淮河流域史前陶鼓的研究

淮河是介于黄河与长江之间的重要河流,淮河流域新石器时代的考古学化在我国新石器时代占有重要的地位。本对淮河流域新石器时代考古学化进行了重新界定,对淮河流域出土的史前陶鼓进行了定性与定名、器形分类、发展与传播、使用与作用等方面的综合研究,并探讨了陶鼓与原始礼乐的关系及东夷集团在华夏明化进程中所起的作用。     

陕西安康市张家坎南朝墓葬发掘纪要

该墓位于陕西安康市张家坎,是20世纪80年代抢救性清理的一座残破墓葬。该墓为长方形砖室墓,出土了陶俑、画像砖和其他随葬物品,尤为重要的是发现了带有南朝梁"天监五年"纪年的铭文砖,故刊布该墓资料的意义重大。     

浅谈重大新闻事件的战役性报道

新闻的战役性报道对于提高重大新闻的宣传报道质量,扩大报道面等都具有十分重要的作用。在竞争越来越激烈的新闻宣传领域,新闻的战役性报道已成为一种不可或缺的竞争手段。     

南阳市近年出土的四件春秋有铭铜器

南阳市近年出土了4件有铭青铜器,据相关资料,断定其年代应为春秋晚期。这批青铜器的出土为研究养国、许国特别是楚国的历史、文化、艺术以及楚文化对中原文化的影响等提供了重要的实物资料。     

读陈法《方孝孺论》的启悟

曾被时人称作“大儒”的方孝孺,陈法在《方孝孺论》中则指出那是人们“习而不察”所致,并针对方孝孺在靖难之役中的表现,批评方氏是“不学无术,刚愎自用”的渺小人物,批评他身为惠帝重臣,竟然违背“君子以仁义之道光辅其君”的准则,以致国亡谚死,牵连八百余名无辜,可谓不仁、不智;《方论》还批评惠帝庸劣无能,提出“且为建文者,为夷、齐、泰伯之让,则至德光昭千古矣”的主张,颇有些顺应潮流、与时俱进的思想。     

小议郑州“河一”铁官铭画像灰陶灶

1989年郑州市博物馆收藏了一件汉代"河一"铁官铭画像灰陶灶。本文根据灶类明器的演变,画像风格以及铭文考察,将这件器物的年代定在东汉早中期。     

《旧金山对日和约》再研究--关于其对西沙群岛、南沙群岛的处理及后果

西沙群岛、南沙群岛主权本属中国,第二次世界大战期间被日本占领,日本战败后理应由中国收回,但1951年美国起草和主导签署的<旧金山对日和约>只表明日本放弃这些岛礁,未明确主权归属问题,为的是防止中国(大陆)从<对日和约>中得出对中国主权有利的结论来.<对日和约>如此处理主权问题为日后两群岛"主权未定"论埋下了祸根.     

河南淅川县马川墓地118号东周墓

2007～2008年在淅川县马川墓地发现了近百座东周墓。墓葬保存基本完整,其中以118号墓的规模较大。该墓为带墓道的长方形多台阶竖穴土坑木椁墓,由墓道、墓室两部分组成。墓内有一椁三棺,出有陶器、青铜兵器、铜铃及料珠、玛瑙珠等遗物。该墓年代应为战国早期,墓主人为卿大夫级。     

Seeds: Contracting the Audience in a Play about Science

Abstract

In pursuing the question ‘what can scientists learn from theatre?’ Particularly, ‘what can scientists, as scientists, learn from theatre?’ this paper argues that science lacks a normative framework that theatre is capable of providing. Despite science’s well-earned epistemic reputation, there is adequate reason to question its ethical reputation, particularly at the point where cutting edge scientific technology impacts society. I consider science as operating in four categories: the scientific method; the scientific hypothesis; the scientific experiment; and the scientist’s personal character. The realms of the scientist’s hypothesis and personal character are those where social pressures are reciprocally exerted, where imaginative play mentality and epistemic values are most in evidence. Theatre can examine these realms effectively because it is able to use narratives that appeal not only to logical and social moral judgements but to emotional and visceral responses, so as to situate science in the social context in which the pressures of law, funding, experimentation, society, and personal ambition converge in ‘the game of life’.

This can be seen in the theatrical process known as ‘contracting with the audience’. I point out a spectrum of traditional narrative tropes by which science makes “contracts with” audiences. The paper draws on theories of entrainment and theatrical game-play from Peter Stromberg and Philippe Gaulier, as well as my own practice and research into the process of contracting with the audience, to propose how to reach beyond tradition and to shift normalising contracts “outside the box”. To illustrate my proposition, I examine the play Seeds by Annabel Soutar as directed by Chris Abraham for Crow’s Theatre and Theatre Porte Parole. Seeds follows the controversial court battles of Saskatchewan farmer Percy Schmeiser against agricultural-biotech corporation Monsanto, which sued him for patent infringement of its Genetically Modified Organism Roundup Ready Canola. Seeds helps its audience define a public arena for discourse even as it brings to our attention the factors that make this difficult to do, while making an excellent contribution to the genre of ‘Documentary Theatre’. It is a successful contract with the audience that creates a public forum for discussion about contemporary ethical debates in science, thereby merging artistic ambiguity and scientific theory.     

晚清商办与官办的斗争

晚清时期,围绕着近代民用企业实行商办,还是实行官办,进行了3个回合的斗争。第一回合,轮船招商局屡被弹劾,京中言官要求对其统制,乃至收归官办,被李鸿章顶住。第二回合,围绕着湖北铁政局的经营形式,张之洞与盛宣怀展开争论,结果张之洞动用官款创建,企业实行官办;然而,企业官办后经济效益太差,几年后不得不招商承办。第三回合,“轮电之争”,袁世凯将官督商办企业收归官办或对之实行统制,盛宣怀经过多年努力,终于使各官督商办企业摆脱“官督”,完全商办。经过数十年商办与官办的斗争,以及商办的不断胜利,迎来了民国初年中国民族资本主义的“黄金时代”。