Tracing the origin of Chinese early white porcelain in the late sixth century—evidence from Xing kiln

As the criterion used by archaeologists for determining early white porcelain is quite ambiguous, the origin of Chinese white porcelain remains a point of disagreement. In this study, we systematically investigate 61 typical Xing porcelains of the late Northern dynasties to the early Sui dynasty (550–600 CE) using spectrophotometer, X-ray fluorescence (XRF), scanning electron microscopy (SEM), and X-ray powder diffraction (XRD), and analyze the differences between early white porcelain and celadon of Xing kiln in terms of their whiteness and raw materials characteristic. The results show that early white porcelain is a new type of ware that differs from celadon, which can be distinguished by whiteness, with a whiteness greater than 8% being early white porcelain and a whiteness less than 8% being celadon. It is assumed that the ancient potters created the whiter wares based on celadon by improving the glaze and selecting new raw materials for the body, but the production of this type of ware was short lived and subsequently refined in the Sui dynasty (581–618 CE) owing to the limited improvement in whiteness.     

New Architectural Models and Building Tradition: A Dialogue in Early Modern Sardinia – The Jesuit Church in Sassari

Architecture in early modern Sardinia is characterized by a strong continuity with previous practices. In the second half of the 16th century, new models join the Gothic building tradition, linked in particular to trends in military engineering and Classicism of the Catholic Counter-Reformation. The Jesuit church in Sassari offers an interesting example of the intertwining of these architectural modes, which originated with a sudden change of leadership at the site. Giovan Maria Bernardoni, an Italian Jesuit architect, initially modeled the church after the Gesù in Rome, and it was partially built under his direction. After his departure from Sardinia, local master builders finished the construction, following the Gothic tradition and possibly some external influences. This article analyzes the church, particularly focusing on the challenges presented by its articulated vaulting system completed between 1587 and 1609.     

闽台财政改革与各方权力纠葛--雍正朝台湾县知县周钟蠧案解析

雍正三年,台湾县知县周钟蠧被控贪污,由于牵涉到闽台财政改革的大背景,此案引起了雍正皇帝的高度关注,并演变为震动闽台官场的一桩大案,涉案人等都被卷入了皇权与地方官员博弈的大漩涡。案件的审理过程,伴随着闽台财政改革的全过程,从清查仓谷亏空,到耗羡归公和养廉银制度化的最终完成。透过考察周钟蠧案,闽台地区财政改革的过程得以完整呈现。在皇权的强势施压下,闽省官员提出的耗羡归公方案显得仓促而草率。     

明初大运河南旺分水枢纽水工技术考

明朝初年,国脉皆仰东南,为解决南方粮财物的北运问题,宋礼和白英受命组织修建了大运河山东段南旺分水枢纽。该枢纽主要包括引汶济运、导泉补源、设立水柜和置闸节流四个组成部分。其中,引汶济运是工程之重点,包括戴村坝、小汶河、南旺分水以及配套工程等四个子系统。这些水利设施组成一个和谐的系统工程,保证了该段运河的水量稳定充足,从而实现了大运河500余年的正常通行。南旺分水枢纽代表了我国古代运河水工的最高科学技术成就,堪称世界水利史上的一大经典范例。     

The Jaws Effect: How movie narratives are used to influence policy responses to shark bites in Western Australia

This article examines the way political actors use film narratives to influence policymaking following shark bites. To analyse these relationships I propose the concept of the Jaws Effect, where film-based historical analogies are used as a political device to frame real-life events in ways that make the events governable and prejudice certain policy options. Three elements of the Jaws Effect are reviewed including the intentionality of the shark, perception that these events are fatal and the belief that ‘the shark’ must be killed. These elements are applied to a case study of policy responses to shark bite episodes in Western Australia in 2000, 2003, 2011 and 2014. The reasons why this political device may not always work are also suggested.

本文研究了政治主体以什么方式使用电影叙事来影响鲨鱼咬人之后的政策制定。笔者提出“《大白鲨》效应”的概念,也就是以取自电影的历史类比为政治手段来言说现实生活中的事件,让事件根据言说者的需要,不利于某些政策选择。本文分析了《大白鲨》效应的三要素：鲨鱼的目的性;现实生活的事件性命攸关;鲨鱼必须被杀死。笔者将三要素用于研究2000、2003、2011和2014年西澳大利亚鲨鱼要人事件之后的政策反应。文章也探讨了为什么这种政治手法并不总能凑效。     

The Architectural Reuse of Roman Marble and Stone Spolia in the Early Medieval Monte Sorbo Church (Sarsina,Central Italy)

We present the results of a multi‐method archaeometric study concerning the architectural elements reused in Monte Sorbo church (Sarsina, central Italy) between the eighth and ninth centuries AD . The provenance study has focused on classical marbles and stones, which clearly do not originate from the local Apennine geological formations and are thought to come from extra‐regional sources. A large fraction of the tested marbles is from Asia Minor, coming from both the Proconnesian district on Marmara Island and, probably, the Hasançavuslar site near Ephesus (Greco scritto). Of the four remaining marbles investigated, one is from the Carrara district and three are from different Greek quarrying areas, such as Mount Pentelikon (Athens) and the Thasos and Paros islands. The data also highlight the reuse of decorated gravestones made of Pietra di Aurisina as architectonic elements. This limestone is a fossiliferous carbonate stone outcropping in the Trieste Karst region (north‐eastern Italy), which was exploited by both the Romans and the Byzantines. The assignment of all of the columns of the central nave to the same source area provides an argument in favour of their provenance from a single monument, which was probably located in Sarsina or Ravenna, with the ‘colourful taste’ that is typical of the late Antonine and Severian periods.     

Middle Bronze Age Arsenical Copper Alloys in Southern Portugal

In the Iberian Peninsula, the copper metallurgy from the Chalcolithic to the Middle Bronze Age (MBA) was mostly characterized by low arsenic contents. A collection of 53 MBA artefacts from southern Portugal was analysed by micro‐EDXRF, optical microscopy, SEM–EDS and Vickers to investigate the metal composition and manufacture. No technological distinction was found between artefacts from domestic and funerary contexts, which were radiocarbon‐dated to 2000–1500 cal bc . The arsenic contents of almost 100 MBA artefacts from this region, including the above‐mentioned set, have a Gaussian distribution with a high average (3.9 wt% As). Possible explanations are discussed for this distinctive metallurgy at the south‐western end of the Iberian Peninsula.     

Contemporary Irish theatre,the new Playboy controversy,and the economic crisis

Abstract

This article examines the impact of the economic crisis on contemporary Irish theatre. More specifically, I contend that the legal controversy surrounding Bisi Adigun and Roddy Doyle’s second production of Playboy of the Western World: A New Version in 2008 provides a case study of how professional theatre productions that dramatised stories of immigrant empowerment during the Irish economic boom were profoundly inhibited by the bust that followed. Their collaborative version of the new Playboy was widely regarded as Ireland’s most successful intercultural play and a commercial success when it was first staged at the Abbey Theatre in 2007. The subsequent breakdown in their relationship and ensuing legal dispute is more symptomatic of Celtic Tiger Ireland in economic collapse, I suggest, than the content of the play itself, or most other productions mounted in the period. I argue that this dispute did not simply reflect but also reinforced the social effects of the economic crisis, through its prolonged litigation, enormous expense, and especially the missed opportunity that it represented to position the multicultural and migrant themed Playboy within the Irish theatrical mainstream. More broadly, I suggest that the economic crisis has been marked by the disappearance of immigrants from the professional Irish stage, a void which was only partially filled by community theatre productions. A case in point is Adigun and Arambe’s most recent adaptation of Jimmy Murphy’s The Kings of the Kilburn High Road in The Paddies of Parnell Street (2013), a play which I positively appraise as an example of successful “intercultural re-appropriation”.