngoni invaders, missions, and the later colonial government. The art provides us with detailed insights into the way nyau has served in the process of overcoming and manipulating the traumatic social changes faced by Chea society in the last few centuries.Cet article examine l'art rupestre de la société secrète de nyau au est du Zambia et Malai centrale. L'art date principalement aux dix-neuvième et bas vingtième siècles. Recherchers ont su l'art depuis les années soixante-dix, mais ils ont appris peu de ses secrets. J'examine les questions de pourquoi l'art était fabriquer et pourquoi la tradition a cessé. Pour résoudre ces questions c'est important à réaliser que l'art était à sa place dans un milieu spécifique d'histoire et géographie: au temps et place où nyau était forcer à devenir un mouvement clandestin à cause de sa répression par les envahisseurs Ngoni, les missions et, plus tard, le gouvernement colonial. L'art nous donne les aperçus détaillé sur comment nyau a servi dans le procès à surmonter et manipuler les changements traumatiques que la société Chea a bravé dans les siècles récents.     

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.