西周父盉的铸造技术特征及其保护处理

作者通过X光照相无损检测分析方法,搞清了西周癧父的现状;以及器物与体连接部位和盖内部的结构形貌,并主要介绍了该器物的铸造技术特征和保护处理方法。     

论西安历史文化名城的可持续性保护

保护历史文化名城已为人们所普遍关注,可持续发展理念是处理发展与保护过程中矛盾的基本手段,为克服城市诸多矛盾与问题提供了基本的思路。文章分析了西安历史文化名城保护中的主要问题,指出西安应从城市的发展战略、规划布局、城市设计等方面统筹历史文化名城的保护,综合协调城市社会经济发展和历史文化遗产保护的关系,现代城市建设有机承继城市的历史文化精神。     

上海市区有老人家庭居住需求与居住分异

上海是我国第一个进入老年型人口结构的城市。随着年龄的增长、生理心理状况的变化,老人对住宅的需求有一定的特殊性。居家养老模式下,老人的居住状况直接影响老人晚年的生活质量。以老人与子女居住空间距离为标准,可分为共居型、网络型和分离型三种居住类型。受经济、社会、文化及健康状况的影响,上海市区有老人家庭存在居住地段、住宅类型、住宅环境、社区为老服务等方面的分异。     

汉代武陵蛮的敲击乐器

近年来,湘西、鄂西、川东等地出土了一批汉代的青铜敲击乐器,品种主要有留职■于、扁体钟和钲。其中湘西地区出土这类器物的数量较多,本文拟对这一地区的青铜敲击乐器作一介绍,并就有关问题谈点初步看法。 一、出土概况 湘西地区出土青铜敲击乐器最早可以追溯到宋代。宋代洪迈在《容斋续笔》上讲到慈利县在宋代出土过虎纽■于,直至２０世纪８０年代,以上三种敲击乐器才较多地见于报道。２０世纪８０年代初期,湖南各地出土的锌于有 ３６件,多为窖藏。①稍后报道了吉首县万溶江乡双合村黄土园出土的窖藏锌于,并统计湘西自治州范围内…     

人形柱陶楼定名与年代问题讨论

人形柱陶楼是极为奇特的汉代建筑明器.本文在以往研究的基础上,从分析造型特征、装饰艺术、使用功能等方面着手,对其定名、年代及墓主身份作了进一步探讨与推测.     

昆明呈贡天子庙和呈贡石碑村出土铜铁器的科学分析

为了解中国古滇地区铜铁农具、兵器和工具的制作工艺,采用金相显微镜组织观察和扫描电子显微镜分析的方法,对昆明呈贡天子庙和呈贡石碑村出土的战国至西汉时代11件铜器和2件铁器样品进行分析。分析结果表明,铜器的材质有红铜和铜锡合金两种,相同的器物有较稳定的化学成分。铜器中农具、兵器和工具为铸造制作而成。2件铜柄铁刃剑的材质为亚共析钢,作为兵器,具有优良的性能。本研究成果对进一步研究古滇地区铜铁器具的工艺技术有一定的价值。     

LÖWITH,LÖWITH'S HEIDEGGER,AND THE UNITY OF HISTORY

This article is about the problem of the unity of history as seen through the writings of Karl Löwith. By “unity of history” I understand the notion that all history constitutes one and only one range of kinds of objects and/or one field of knowledge. The article argues that the problem of the unity of history—though often neglected as a matter of mere argumentative infrastructure—is central to a number of wider problems, most prominently the possibility of a plural understanding of historicity and the possibility of ultimately avoiding a unified historical teleology. The article revisits Löwith's writings and proposes a variety of novel interpretations with the aim of evincing the centrality, and of exploring diverse aspects, of the problematic of the unity of history. This problematic is shown to have informed Löwith's work on the secularization thesis as well as his debate with Hans Blumenberg. The foundations of Löwith's discussion of the problem are pursued across his ambivalent critique and appropriation of Heidegger's model of an ontology of historicity as marked by inevitable internal conflict and thus disunity. The paper reconstructs the manner in which, after the Second World War, Löwith's philosophy of history sought to salvage basic traits of the Heideggerian model when it tried to establish the possibility of plural historicity from a notion of the natural cosmos. It is demonstrated that the motives for this salvage operation ultimately extended beyond the problem of Löwith's reception of Heidegger and concerned the possibility of continuing any debate on the philosophy of history.     

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.     

The Ambivalence of Anti-Austerity Indignation in Greece: Resistance,Hegemony and Complicity

This article engages with a contradiction that can help us appreciate the ambiguity and complexity of indirect resistance as this is articulated in informal everyday contexts: many citizens in Greece boldly challenge the antisocial austerity measures that have plagued their lives, highlighting how these represent a hegemonic imposition led by foreign centres of economic power. Their anti-hegemonic critique, however, often recycles a dislike for foreigners and xenophobia, echoing more pervasive hegemonic narratives (for example, a crypto-colonial identification of Greece with the West). To deal with this contradiction, I stress the need to (1) de-pathologize local indignant discourse (avoiding the orientalization of anti-austerity discourse as emotional or inconsequential) and (2) acknowledge that indirect resistance may represent an astute critique of visible inequalities, but is not isolated from overarching hegemonic ideological influences that shape local interpretations of historical/economic causality.     

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.