Anglo‐Saxon Style Pottery from the Northern Netherlands and North‐Western Germany: Fabrics and Finish,Regional and Chronological Patterns,and their Implications

This paper presents the results of a study of Anglo‐Saxon style pottery in the northern Netherlands and north‐western Germany, involving macroscopic and microscopic analysis of fabrics and finish. Both regions show similar developments in form and decoration in the pottery of the fourth and fifth centuries ad , the late Roman and Migration period, resulting in the typical decoration and shapes that are known as the Anglo‐Saxon style. In the northern Netherlands, this style is traditionally associated with Anglo‐Saxon immigrants. It has, however, been suggested that this style was, rather, part of an indigenous development in areas in the northern Netherlands where occupation was continuous, though influenced by stylistic developments in north‐western Germany. That hypothesis is supported by the analysis of fabrics and finish presented here. The characteristic of fabrics and surface treatment indicate technological continuity. The use of local clay sources for Anglo‐Saxon style pottery and for contemporary regional types indicates that most of the Anglo‐Saxon style pottery in the northern Netherlands was not brought by Anglo‐Saxon immigrants or as imports, but must have been made locally. That applies to settlements with continuous habitation, as well as settlements in the coastal area that were not inhabited during the fourth century ad .     

范文澜与毛泽东:学术的关联和风格的共鸣

范文澜与毛泽东有长达 3 0年的深厚的友谊 ,这对范文澜的学术道路的影响是巨大的。范文澜以研治中国历史作为毕生的学术取向 ,特别是把近代史研究作为治学之一个重点 ,确立了“实事求是”的治史指导思想 ,将马克思主义普遍原理与中国历史的具体实际相结合 ,在长期的学术研究中一贯自觉地防止和反对教条主义 ,积极地倡导和模范地实行百家争鸣等项治学旨趣和特色 ,都是由于受到毛泽东的巨大影响。毛泽东对范文澜的史学研究一贯予以关注 ,并多次给予充分的肯定。范文澜的史著在观点、认识上与毛泽东息息相通 ,他的历史主义的态度 ,成功地运用了“夹叙夹议”的方法 ,站在人民的立场上 ,指点江山评论千古 ,有许多深刻的思想和精辟的见解 ,受到毛泽东的赞赏 ,因而他们成为学术上的知音。范文澜与毛泽东各自在学术领域和政治领域 ,代表了 2 0世纪中国的时代精神 ,又同样具有浓厚的中国民族的特色 ,因而彼此在精神上保持着强烈的共鸣。     

河南博物院藏曹堂《深山观瀑图》探析

河南博物院藏有明末画家曹堂《深山观瀑图》一幅,笔者根据仅有的史料记载对曹堂的生卒年做简要考证,另外还对这幅画的风格作了较为详细分析。     

试论魏晋隋唐时期的宗族政策

魏晋南北朝时期,既是中古宗族势力发展的顶点,也是其由盛而衰的转折点。各王朝在巩固与发展的过程中,一方面虽然必须借助于宗族与士族势力的支持;另一方面,它们都与异己的宗族与士族势力进行着强力的较量,并开始清理宗族势力在乡村社会中的根基。就其宗族政策而言,魏晋以依托为主,南北朝以收拢为主;收拢之力度南不如北。至隋唐时期,旧式宗族逐渐消解,新式宗族开始登上历史舞台,隋唐王朝则从制度上完成了对宗族这一社会力量的有效分解与钳制。在隋唐宗族政策的冲击下,中古宗族的政治与军事功能逐渐消退,经济互助功能以及血缘凝聚力的效能与影响明显逊于前代,宗族威权发生蜕变,开始了向近古新型宗族的演进。     

田猎卜辞新缀五则

本文介绍了作者新缀合的五版甲骨,发现了新的同文卜辞,校正了前人字体分类中的错误,为十二版甲骨形态的确定提供了详实的论据,为商代田猎历史的复原研究提供了新材料。     

鲁迅的民族思想与历史观

介绍鲁迅的历史观和民族思想.鲁迅的历史观有三个要点,一个诉求.即:人的、进化的、改革的历史观,和一个要解除主奴关系诉求.同时提出了“一切都是中间路”的重要观点.另外鲁迅的民族思想有对外,对内两大部分.对外他反对外国列强民族侵略中国,也批判中国强大以后去侵略别人.对内他从原来接受中国传统华夷之辨的思想,到辛亥革命以后改变为赞成各个民族平等、独立、和睦相处,共同发展的思想.     

Approaching Personality through Style: The Seriously Perplexing Figure of Dezső Szabó

Abstract

Dezs? Szabó (born 1879, Klausenburg/Kolozsvár/Cluj, Austria-Hungary, died 1945, Budapest) was a towering figure of his generation. Literary critic, social pamphleteer, satirist, and novelist, he aroused strong passions on all sides with his rhetorically freighted prose and his fluid, yet forceful, political views. All accounts of his work concentrate on its intent, content, or consequences, and it is widely agreed that Szabó’s ‘style’ was his most prominent trait. And yet it is as if the political and ideological impact of the man has all but eclipsed the writing itself: with the exception of one brief monograph of 1937, we have no study devoted to the detailed examination of the ways in which he used Hungarian. Such a study is what is attempted in this essay. The method is primarily linguistic: all pertinent features of Szabó’s use of Hungarian are discussed, from the submorphemic (alliteration and other sound-patterning) through his immoderate derivational morphology, overstuffed noun phrases, and idiosyncratic lexis.     

澄怀昧象 悲悯人生——论京派文学艺术的“虚空”与“充实”

京派作家以清新恬淡的笔触抒写田园诗般的人生,传达出深沉的宇宙意识。本文试从中国古典美学角度入手,分析京派文学体现出的“虚空”与“充实”的境界。     

唐代诏敕的用典艺术简

唐代诏敕即唐朝皇帝的圣旨。宣谕天子之命、教化臣民的政治功用性。以及草诏者高超的文章技巧,赋予了唐代诏敕高雅华丽的主体风貌,纯熟的用典艺术是它突出的文学特征之一。用典美化了唐代诏敕的文章形式：使其语辞华丽,对仗严整,切合声律;使其援古证今,言之有据;使其减少了冗词赘句,以微言传达出深意。对唐代诏敕用典艺术的考察,是一项有意义的文学研究活动。     

槐梦南柯《红楼梦序词》

《红楼梦》是宽政六年末（1795年初）传入日本的,而最早的日译诞生在将近100年后的1892年。这一年4月,森槐南在《城南评论》上发表了《红楼梦》第一回楔子部分的译文,题为《红楼梦序词》,署名“槐梦南柯”。这篇译文的产生并非偶然,它是在清朝首届驻日公使馆员们向日本文人学者大力推介《红楼梦》的背景下诞生的,同时也与坪内逍遥否定劝善惩恶的小说写作传统,提倡写实主义的日本近代文坛的变革遥相呼应。本文重点考察这篇译文的翻译背景、徒用底太、翻译风格、翻译目的等问题．