“Follow the Tree Flowers”: Fugitive Mapping in Beloved

This article attempts to analyse mapping practices at the intersection of geography, black studies and literary studies, in order to reassess the political and pedagogical possibilities of mapping under late capitalism. I turn to Toni Morrison’s novel Beloved to track black cartographic practices otherwise obscured or, as Katherine McKittrick writes, “rendered ungeographic”. The novel offers a hidden and unauthorised archive for the often clandestine geographic practices that make possible fugitivity from the mechanics of “slaveholding agro‐capitalism” and its ongoing legacy. As an unofficial archive of black geographic practice, Morrison’s novel might itself be thought of as a map: a contemporary mode of memorialising the depth of place, relation, and navigation—a depth no two‐dimensional map can accommodate. Finally, this article demonstrates the valuable interventions that black studies and black creative production can make within the subfields of critical cartography and critical geography.     

拉曼光谱在纸质文物研究中的应用

纸张的老化程度一直是纸质文物保护中的重要研究方面,以往多采用目测法和经验来推断纸张的老化程度。纸张物理强度、聚合度等能表征老化状态的理化性能测试由于需要大量的样品而无法用于文物检测。近年来随着显微共聚焦拉曼光谱、近红外傅里叶变换拉曼光谱、表面增强拉曼光谱等技术的发展,作为一种原位、无损、微区的分析方法,拉曼光谱被越来越多地应用到了纸质文物的相关分析研究中,为纸质文物的保护修复提供科学依据。结合国内外文献,对拉曼光谱在纸张老化、碳黑颜料以及其他颜料上的应用和研究现状进行了梳理归纳。随着拉曼光谱应用的不断深入,以及与其他分析技术、化学计量学等的结合,未来将在纸质文物研究中发挥更多的作用。     

Feminist Forays in the City: Imbalance and Intervention in Urban Research Methods

In this paper I argue that imbalances and silences persist in urban research. In particular, there is insufficient attention to anti‐racist and feminist theoretical, methodological, and empirical insights. Intersectional and materialist urban analyses that take difference seriously are under‐represented, while patriarchy, privilege, and positivism still linger. As a partial and aspirational remedy, I propose a “Feminist Partial Political Economy of Place” (FPEP) approach to urban research. FPEP is characterized by: (1) attention to gendered, raced, and intersectional power relations, including affinities and alliances; (2) reliance on partial, place‐based, materialist research that attends to power in knowledge production; (3) emphasis on feminist concepts of relationality to examine connections among sites, scales, and subjects, and to emphasize “life” and possibility; and (4) the use of theoretical toolkits to observe, interpret and challenge material‐discursive power relations. My own critique and research centers on North American cities, but FPEP approaches might help produce more robust, inclusive, and explanatory urban research in varied geographic contexts.     

Soweto nights: making black queer space in post-apartheid South Africa

In this article, I examine black queer nightlife in Soweto and its relationship with the making of black queer space in South Africa. Through an in-depth examination of the microgeographies of a Soweto stokvel party, I reveal the complexities of post-apartheid formations of race, class, gender, and sexuality. Employing the idea of usable space, I highlight quotidian practices of leisure as an important site for understanding cultural creativity within the marginalized spaces occupied by black South African queers. Performance and performativity are central to organizing nightlife spaces and reveal both the possibilities and limits encountered by black queers as they try to construct livable lives.     

唐代越窑青瓷刻划花之相关诸问题

本文探讨了有关唐代越窑青瓷刻划花的若干问题。作者以有明确纪年的唐代越窑刻划花青瓷以及相关的同一时期的有代表性的墓葬、窑址、遗址、沉船中发现的越窑刻划花青瓷为依据,总结了唐代此类瓷器工艺的演变规律和技法特征,分析了其与金银器的关系问题,并推测出此类瓷属于对外贸易的外销产品。     

南非白人政权的“分别发展”图谋和“黑人家园”的设立

20世纪60年代“班图斯坦”（黑人家园）的设立,是南非现代史上的一个重大事件。白人政权不遗余力地积极推行这一“创举”,在南非国内和国际上都引起了强烈的反响。“黑人家园”的设立可谓“意味深长”,它是种族主义的极端体现,在政治上“让步”的背后,是精心设计的经济上“分别发展”计划的实施。     

Tin‐Rich Surface Decoration of Chinese Bronzes: A Case Study of the British Museum Collection

In this paper six bronze artefacts of the Eastern Zhou period to Han dynasty (770 BC ‐ 220 AD) with tin‐rich surface decoration in the British Museum collection were studied using a variety of analytical techniques. The decoration patterns include trellis patterns (菱形纹) on two swords of the Yue state, tiger's striped patterns (hu‐ban‐wen, 虎斑纹) on two swords from the Ba‐Shu region, a hexagonal star pattern (六角星纹) on a spearhead of the Wu state, and a cloud‐like pattern on a garment hook. The tin‐rich decorations on those objects were produced by deliberate tinning processes; at least three different tinning techniques were used, including the use of tin‐rich pastes for the trellis pattern of a Yue state sword and for the mottling decoration on the Ba‐Shu swords, amalgam tinning for the hexagonal star pattern on the spearhead of the Yue state, and hot tinning for the cloud‐like pattern of the garment hook. Different tinning techniques could have been applied to produce similar tin‐rich decoration patterns, and vice versa, a single tinning technique could have been used to produce different tin‐rich patterns on different objects.     

清乾隆时期的宫殿建筑风格

康熙、雍正、乾隆以及嘉庆朝所建的宫殿,在传统礼制规定内,其宫殿环境、建筑布局及艺术等力求贴近现实生活。表现出创造惬意的环境和方便舒适的建筑、满足皇帝的理政及生活要求等一系列特性。这也构成了“乾隆时期”宫殿建筑的整体风格。     

从现存图样资料看清代晚期长春宫改造工程

本文通过调研现存的图样和文字资料,逐步深入地考察了清代晚期长春宫改造工程的过程和工程项目,从而揭示了今天故宫博物院长春宫一区原状陈列展览所无法展现的历史面貌,并以此为线索对于清代宫廷生活、建筑空间及其使用、审美好尚进行了初步分析,特别着重分析了咸丰皇帝和懿贵妃(后来的慈禧太后)在这里扮演的历史角色。     

Fotografie als Wissenschaft

Photography as Science: In 1908 the English physicist Arthur Mason Worthington published A Study of Splashes, a treatise on the physical behaviour of falling drops. The photographic experiments were performed by means of an electric spark „in absolute darkness”︁. Worthington's experimental practice dealt with two different areas of knowledge production: an area the operator could perceive control from the outside and a corresponding black-box where the photographic recording itself took place. The paper discusses the epistemic challenges of this specific shift from imperceptible events to their photographic representations. It shows to what extent the information revealed by the photographic apparatus had to be converted, for it did not speak for itself. Thus, Worthington's work went beyond the classical dichotomy between objectivity and imagination.