试论虚谷绘画风格的形成和发展

虚谷是晚清“海派”名家之一,以其冷隽奇峭的画风震人心弦。本通过对其人生过程的梳理,分析和论述了他的思想、心态及审美追求对其画风形成发展的影响和作用。     

The devil in disguise: action repertoire,visual performance and collective identity of the Autonomous Nationalists

Adopting protest tactics and visual performance of the far left, many neo‐Nazis in Europe, particularly in Germany, have developed a new style. Referencing their political opponents, the far‐left Autonomous Movement, they call themselves the Autonomous Nationalists. Though this new style caused intense conflicts in the beginning, Autonomous Nationalists have gained strong influence in the neo‐Nazi movement. What drives neo‐Nazis to adopt tactics such as ‘black blocs’ and certain symbols and dress of their political enemies? Based on movement's documents, semi‐structured interviews and observing demonstrations, this article uses empirical data to identify central dimensions of the Autonomous Nationalist's action repertoire and visual performance and their impact on the neo‐Nazi movement's collective identity. The analysis of external and internal effects reveals that the shift in public appearance strengthened the movement's mobilization potential, but otherwise decreased ideological internalisation and may increase the turnover of activists.     

National stereotypes and music

Music became a marker of national identity in nineteenth‐century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth‐century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.     

东周楚式戈斑纹的成分与相组成

为探讨东周楚式戈斑纹的处理技术,采用金相显微镜、SEM、EDS、EBSD研究了上海博物馆藏的楚式斑纹戈的成分、显微组织和相组成,讨论了其制作工艺.结果表明:东周楚式戈富锡层厚度不均,以十余μm左右的厚度居多,最多处由4种不同物相组成,分别为η相、ε相、σ相及(α+δ)共析相.富锡层与基体之广日j没有明显的分界线.与现有其它富锡工艺研究成果进行比较,认为此件楚式戈与其它地域的富锡技术具有共同的工艺特征,应为热镀锡工艺.但在工艺参数掌控方面应呈现地域上的差异.     

早期楚文化探索中的几个问题

本文就早期楚文化探索中紧密相关而亟待解决的早期楚国与楚族、早期楚都、楚式鬲及早期楚文化面貌、性质等问题进行了学术史的回顾与思考,就今后早期楚文化探索的思路与方法提出了几点建议。     

南越王墓玉器分布状况及其内涵研究

广州西汉第二代南越王赵眜(胡)墓出土了240余件玉器,其中多数玉器造型独特,琢刻工艺精湛,是研究当时玉器使用制度、时代风格的珍贵实物资料。研究发现,该墓中墓主和殉人都有属于自己的玉器,属于墓主的是葬玉,用玉目的除了彰显权贵更重视护尸升仙;属于殉人的是装饰玉,注重身份高下而忽略了升仙功能。推测其目的是为了营造墓葬等级,而...     

皖南发现的青铜剑纹饰及初步研究

皖南周代青铜剑纹饰资料详实、变化丰富。剑格主要有兽面纹、蟠螭纹与几何纹,剑首基本上为弦纹圈及几何纹饰。剑首、剑格纹饰与剑体其他部位特征演变规律类似,各期特征也较为显著,存在一定的组合关系。研究表明,始自西周中晚期,设计者便注意到格、首在装饰上需要保持的平衡与协调,至春秋晚期该传统便达极致,其中剑格兽面纹的出现,是吴越青铜文化的一大改造与创新。而战国时期青铜剑纹饰的衰退则反映出吴越地区制剑审美观的转变。     

党的优良作风在青海的成功实践与主要启示

青海的各级党组织从特殊的省情出发,准确把握党的作风建设的特殊要求,不断凝聚干事创业的持续动力,积极谋划科学发展的成功之路,大力密切党群情深的血肉联系,努力构建团结稳定的和谐社会,注重真抓实干的实际成效,形成了在艰苦边远和欠发达地区弘扬党的优良作风的成功经验。青海党的作风建设的实践充分反映了党的作风建设的规律性。     

Claiming and Controlling Space: Combining heterosexual fatherhood with artistic practice

This article is structured around nine short vignettes that explore the complex and embedded gendered relations of fatherhood for heterosexual male contemporary Canadian visual artists at different stages of life. In contributing to the geographical literature on work, gender, and identities, this article answers the questions: What form does hegemonic masculinity take in the visual arts? How do male artists organize and conceptualize work life and family life? What impact does fatherhood have on artistic identity construction? In formulating answers to these questions, I argue that dominant discourses of masculinity have left some men feeling illegitimate as both artists and fathers, and reliant on spatial control as a mechanism to ‘fix’ their artistic identities.     

朱熹和《资治通鉴纲目》

朱熹的《资治通鉴纲目》产生以后,不仅形成了一种新史体--纲目体,而且到明代又催生出纲鉴热,为史学走向社会、走向通俗化无形中走出了一条道路.然而长期以来,史学界对此却一直不加理会,本文拟就这些方面作些初步探索,以期引起人们的注意.