《走向自由》中精神分析女性主义视角下的身份认同

《走向自由》是早期美国华裔女作家张粲芳的一部短篇小说，故事直接指涉了女性少数族裔的身份认同问题。通过对女主人公回忆中不断出现的有关“水”的意象从精神分析女性主义的角度进行解读，我们看到作者实际上是通过一种象征性的隐喻式表达指出：身份的认同是个体或群体的一种心理过程，具有女性属性，从而为女性少数族裔的身份认同书写了一种前俄狄浦斯时期的母女关系，同时也为这一过程所遭遇的困惑和焦虑提供了一种“自我言说的场域”。     

Pram mobilities: affordances and atmospheres that assemble childhood and motherhood on-the-move

The child-friendly city advocates for children's ‘right to the city’. Much of this advocacy focuses on the independent child, with little attention paid to the accompanied experiences of younger children, such as those travelling in prams. This paper draws on a material feminist perspective to help address this gap. We offer the concept of mother–child–pram assemblage to bring to the fore the corporeal dimensions of everyday pram journeys. By analysing sensory ethnographic materials collected with mothers and young children living in Wollongong, Australia, this paper highlights how the ‘affective affordances’ and ‘affective atmospheres’ of pram mobilities shape urban experience by reference to how motherhood and childhood are achieved on-the-move. We conclude with policy-relevant insights for the child-friendly city.     

图绘中的雁意象与诗人对画图的解读——以宋代题画诗为例

雁意象受传统文化影响而形成的符号意义影响着观画者对画图的解读及感受,最容易牵扯出观者内心深处的羁旅和乡思之情愁。表现在题画诗中,雁意象多与羁旅和思乡之情相联系。     

On the application of 3-D scanning technology for the documentation and typology of lithic artifacts

A 3-D optical scanner was used to obtain precise and complete representations of lithic artifacts. A computer algorithm, which was specially developed for the purpose, was used to position the artifacts in a way which enables the extraction of the standard metric parameters (length, width, width at 1/2 length, etc.). In this way, the ambiguities which affect the traditional manual measurements were eliminated. This new methodology creates accurate and objective databases. Several other parameters (center of mass position, volume, surface area) were also computed. The advantages of our method are illustrated by the analysis of 90 scanned Lower Paleolithic handaxes.     

Conflicting images of the Zuider Zee around 1900: nation-building and the struggle against water

In 1918, the Dutch government decided to enclose and reclaim the Zuider Zee (later called the IJsselmeer). The preceding decades had been marked by broad public debate about the utility and urgency of the project. Around 1900, its proponents constructed images of the region and of the Dutch nation in which the Zuider Zee was no longer a crossroads. They emphasized the backwardness of the area and depicted the sea as a domestic enemy, its violent storms posing a threat to the nation. Cornelis Lely’s Zuider Zee proposal (1891) promised a bright future for both the region and the Netherlands as a whole. The struggle against the water would revitalize the nation (by stimulating nation-building) and modernize its international image (perceived as a picturesque but archaic country). Opponents of the project feared the high costs and developed a counter-image: the Zuider Zee region as heartland of ‘authentic’ Dutch culture, a heritage that would be jeopardized by the project. The article concludes by highlighting the synchronicity of the non-synchronous: the Zuider Zee region was envisioned as a region living in the past, thereby constituting an ‘internal Other’ in a country undergoing rapid modernization around 1900.     

乾隆朝清宫十八罗汉唐卡名相解析

藏、汉两地佛教经典及佛学之传播,直承印度晚出之大乘佛学,但罗汉信仰却在两地佛教中均占一席之地,尤其是于汉藏两地家喻户晓的十六罗汉(后演绎成十八罗汉),不仅与佛和菩萨一样成为信徒崇拜的对象,而且以之为题材的绘塑作品更是广泛流传,及至帝廷内苑亦多有供奉收藏。清乾隆时期为安抚蒙藏势力而极力推崇藏传佛教,此信仰尤以宫中为盛,帝室庋藏、绘制及供奉有大量藏风浓郁的十六或十八罗汉唐卡组画,其名称、图像特征、排列顺序乃至绘画风格等与清官旧藏的内地各派罗汉图相比,同中存异。乾隆帝及藏传佛教大师们在对藏密佛像进行大规模系统化与规范化的同时,也涉及了汉藏两地十分流行的十六、十八罗汉,并在此基础上逐渐形成了具有乾隆时期清宫特色的十八罗汉图像标准。     

Symbolic Meanings and the Feasibility of Policy Images: Relocating Military Bases to the Periphery in Israel

This article is aimed at crafting an interpretive policy analysis as a predictive tool by using the proposal to relocate Israeli military bases. Since the mid‐2000s, the Israeli government has promoted a new plan to transfer military bases from urban areas and central regions to the southern metropolitan area in the Negev desert. The economic and operational logic behind the program is unclear and prompts serious debate about nationality, ethnicity, economic gaps, and the environment in the Negev. This area epitomizes marginality in Israel, both socially and geographically, and is characterized by conflicts between Jews and Bedouins. Thus, the program can be regarded as one involving policy images, where potential participants lack the information necessary for understanding the goals of the policy. This paper proposes a new methodology based on interpretive policy analysis for conducting a pilot study to evaluate the feasibility and practicality of the proposed program. We use this methodology to analyze the symbolic meanings that local organizations attribute to the program with the goal of predicting their response to this program. Thus, the relocation plan serves as a template on which to develop and test the IPA‐informed evaluative methodology, which is applicable to other cases.     

新发现的唐武令璋石椁和墓志

武令璋石椁为唐代石椁中最高等级的庑殿式结构,迄今唯在皇亲国戚或高官宠臣墓中出土过。石椁线刻的技艺精湛、题材丰富,有琵琶、吹箫、歌妓、胡腾乐舞、侍女以及卷草花叶等图案。乐舞内容占比例较大,作者推测其表现的是墓主生前的私家乐舞场景。墓志载墓主于天宝十三载葬于"统万城南二十里高原",如此,墓志资料也为统万城历史沿革的考证提供了重要线索。     

咸若馆供藏擦擦佛整理研究——兼及与《诸佛菩萨圣像赞》之比较

咸若馆位于故宫外西路慈宁宫花园内,为该园中主体建筑。乾隆三十七年(1772)在东、西稍间的内壁上增设24个挂龛,用于供奉十二套擦擦三百六十佛,共计4320尊。经整理,咸若馆现存擦擦佛4233尊,其中4217尊属于三百六十佛系列,是利用三世章嘉胡图克图·若必多吉编订、乾隆二十二年十一月初十日(1757年12月20日)最终定型的三百六十佛铜阴佛模制作而成,其余16尊背后无字的擦擦无量寿佛则是清后期的作品。4217尊擦擦佛中目前仅有一套完整的擦擦三百六十佛,其余各套均不全。将这套完整的擦擦三百六十佛与《诸佛菩萨圣像赞》进行比较,两者有354尊佛像完全相同,仅6处存在差别,一致性高达983%。依据中正殿火场残存的《四体文佛名折》等一系列档案,考证其出现差别的原因是《诸佛菩萨圣像赞》和咸若馆供藏擦擦三百六十佛分别是三世章嘉编订三百六十佛过程中的前后两个阶段的作品,前者属于稿本,后者为定本。