新文化地理学视角下景观研究综述与展望

景观意义一方面要对其符号化的表征元素进行解读,另一方面也要关注其不可表征的意义。本研究梳理了国外新文化地理学视角下的景观研究,发现： ①表征视角下,一方面景观既被看作文化的产物,又是不同时期文化的再生;另一方面景观在权力博弈中曲折发展并推动其象征性意义的演变。②非表征视角主要关注日常生活行为、情感等方面所反应的社会变迁以及所感知的多元、复杂与不稳定的景观意义。国内新文化地理学视角的景观研究在西方思潮的影响下,对一些具体案例进行了尝试性研究,取得了一定的成果。本研究有助于中国学者结合转型期中国政治、经济、文化背景,构建具有中国特色的新文化地理学景观理论体系,推动新文化地理学在中国的良性发展。     

关于《春秋左传注》中《春秋》名称的辨正

《春秋》名称问题是春秋学史上的一大公案,久讼未决。当今有代表性的学者周予同之《群经概论》、蒋伯潜之《十三经概论》、杨伯峻之《春秋左传注》皆采晋杜预“错举四时”说,在学术界影响很大,几成定论。实则杜说不确。本文从天文学与民族学视角出发,并利用古代文献资料与历代学者研究成果,证明古代先有春秋二季,后出现春夏秋冬四时。年含春秋二季,春秋即代表一年。此是史书称《春秋》之源,与“错举四时”说无关。     

Managing Meaning at an Ancient Site in the 21st Century: the Gummingurru Aboriginal Stone Arrangement on the Darling Downs,Southern Queensland

ABSTRACT Aboriginal stone arrangements occur throughout Australia and are of ritual importance to Aboriginal peoples. Stone arrangements are part of the dynamic context within which Aboriginal peoples lived in the late Holocene, where constant renegotiation of social alliances required an increasing reliance on ceremonial places with ritual importance. This is the past social context for the Gummingurru Aboriginal stone arrangement site complex on the Darling Downs, Queensland. In the late 19th century Gummingurru was a highly significant men's initiation site but by the early 20th century most of the traditional custodians of the site had been removed to the government‐run Aboriginal mission of Cherbourg. Since 2000, traditional custodians have returned to the site and have given the place and its cultural landscape a new meaning. No longer used for initiation, Gummingurru now has contemporary value as a site of learning and reconciliation for all Australians. Today Gummingurru has been given a new meaning and occupies a new place in Aboriginal society and political networking.     

Civitatis Ghaniensis Conditor: Kwame Nkrumah,symbolic nationalism and the iconography of Ghanaian money 1957 – the Golden Jubilee

ABSTRACT. During his tenure as premier from independence in 1957 until he was ousted by a military and police coup in 1966, Kwame Nkrumah was the living personification of the Ghanaian nation‐state. As the self‐proclaimed Civitatis Ghaniensis Conditor– Founder of the State of Ghana – his image was minted on the new national money and printed on postage stamps. He erected a monument of himself in Accra, changed the national anthem to make references to himself, customised the national flag to match the colors of his CPP party, made his birthday a national day of celebration (National Founder's Day), named streets and universities after himself, and amended the constitution whereby he became Life President. Since the coup, many of the symbols of nationhood that Nkrumah constructed have been debated, demolished, reconsidered and reengineered by successive governments to rewrite the Ghanaian historical narrative. This article analyses the contentions of one of Nkrumah's first expressions of symbolic nationalism – that of the national coinage.     

Caribou Crossings and Cultural Meanings: Placing Traditional Knowledge and Archaeology in Context in an Inuit Landscape

Meaning is conveyed by context. Northern landscapes associated with oral traditions provide rich contexts for understanding archaeological features and their spatial and temporal distribution. At the same time, traditional knowledge, including place names, is supported by the persistence of an integral archaeological landscape. The lower Kazan River, Nunavut Territory, Canada, preserves a record of land use for a hunting-trapping society in archaeological remains and traditional knowledge. The record shows that traditions of knowledge are manifest in the archaeological landscape. These traditions include commemoration of people and events in monuments, enduring practices (land skills) that are associated with a traditional time, and principles of spatial differentiation and orientation based on relations between people and caribou.     

Rethinking culture and development: the culture-led community development project in South Korea

ABSTRACT

This study examines the use of culture in South Korean community development by analyzing four cases of ‘Initiative for Creating Culture Communities in Everyday Life’ (ICCE) and their development discourses. Effectively mobilized by the state during the period of industrialization and modernization that began in the 1960s, culture has been utilized for social development by the South Korean government since the 2000s. The complex relationship between development and culture in terms of economic and social approaches is reflected in the development discourses of ICCE projects. Indeed, as an alternative to previous economic approaches, these projects show that the government still strongly intervenes in social development through symbolic power. To examine this process, we administered a semi-structured questionnaire and held in-depth interviews with eight members of the government-led ICCE project, including its practitioners, artists, and residents. This study finds that despite its efforts to decrease direct intervention in the development of these societies, government power is strongly exercised in symbolic form through discursive practices. We thus suggest that to prevent a specific participant from unilaterally possessing symbolic power in the development process, the government should create an environment in which various agents can participate in the development discourse.     

《搜神记》词语校释琐记

《搜神记》作为魏晋南北朝名的志怪小说,具有较多的当时口语成分。本是关于《搜神记》语词的读书札记,内容包括语词校勘和训释,共10条。     

家之物品、情感与意义——以火灾后的贵州温泉苗寨为例

本文选取火灾后的贵州温泉苗寨为案例地,通过实地访谈调研,应用质性研究方法,来探讨家之物品、情感与意义。研究发现：家中的重要物品、所连接的情感与意义在灾难后得到凸显。家中物品是人们生存所需和人生意义的体现,越重要的物品则其所承载的情感与价值意义越具有独特多重性。情感和意义不仅是时间的积淀,还存在事件发生后的流变,人类通过获得物质能量和心理能量处于饱含无意识的"居家感"状态。以期通过本文的探讨,丰富家的研究内容并进一步挖掘家的深层意义,且对各种灾后救助研究、优化安抚与重建措施有一定的参考价值,更希望能在民族文化理解与精准救灾方面发挥一定的具体效应。     

论杜维明对“文化中国”的思考

美籍华裔学者杜维明自20世纪90年代以来对"文化中国"的命题进行了思考,提出了诸如"三个意义世界"、"公众知识分子与公民社会"以及"文化中国与儒家传统"等命题.杜维明对"文化中国"的思考有着深厚的历史感和文化蕴涵,不仅显现了当代新儒家"返本开新"的理念,而且也为21世纪中国社会的发展和中国文化的走向从新儒家角度提供了一家之言.尽管杜维明对"文化中国"的论证富有创意,但对这一问题的阐述仍留有广阔的思考空间,它为我们进一步研究当代新儒家在新世纪的文化诉求提供了样本.     

PHOTOGRAPHS, SYMBOLIC IMAGES, AND THE HOLOCAUST: ON THE (IM)POSSIBILITY OF DEPICTING HISTORICAL TRUTH

Photography has often been scrutinized regarding its relationship to reality or historical truth. This includes not only the indexicality of photography, but also the question of how structures and processes that comprise history and historical events can be depicted. In this context, the Holocaust provides a particular challenge to photography. As has been discussed in numerous publications, this historic event marks the "limits of representation." Nevertheless there are many photographs "showing" the Holocaust that have been produced in different contexts that bespeak the photographers' gaze and the circumstances of the photographs' production. Some of the pictures have become very well known due to their frequent reproduction, even though they often do not show the annihilation itself, but situations different from that; their interpretation as Holocaust pictures results rather from a metonymic deferral. When these pictures are frequently reproduced they are transformed into symbolic images, that is, images that can be removed from their specific context, and in this way they come to signify abstract concepts such as "evil." Despite being removed from their specific context these images can, as this essay argues, refer to historical truth. First, I explore the arguments of some key theorists of photography (Benjamin, Kracauer, Sontag, Barthes) to investigate the relationship between photography and reality in general, looking at their different concepts of reality, history, and historical truth, as well as the question of the meaning of images. Second, I describe the individual circumstances in which some famous Holocaust pictures were taken in order to analyze, by means of three examples, the question what makes these specific pictures so particularly suitable to becoming symbolic images and why they may—despite their abstract meaning—be able to depict historical truth.