用于古建筑琉璃瓦保护的高分子聚合物材料的分析研究

为探索高分子聚合物用于古建筑琉璃瓦的保护研究,采用所选择的9种有机高分子聚合物对现代黄釉琉璃瓦进行保护处理,分析保护材料的耐光性能及保护后琉璃瓦的憎水性、耐冻融性和化学稳定性等性能,同时选择性能较好的材料用于胎体酥粉古琉璃瓦的保护,分析憎水性、耐冻融性、耐折、抗压强度、透气性以及进行保护机理研究.结果表明,保护材料丙烯酸类材料的Primal SF和1372耐光性能较差;用于现代琉璃瓦保护的Primal SF憎水性和耐冻融性较差;有机硅的耐酸碱性较差;聚氨酯和硅丙乳液的憎水性和耐碱性能较差;氟碳清漆、氟树脂和复配材料的各项性能相对较好;含氟聚合物及其氟树脂为主的复配材料用于胎体酥粉古琉璃瓦保护的憎水性、耐冻融性、耐折、抗压强度和透气性等性能相对较好,保护材料以良好的渗透能力渗入古琉璃胎体内部,有效提高胎体强度,起到填充空隙和防止水分破坏的作用.综合几项指标,含氟聚合物及其复配材料的各种性能优良,为选择中国古建筑琉璃瓦的保护材料提供科学依据.     

Wine and Speed: The Post-Soviet Holidays in the Republic of Moldova (2001–2009)

In the context of the forceful dispute over national identity in Moldova, the Communist government of 2001–2009 aimed to articulate a project of “Moldovan identity” which was raised to the level of a state ideology. In the spirit of Soviet propaganda, this project was implemented through public holidays and celebrations. The following analysis examines two case studies—the Wine Festival and the Independence Cup—by discerning the performative practices designed as part of the nation-building project in Moldova between 2005 and 2009. Organized at the official level, but with the strong assistance of mass media, these public events were intended to win the support and attention of Moldovan society by employing rituals and performances similar to those of the Soviet period. The paper addresses the characteristics and mechanisms of these performative practices, and considers why this nation-building project did not achieve its goals, but instead caused tension and disputes. One of the main aims is to understand how the Communist government sought to redefine “the Moldovan nation”.     

Rethinking “Peasant Consciousness” in Colonial Egypt: An Exploration of the Performance of Folksongs by Upper Egyptian Agricultural Workers on the Archaeological Excavation Sites of Karnak and Dendera at the Turn of the Twentieth Century (1885–1914)

This paper aims to rethink “peasant consciousness” in colonial Egypt, through a study of the performance of folksongs by Upper Egyptian agricultural workers on the archaeological excavation sites of Karnak and Dendera at the turn of the twentieth century (1885–1914). Mainly based on a historical‐anthropological analysis of songs collected between 1900 and 1914 by the French archaeologists Maspéro and Legrain, this essay proposes a new understanding of subaltern consciousnesses as fragmented objects constructed through a dialectical relationship of power and resistance as performed by the various actors present on the scene. Drawing its inspiration from the work of contemporary ethnomusicologists (Finnegan 1977 Finnegan, R. 1977. Oral Poetry: Its Nature, Significance, and Social Context, Cambridge: Cambridge University Press.  [Google Scholar], 1992 Finnegan, R. 1992. Oral Traditions and the Verbal Arts: A Guide to Research Practices, London; New York: Routledge. [Crossref] , [Google Scholar]; Slyomovics 1987 Slyomovics, S. 1987. The Merchant of Art: An Egyptian Hilali Oral Epic Poet in Performance, Berkeley, CA: University of California Press.  [Google Scholar]) and relying on the framework shaped by their use of oral‐formulaic and speech‐act theories, this study conceives of the performance, reception and collection of the songs as a crucial locus of encounter, interaction and negotiation between the local landless peasants employed as daily workers on the excavation sites, and the colonial administrators of the Antiquities Service during the key period of transition from corvée to contract labour.     

从第四点计划到和平队:美国对发展中国家援助理论与实践的转变

肯尼迪政府组建和平队,以志愿者的形式,向不发达国家提供所谓“中等人力资源”,进行技术援助,实际上是对战后美国对外援助工作反思的结果,同时也为美国对外援助注入了新的内容。它所涉及的更为深层的考虑,则是广大不发达国家未来的发展道路问题,即这些国家以什么样的方式实现现代化,是以美国为代表的资本主义发展模式,还是以苏联或中国为代表的社会主义发展模式。肯尼迪政府希望,通过和平队的工作,向第三世界国家展示美国的现代化经验和技术,诱导第三世界国家走美国式的现代化道路。