耀州窑遗址粘土及其古瓷的初步研究

本文通过 X 射线衍射(XRD)、差热分析(DTA)、发射光谱分析(ESA)、扫描电镜(SEM)和能量色散 X 射线分析(EDAX)的方法,对古耀州青瓷所用原料及其矿物组成,古瓷器的烧成温度和显微结构进行了分析研究。得出耀瓷乃是使用当地高岭石和伊利石粘土矿物为原料烧制而成,烧成温度在1200℃以上的结论.     

“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.     

Captain Everill’s Error: Mapping the Upper Strickland River in Papua and New Guinea, 1885–1979

An error dating from 1885 in mapping the upper Strickland River, Papua New Guinea, was reinforced and extended by government officer Charles Karius in 1929 when reporting results from a lengthy exploratory patrol. Detailed maps produced by the US Army and the Royal Australian Survey Corps in, respectively, 1942 and 1966 perpetuated these errors. It was not until 1979, with release of a series of 1:100,000 topographic maps, that long-standing errors were finally put to rest. Throughout these years, the contributions of well-informed people tended to be ignored in favour of the opinions of those whose status implied authority.     

Going beyond the grid: literary mapping as creative reading

Drawing from the importance of narrative inquiry in contemporary geographical reasoning and teaching, this paper focuses on some practices set around the relationship between maps and literature. Reader-generated maps, maps produced starting from the reading of a literary text, are at the core of a reflection on the potentialities of literary mapping in higher education; relating maps and literature in an educational environment, I suggest creative reading and creative mapping as co-constructive practices that are able to guide students in addressing and internalising the complexity of spatial categories. Reflecting on the students’ literary mappings, I focus on the various ways that the literary map contributes to mobilising the space of the text, guiding students in approaching spatial issues from a different (and creative) perspective. Time, point of view and literary trans-scalarity are the key narrative concepts that guide and inform possible inductive ruminations on literary mapping as a learning strategy. Following the core question of “what literary mapping might be and do in the digital age”, I aim to resituate contemporary discussions on literary mapping in an educational environment.     

Conceptions of place: approaching space,children and physical activity

In this paper, we argue that place mapping is useful for approaching children's conception of place and that this is of relevance when designing physical activity interventions. We contend that socio-material factors influence children's perception and use of places, and are crucial to understand in relation to their use of local neighbourhoods for physical activity. A place mapping of children's understandings and everyday use of their local neighbourhood in suburban Copenhagen was conducted with a fifth grade elementary school class. The mapping and subsequent analysis resulted in three categories of relevance to children's conceptions of place; located social experiences, experiences of the unknown, and children's contested spaces. We argue that such knowledge can provide useful information in the development and evaluation of activities that promote physical activity in urban spaces.     

Assessing the Scale and Pace of Large Shell-Bearing Site Occupation in the Prince Rupert Harbour Area,British Columbia

Methodological advancements in geoarchaeology and spatial and chronological modeling are opening new avenues to interpreting large coastal shell-bearing sites. We document the developmental histories of two such sites around Prince Rupert Harbour, Canada, using systematic percussion coring, intensive radiocarbon dating, and 3D surface mapping with Total Station and LiDAR. We also re-analyze a third site (Boardwalk/GbTo-31) excavated and radiocarbon dated in the 1960s, 1970s, and early 2000s using archival field notes, site maps, and stratigraphic profiles georectified using LiDAR. We map the natural landform beneath the sites and document the degree to which people physically modified landforms through the deposition of massive shell accumulations. We model site development through time and space and use accumulation rates and OxCal modeling to test for intentional deposition events. All three sites demonstrate complex and heterogeneous occupation histories. At each we identify instances of very rapid deposition that effectively terraced and extended parts of the natural landform to create places for constructing houses, though these episodes take place within longer histories of slower quotidian deposition. The anthropogenic modifications to the coastline in this area are the result of these mixed processes associated with long histories of occupation.     

消费地理学视角下非物质文化遗产的消费研究——姊妹节中的传统手工艺苗绣

消费研究的爆炸式增长始于20世纪80年代的消费热潮。消费地理的研究领域在过去的三十年里已经大大扩展,超越了经济和文化之间的传统分歧,并逐渐占据了主导的地位。本研究关注传统节庆中非物质文化遗产苗绣的消费实践,从不同的空间主体（在地的身体、流动的身体、固定的空间、临时的空间）对苗绣的消费过程进行分析,采用参与式观察法和深度访谈法解译施洞地区苗族和游客在传统节庆姊妹节中对苗绣的消费实践。研究发现,消费的话语和实践在特定的空间中定位身体,反过来地方又影响着具身化的消费实践。     

Studying the process of enamel powder preparation for émail champlevé by colour measurements and μ‐X‐ray mappings

Colour measurements and non‐destructive μ‐X‐ray mappings have been used for the first time in a comprehensive study of medieval émail champlevé works from different production areas in France and Germany. This approach has given a new insight into the enamel powder preparation process of the glass material used for enamelling. Colour measurements demonstrated that all production centres used glass of very similar hues, but with large differences in colour saturation. The μ‐X‐ray mapping results of blue enamels are described by a semi‐qualitative approach. Significant variations in oxide contents of lead, cobalt, manganese and antimony oxides were found. The variations suggest that more than one glass material was used to prepare the powder for enamelling. The variations in antimony and cobalt show that glass had different degrees of opacity and colour depth. The manganese and lead contents, which do not correlate with the cobalt or antimony contents, indicate that probably glass of different base compositions was used to prepare the enamel powder for one champlevé field.     

Painting Country: Spatial,Somatic and Linguistic Experience in Central Australian Aboriginal Art

A demonstration that the spatial experience informing some Central Australian Aboriginal art is topographically precise brings into question the relevance of structuralist methodologies for appraising these maps of country. Qualitative aspects of spatial, somatic, linguistic and emotional experiences are found to inform the way‐finding depicted in paintings by artists of three language groups.