New evidence on the origins of the Latin Mirror of Simple Souls from a forgotten Paduan manuscript

This article examines an overlooked fifteenth-century document which attacks and refutes 35 extracts from a Latin copy of the condemned fourteenth-century work The Mirror of Simple Souls. It gives an overview of the document's origins, provenance and contents, and then discusses how certain omissions in the text's source citations have crucial implications for more firmly establishing the date of origin for the Latin translation of the Mirror.     

中世纪城市国家“公债”及其“合法性”论争

中世纪城市国家的公债是一种借贷形式,其合法性论争正是围绕这种借贷形式和教会高利贷禁令的关系而展开。经过长期而曲折的论争,公债最终和高利贷划清界限并实现了其合法化。合法化的主要原因即在于此时期西欧经济与社会情境的变迁以及与之相适应的知识精英对其做出的积极回应:一方面,变化了的社会情境使人们无法逃避以公债为重要内容的新型生活方式,奠定了公债合法性的社会根基;另一方面,变化中的知识精英的话语阐释引导并最终完成了其合法化。     

清华简与《尚书》、《逸周书》的研究

清华大学藏战国竹简中,有《尚书》、《逸周书》和佚书20多篇,其中清华简《金縢》能和伏生所传今文《尚书》直接联系。从清华简来看,现在不能证明,也不能反对孔子编百篇《尚书》之说。但是清华简足以说明东晋以后的古文《尚书》没有历史根据。清华简中,《尹诰》、《尹至》篇有很多的用词和语法同今文《尚书》中的《夏书》和《商书》是一样的。清华简里没有《尚书》和《逸周书》的差别,因此我们对《逸周书》里面若干篇书的估价,还应该提高。     

《史记》与《周易》

《史记》深受《周易》的影响,本文从以下几个方面作了说明司马迁十分推崇《周易》,视其为圣人之书;“致命遂志”是司马迁的最高价值追求;“殊途同归”、“易简”、“时变”等观念是其写作《史记》的重要指导思想;《周易》中的很多辞句,成为其立论的依据。     

《夷坚志》佚文拾补

洪迈《夷坚志》,原420卷,后渐散佚,今存仅约原书之半。上世纪初,张元济从诸书辑得26卷。此后,何卓、康保成、李裕民、王秀惠、李剑国、赵章超陆续有响应,先先后后搜辑了一些佚作。但由于该书内容驳杂,兼具子、史、集三部之特征,导致其散佚面大,辑佚工作并未结束。笔者于近年的宋代文言小说研究中,翻检诸书,复得佚文80余则。     

明代播州杨氏墓出土冠饰上的蓝宝石矿料来源研究

目前国内出土了大量不同种类的明代彩色宝石文物,但绝大多数彩色宝石并不产自中国。为探讨播州杨氏墓出土的七凤三龙金冠上镶嵌的蓝宝石的矿料来源,本研究采用微量元素与内部包裹体特征相结合的方法对样品进行分析。通过激光剥蚀-电感耦合等离子体质谱法(LA-ICP-MS)分析样品的微量元素特征,发现样品的Fe、Ga含量较低、Mg含量较高以及Ga/Mg比值较低,以此得出样品为变质成因的蓝宝石,排除其产自岩浆成因矿床。观察样品的内部包裹体特征,并与不同变质成因蓝宝石产地样品的内部包裹体特征进行对比分析,得出该样品内部包裹体特征更类似于缅甸、马达加斯加蓝宝石。最后结合不同地区蓝宝石矿床发现、开采历史记载,综合研究分析得出,该件蓝宝石文物的矿料最可能来自于缅甸矿区。此项研究可为探索我国古代以蓝宝石为代表的彩色宝石类文物的产地研究提供一定科学依据。     

Writing in wartime China: Chongqing,Shanghai, and Southern Zhejiang

ABSTRACT

The outbreak of the full-scale Sino-Japanese War (1937–1945) brought an end to the printing and publishing industry centered in Shanghai in the 1930s. Chongqing then emerged as a nerve center of information and opinion. Writers everywhere worked under wartime conditions of social dislocation, economic dependency, and political control. This article examines the writing and publishing of three notable pieces of work completed in wartime Chongqing, Shanghai, and southern Zhejiang, respectively. The article explores the context in which each work was written and then evaluates the broader significance of the texts with regard to a historical assessment of the Chinese intellectual experience during wartime.     

《牡丹亭》与《哈姆莱特》之魂形象探寻

汤显祖与哈姆莱特是同时代中西戏剧领域的大家，《牡丹亭》和《哈姆莱特》是他们的重要剧作。作品中都出现了魂，虽一个是为爱情的美女魂，一个是为政治的先王魂，但他们都由作品中主人公心灵深处而化。如果说杜丽娘的魂是“至情”而化，那么，老哈姆菜特的魂便是“至仇”而化。     

Exhibiting atomic culture: the view from Oak Ridge

In the aftermath of World War II, residents of “nuclear cities” like Oak Ridge, Tennessee, and Los Alamos, New Mexico, where America's atomic weapons were produced struggled to interpret the nation's atomic history as well as their own stories, for themselves, for tourists and for other visitors. Once literally hidden cities, they remain steeped in Cold War culture and ideology, yet they face uncertain futures as weapons production needs change, hazardous waste dangers become more apparent and homeland security is threatened. “Atomic museums” established at these and other sites have become focal points of such dilemmas. Their evolving interpretations of America's atomic heritage play a significant role in shaping public understanding of the Bomb.     

Policy and creative strategies: Hong Kong CEPA films in the China market

Abstract

This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.