初到新疆的历程

新中国成立前夕,刘少奇率中共代表团秘密访问苏联,为适应国内斗争形势的变化,中央决定将解放新疆的时间从原计划的1950年提前到1949年,为争取时间,选派我为中共中央联络员,从莫斯科直接赴新疆开展工作。为了建立党中央与新疆三区的联系,"力群电台"于8月15日开通,11月底中共新疆分局成立后电台撤销,发给中央的电报有150多份。我在伊犁接触了新疆三区的领导和骨干,在迪化接触了新疆的高层领导陶峙岳、鲍尔汉等人,通过各种途径对新疆地区敌、我、友三方面的情况有了比较切实的了解,并及时向中央进行了汇报,为中央解决新疆问题提供了较为可靠的根据。     

圆明三园中的祀庙祠宇建筑探析

清代离宫圆明园及其附园中曾经修建大量的祀庙祠宇建筑,分别以龙王、关帝、土地神、花神等各种神灵为祭祀对象,清帝与皇室成员园居期间,经常来此祭拜。本文通过文献考证,对这些建筑的分布情况、具体形制、祀典特色作了详细考证,并试图进一步揭示其历史背景和文化内涵。     

Bringing the ‘invisible farmer’ into sharper focus: gender relations and agricultural practices in the Peak District (UK)

Women's farm work and the gendered nature of the farm space and farm practices have been important intersecting themes within feminist enquiry over the last 30 years. Much research has tended to underplay the wider evolution of these gender relations – leaving under-explored the longer-term formation and contestation of the gendered activities, spaces and identities observed in the present. This article draws on research on 64 farms in the Peak District (UK) to take a wider temporal view of farm gender relations. Utilising a farm life history approach the article considers three key moments within farming histories to explore the active role(s) played by women in shaping farms and farming practices. In doing so the article adds complexity and nuance to understandings of both processes, such as the ‘masculinisation’ of agriculture, and to the gendered geographies of the farm space.     

BALANCED TRUTH: STEVEN SPIELBERG'S SCHINDLER'S LIST AMONG HISTORY,MEMORY, AND POPULAR CULTURE1

Looking at the public reaction to it, one might say that Steven Spielberg's Schindler's List is undoubtedly the most successful film about the Holocaust. The film's success in the U.S. and other Western countries can be traced back mainly to the fact that it creates the impression of telling a true, apparently authentic, story. This essay investigates how this impression of historical truth and authenticity emerges in a fiction film. For this purpose the essay reverts to a concept developed by Jörn Rüsen, which distinguishes among three dimensions of historical culture, namely political, aesthetic, and cognitive. In addition to the historical context that serves as a specific precondition for the film's success, the essay primarily investigates the strategies of authentication Spielberg applied at both the visual and narrative levels. The investigation concludes that the impression of evidence produced by the movie is significantly a result of the sophisticated balancing of the three dimensions mentioned above. The film utilizes artifacts of an existing and increasingly transnational (visual) memory for the benefit of a closed, archetypical narrative. It follows the aesthetic and artistic rules of popular narrative cinema, and largely recurs to conventions of representation that were common in film and television programs of the 1990s. Although these forms condense the historical course of events, the film manages to stay close to insights gained by historiography. The hybrid amalgamation of history and memory, and of the imaginary and the real, as well as the combination of dramaturgies of popular culture with an instinct for what can (not) be shown—all of these factors have helped Schindler's List to render a representation of the founding Holocaust myth in Western societies that can be sensually experienced while being emotionally impressive at the same time.     

释西周金文赏赐物“甲”

本文通过对西周金文赏赐物甲进行全面的分析,同时根据铭辞文意和诸赏赐物排列规律,推测传统释为盾的一些形体应为甲;并对甲、盾二字在西周金文中的演变做了较为详细地阐述。