BALANCED TRUTH: STEVEN SPIELBERG'S SCHINDLER'S LIST AMONG HISTORY,MEMORY, AND POPULAR CULTURE1

Looking at the public reaction to it, one might say that Steven Spielberg's Schindler's List is undoubtedly the most successful film about the Holocaust. The film's success in the U.S. and other Western countries can be traced back mainly to the fact that it creates the impression of telling a true, apparently authentic, story. This essay investigates how this impression of historical truth and authenticity emerges in a fiction film. For this purpose the essay reverts to a concept developed by Jörn Rüsen, which distinguishes among three dimensions of historical culture, namely political, aesthetic, and cognitive. In addition to the historical context that serves as a specific precondition for the film's success, the essay primarily investigates the strategies of authentication Spielberg applied at both the visual and narrative levels. The investigation concludes that the impression of evidence produced by the movie is significantly a result of the sophisticated balancing of the three dimensions mentioned above. The film utilizes artifacts of an existing and increasingly transnational (visual) memory for the benefit of a closed, archetypical narrative. It follows the aesthetic and artistic rules of popular narrative cinema, and largely recurs to conventions of representation that were common in film and television programs of the 1990s. Although these forms condense the historical course of events, the film manages to stay close to insights gained by historiography. The hybrid amalgamation of history and memory, and of the imaginary and the real, as well as the combination of dramaturgies of popular culture with an instinct for what can (not) be shown—all of these factors have helped Schindler's List to render a representation of the founding Holocaust myth in Western societies that can be sensually experienced while being emotionally impressive at the same time.     

社会史:新的史学范式与新的通史观念--评赵世瑜著《狂欢与日常--明清以来的庙会与民间社会》

赵世瑜教授是当代中国社会史研究的积极倡导者和实践者之一,所著《狂欢与日常——明清以来的庙会与民间社会》一书,探讨了当代中国社会史研究力图形成的新的历史解释思路、新的通史意识及其发展态势与存在的问题。     

稻盛经营哲学中的文化印迹辨析

稻盛和夫1997年退出经营第一线后,愈发活跃于国内外的财界、学界乃至政界,不断地著书立说,登台演讲。主题大都是谈自己的经营之道。有人说稻盛的哲学思想深受中国传统文化影响,也有人说,稻盛的哲学博采众长,是吸收多种文化的产物。这些说法哪种更贴近现实,抑或都存在片面性?本文将通过对稻盛和夫的著述、演讲以及个人访谈中所引用的中国古典、哲学以及宗教等内容的比较,分析中国古典在稻盛经营哲学中所处的地位以及发挥的作用。     

HUME,HISTORY, AND THE USES OF SYMPATHY

This article focuses on the role of sympathy and antipathy in David Hume's History of England (1754–1762) in relation to the broader place of sympathy in Hume's moral philosophy. Hume, in his earlier philosophical work, argues that sympathy is a naturally occurring responsiveness to others’ feelings, similar to the resonance between musical strings. In his History, however, he carefully curates his readers’ emotional responses, inviting sympathy with figures of suffering—such as King Charles I and Mary Queen of Scots—while also, often almost simultaneously, stirring intense antipathy for those whose religious extremism he regards as socially dangerous and beyond comprehension. After first situating the emergence of Hume's theory of sympathy in its early eighteenth-century context, this article explores in detail the techniques of sentimental management that appear across the six volumes of the History of England. The elaborate deployment of emotions in Hume's historiography is shown to be in tension both with some aspects of his philosophy of natural human sympathy and with his brief reflections on the writing of history. Hume channeled his readers’ sympathies toward particular targets and against others. A careful analysis of this usefully sheds light on the management of sympathy in modern historiography, on which Hume has had an enduring influence.     

Three geographers in an archive: positions, predilections and passing comment on transient lives

Despite the existence of research conducted by geographers eschewing or professing religious faith, the influence of researchers and their methods have yet to receive critical attention within the study of religion. The experience of three geographers working on a three-year research project suggests that it is vital to reflect upon the inter-subjective relationships and methodologies used to reconstruct the religious past. How do different subject positions influence our selections from historical records? We also consider whether the spatialities of putatively 'religious' archives, whether formally or informally constituted, make a difference to the construction of historiographical knowledge. In attempting to answer these questions, the paper argues that developing an awareness of different types of positionality, vis-à-vis religious faith and practice, combined with reflexivity, vis-à-vis methodology, can enrich the interpretative reconstruction of the religious past.     

古代两河流域宗教中的生死信仰1

古代两河流域先民认为人类的生命是由神创造并为神服务的,人类没有永生,死亡是命中注定的;生命的意义在于追求名誉和为神服务;人死后亡灵都要进入地下世界,地下世界是黑暗凄凉、阴森恐怖而不值得向往的。这种生命信仰和死亡信仰反映在祭司神学集团编造出的一系列神话、史诗等宗教文学中,二者互为补充,共同发挥着宣扬宗教教义的文化功能。     

试论元朝宗教状况与道释画之嬗变

在元代短短几十年中,道教经历了一个大盛大衰的过程,中土本有的佛教也为藏传佛教所压制,中国画在这一时期则体现出比以往更多的文人气质。本文叙述了元代的宗教状况与宗教政策的关系,以及道释画在这一背景下所呈现出的不同面貌。     

原始思维对《山海经》长生思想的肯定

追求生命的永恒是人类共通的理想,各民族神话中都有体现人类追求永生的传说。《山海经》被称为"神话之渊府",在保存了大量神话资料的同时,也通过对增寿、长寿、长生乃至成仙的描述来否定死亡现象。     

日本武士信仰的特征

日本武士从登上政治舞台到完全掌握政权的过程中拥有了自己的信仰。武士的信仰不是为了拯救灵魂在死后得到一个安宁的去处,而是为了在自己生活的现实世界获得利益。武士的信仰不是单纯的本土信仰,而是吸收了异文化的营养,并使之融合在一起。因此可以说,武士信仰具有现世主义和兼容并包的特征。武士信仰的特征反映了武士与传统的贵族统治者的区别,也代表了日本人信仰的普遍特点。这些特点同样体现在当今日本人的信仰中。