重返“物质”：新文化地理学视角下的消费研究及进展评述

随着物质地理研究的兴起,消费已成为新文化地理学关注的热点之一。本文回顾了物质地理和消费间的关系,并对物质消费品及其品牌生产的地方性与跨地方性、物质消费中的文化政治及身体实践等相关研究议题进行了评述。新文化地理学“重返物质”倡导下的消费研究,强调以物为线索的“行为-主体-物质”的复杂关系和日常实践,有力拓展了传统“人-地”关系中对“物”维度的关注。同时,这也为消费研究提供了地理学的新视角和新方法,有利于理解物质流动和消费背后的全球-地方关系、文化经济和文化政治。这一新兴交叉研究领域值得国内人文地理界关注和重视。     

Bodies, Sensations, Space and Time: The Contribution from Henri Lefebvre

Abstract: In geography as well as other human/social sciences, issues on the body and embodiment have increasingly come to the fore over recent decades. In the same period, and in particular following the English translation of The Production of Space , Henri Lefebvre has been a central figure in the geographical discourse. However, even though a range of writers on Lefebvre do acknowledge his emphasis on embodiment, it seems that he has only partially found his way into the core of the body literature. The aim of this paper is to explore Lefebvre's contribution to a geographical theory of the body, in particular when it comes to the conception of a generative and creative social body as an intrinsic part of social practice. I start by exploring the way in which Lefebvre's conception of the body is developed in creative dialoque with other philosophers, such as Marx, Heideggger and Nietzsche, and continue by way of an explication of his own contribution. This is done under the headings of 'spatial bodies' and 'temporal bodies', in this way also emphasizing creative, moving bodies. Instead of a conclusion the paper argues that Lefebvre's contribution could gainfully interact with later (not least feminist) approaches, and through such interactions add to current discussions on 'body politics' and 'performativity'.     

长江下游出土木胎漆器的胎骨鉴定与制胎工艺演变研究

长江下游是中国漆器的发源地,也是重要的产区,辐射范围广泛。通过对16件长江下游产区的汉、唐、宋、元时期漆器的胎骨材质鉴定发现,汉代漆器以阔叶材为主,而自唐开始的木胎为针叶材,这与社会需求变化、材性认识进步和制胎工艺发展密切相关。斫木胎,旋木胎,夹纻胎再到圈叠胎,制胎工艺不断变化,针叶材也取代了阔叶材,使得胎骨加工更容易,也实现了胎体的从重到轻,从厚到薄的变化,且赋予造型屈曲多变的特性。此外三件圈叠胎漆器也有不同的形式,可能与漆器的器型和不同时代的材性认识存在关系。基于漆器木胎的研究补充了漆器制作工艺的认知,深化了对古人木材认知的发展与利用的了解。     

木雕文物的褐腐菌害

为对一尊唐代木雕佛像严重朽蚀的原因进行调查,用扫描电镜观察,对样品的综纤维素、木质素含量等进行分析测定,并对菌进行培养。实验结果表明,木材纤维中有菌丝,真菌孢子,经一定温湿度培养后,腐朽木材上的孢子有发展,说明该真菌在原介质上存活,在合适的环境条件下,将会继续起菌害作用。分析数据说明,综纤维素含量大大降低,木质素的相对百分比含量大大升高,这是综纤维素及其相伴生的戊聚糖受真菌破坏分解的结果。此等菌害的表现应该是属褐腐菌对木材破坏的结果。由于褐腐菌对木材短时间内就能产生强大的破坏力,因此,对木质物的保护要特别重视褐腐菌的侵害。     

明清期间景德镇祭红釉的化学组成对比研究及其科技意义

为了进一步讨论明清两代祭红釉的发展沿革,用探针型能量色散X荧光光谱技术测定了10片明永乐祭红釉和胎的化学组成,并结合已发表的相关数据,进行了对明清期间祭红釉和胎的对比研究。结果表明,明代（永乐-宣德—万历）的祭红釉相比于清代（康熙—雍正-乾隆）的R2O＋RO（wt％）平均值约低20％,RO／R2O（mol/mol）平均值约低45％,RO2／R2O2,（mol/mol）平均值约高34％。明代永乐和宣德的祭红釉胎式分布RO：（m01）值均大于5．8,而清代样品均小于5．4。明清两代祭红釉化学组成的突然变化（shift）,可能暗示明代的制釉工艺在清代已经失传,而在清代则白行发展起来。     

唐张臣和墓彩绘陶质文物的拉曼光谱和X衍射分析

利用拉曼光谱和X衍射方法,对张臣和墓彩绘陶质文物颜料及胎体进行分析,结果表明各种颜料保存基本完好,为以后科学保护修复这批彩绘陶质文物提供了科学依据。同时也证明,在样品量极少的情况下,利用拉曼光谱和X衍射等方法可有效鉴别古代颜料的种类及文物胎体的成分。     

A bloodied bond: Fly River heads and body image in Beatrice Grimshaw's colonial landscapes

In a paper published previously in the Irish Studies Review I discuss the anthropomorphic features of Beatrice Grimshaw's landscapes in relation to colonial fears of the unknown. Following on from this I argue in the present work that this trope, ubiquitous in colonial literature, is exacerbated in Grimshaw's oeuvre by a body image or body image tendencies associated with penetrability, the foundations of which would have been laid long before she first saw the delphinium skies of the south. Grimshaw's body image, her realisation of her own physicality, is the primary focus of this essay. Drawing on the research of psychologists Seymour Fisher and Sidney E. Cleveland, I explore Grimshaw's conception of body boundaries, the boundaries of the touristic self and the indigenous Other. Such an analysis requires an examination not only of the body, and its extension dress, but also of physical terrain, the spaces and places, landscapes of the past and the present, home and the away, within which these cartographies of flesh and bone move.     

The Great War,the child’s body and the American Red Cross

Abstract

This article examines the child-relief activities of the American Red Cross in Hungary in the aftermath of the Great War, offering an insight into the workings of humanitarianism in interwar Europe. A close look at this one Central European ‘playground’ of transatlantic intervention helps us understand the logic and the underlying political, economic and ideological motives behind Allied humanitarian aid to ‘enemy’ children. Analysis of the ways in which the war’s aftermath affected children, their bodies and their relief throws light on the relationship between violent conflicts, children in need and humanitarian intervention. The article looks particularly at the role of the child’s damaged body and its photographic representation, making it what Cathleen Canning calls an ‘embodied experience of war’. Exploration of the humanitarian discourse around the suffering child helps us identify the humanitarian reaction to the unforeseen social consequences of wartime confrontation. The article argues that the harmed body of the ‘enemy child’ served to mobilise transnational compassion that challenged the war’s deeply anchored ‘friend–foe’ mentality. The child turned into a means of configuring and translating human suffering beyond ideological and political borders. At the same time humanitarian child relief helped to further consolidate asymmetric international power relations.     

Enfleshing Aesthetics: Theological Anthropology in M. Shawn Copeland’s Enfleshing Freedom and Mayra Rivera’s Poetics of the Flesh

To contend with the racist scaling of bodies seems to tend toward the ontological and metaphysical. Counter-strategies entail engagement with the predominant framework – i.e., with its categories of being and its grounds of analysis – however, much subjected to critique and deconstruction. Shawn Copeland and Mayra Rivera both identify and accept this “risk” in their theological projects. I argue that, although each does it with differing relative emphases, their political theologies trade upon an alternation between practical and poetical modes of critical reflection – the one is more negative and formal, the other is more positive and material; and this unitary alternation is what staves off failure in ideology and foundationalism. I furthermore suggest that the practical-poetical alternation I describe represents a contemporary politicization of the aesthetical.