下颌托——一个被忽视的祆教文化遗物

2001年9月在重庆奉节宝塔坪发掘唐代墓葬时,发现了墓主头骨上戴着下颌托,这个奇特的器物引起笔者的兴趣。经过查找资料,发现下颌托以唐墓为多,在辽墓、南宋墓中也曾出土过,流传时间至少700年,延续时间不可谓不长;在宁夏、河南、湖北、重庆、江西都有其身影,分布不可谓不广。但是发现的数量极少,给人以若有若无之感。这种奇特之物,它寄托着什么观念?它有怎样     

Spaces of the political*

In changing geographic locations, metaphorically or otherwise, perceptions change. Drawing inspiration from ancient Peking rather than Leo Strauss’ Athens and Jerusalem changes the compass points of political theory. This is because it moves the centre of gravity away from the tension of reason and revelation toward a city built upon another way of approaching the world, through the channelling and harnessing of vital energy flows, known as qi. Peking is designed, through fengshui, to channel the vital energy know as qi away from intensities and toward productive (harmonious) ends. How have we moderns channeled and harnessed such (political) intensities? This work traces the flow of energy as it takes on modern political forms, expressed through the built environment. Taking the nineteenth-century’s Crystal Palace and a Maoist Museum as contrasting examples, it illustrates the way in which the built environment channels and transforms energy. In terms of the political, it is the dissipation or intensification effect of these machines that becomes the defining characteristic of difference between these two different political worlds. As modern machine-technologies, these two examples also shine a light on the ways ‘modernity’ has encountered and dealt with the telluric.     

Notes on Contributors

By the end of the century, and under pressure from new scientific theories of minds and emotions, the languages in which the Victorians understood the relationship between inner feeling and moral action came under great pressure. At the same time, the established association between aesthetic and moral value was being challenged by aestheticism's espousal of ‘art for art's sake’. This essay examines one very distinctive response to these issues: Vernon Lee's development of the concept of ‘empathy’. Lee offers empathy as a scientifically verifiable process which explains why beauty matters to us. She also seeks to use it to mediate a new position capable of acknowledging the power of aestheticism's critique of Victorian moralism, while re-establishing moral action as central to aesthetic experience.     

“陈果仁案”与亚美民权运动

为深入研究1982年“陈果仁案”给亚裔民权斗争提供的借鉴和警示,通过对“陈果仁案”的剖析,对华人和亚裔群体努力为陈果仁争取司法公正的行动及其影响进行了阐述和探讨。底特律司法部门对此案凶手的轻判,促使底特律和全美的华人及其他亚裔群体,以美国公民伸张正义联合会为领导中心,掀起了为陈果仁争取司法公正的抗议和声援运动。“陈果仁案”是一起典型的反亚裔暴力案件,它在亚美民权运动进程中具有十分重要的意义。     

巴达维亚甲必丹制度与华侨包税制关系探析——以玛腰陈永元为个案

以玛腰陈永元为个案,阐述了巴达维亚甲必丹制度与包税制度的源起与演变及包税事业的经营,并通过探讨陈永元长期经营承包税收的原因,对两个制度之间的相互关系进行分析研究。     

Remembering Lee Kuan Yew: politics,heritage and political heritage in Singapore

The paper discusses issues of political heritage and the commemoration of notable figures within the context of the small city state of Singapore, a former British colony which celebrated 50 years of full independence in 2015. Particular reference is made to Mr Lee Kuan Yew, hailed as the founding father of the modern republic, who also died that year. Heritage overall is shown to occupy an important place in official nation building efforts, including political heritage dominated by the narrative of the success of the government formed by the party created and led by Mr Lee. Approaches to remembering the man and his legacy are considered, focusing on debate about turning his home into a memorial and possibly a national monument. The case confirms the generally observed manner in which formal depictions of political heritage, encompassing stories of influential individuals, are inextricably tied to contemporary politics. It also reveals the particular challenges of heritage management in Singapore arising from its history and official endeavours to shape public and private memories.     

Pics or It Didn't Happen: Reading Photographs in the Reef Tank Community

In 1961, Lee Chin Eng jumpstarted the reef hobby, a hobby dedicated to the modeling of coral reefs in captivity, with an article in Tropical Fish Hobbyist. He illustrated the article with eight photographs; these images were meaningful to the hobbyists viewing them and they conveyed both information about the tank system and also claims about Lee's expertise. This paper examines three genres of photographs—landscapes, active, and passive portraiture—that appeared in Lee's article and how and why they have proliferated in the reef hobbyist community over the last sixty years. By tracing the history of these genres, we can better understand natural knowledge producers rely on photographs to exchange knowledge and cement community identity.