朝鲜王朝大射礼研究——以《大射礼仪轨》为中心

以记录朝鲜时代英祖十九年大射礼筹备、施行过程的《大射礼仪轨》为中心,采用文献资料法,在介绍大射礼在朝鲜半岛传播及与施行情况的同时,对英祖十九年大射礼的历史背景、礼器用具、仪轨构成等进行展析,力图再现朝鲜时代大射礼的基本样相,为大射礼的发展与传播研究提供了新的史料参考。     

Fire Risks in Oil Refineries: Economic Analysis of Camera Monitoring

A probabilistic method is presented to evaluate the economic value of fire monitoring by closed circuit TV camera in petroleum refineries. The proposed model is restricted to the analysis of risk reduction in an area where fires can be caused either by pump failure or by failure of valves and lines. The benefits come from reducing the time during which the fire grows undetected. Fire growth and expected values of losses are analyzed by a Markov model that includes five phases: (1) active undetected growth, (2) detection, (3) fire growth at the beginning of the firemen's intervention, (4) fire control, and (5) fire extinction. The results (e.g., the expected net present value of the investment) show that the proposed monitoring investment is attractive for an illustrative example.     

《野草》研究二题

"这样的战士"是文化批判的战士而不是政治斗争的战士。"无物之物"是指的以封建礼教为基础的强大的封建专制文化。"无物之阵"是由被封建礼教文化浸润入骨的各式各样的人组成的社会。"无物"则没有象征意义。《死火》是以意象象征的诗意化方法表现的作者的一场激情与理智的对话,描绘了作者从充满热烈的改造社会的青春激情到陷入苦闷和再次燃起激情重新投入战斗的一段特殊的思想变化历程。     

彭阳社火的民俗学考察

社火是我国北方春节期间的一项传统民俗活动。以宁夏回族自治区南部山区彭阳县的社火表演仪式为例,利用地方志材料和田野调查材料,描述并分析了当地的社火组织、表演仪式以及其中所反映的民俗心理。     

A 14-h night-shift in the control room of a fire brigade

All 29 operators in the control room of a fire brigade performed test sessions during work and leisure time at 2-h intervals on a day with a 14-h night-shift, a day off and a day with a 10-h morning shift. The test sessions consisted of a visual search choice reaction time test and two Sternberg memory search tests (1 or 5 letters had to be memorized). Furthermore, the operators recorded their oral temperature and their subjective alertness before each test session. The subject also kept a diary of work and sleep times for 14 days. The circadian rhythm of body temperature was hardly changed by a single night-shift. Parallel to the body temperature, the subjective alertness fell significantly during the night-shift reaching a minimum value at 06:00 h. The mean reaction times increased non-significantly at the end of the night-shift and the results of the two Sternberg memory search tests showed no significant trends. The sleep of the operators after the night-shift was on average reduced to 5 hs 34 min. The results of subjective rating of alertness and reaction time test are interpreted as effects of the combined influences of circadian rhythmicity, sleep loss and time on professional task. Most results support the conclusion that a 14-h night-shift without extensive breaks is not acceptable.     

蔽合的“在”与敞开的“无”——以田桑诗歌《藏身于木箱的火》为例

悖论元素被看做是构成诗歌文本张力的最重要因素之一,田桑在诗歌《藏身于木箱的火》中则通过对记忆的书写向我们展示出悖论在世界、事物、诗歌与我们个体之间所造成的奇妙关系：诗中事物在逻辑构成上是悖论的,事物本性与人类情感是悖论的,诗对事物的敞开与蔽合之行动永远处在悖论之途中。在他的诗歌中对悖论的言说由诗歌本体延伸到对人类自身现世处境中诸多矛盾现象的思考,并进一步引发了我们对悖论之态度的思考。     

西汉法定徳属考辨

文献中常有"炎汉"、"炎刘"的提法,其实准确地讲这仅指东汉。整西汉一朝,始终未立火德,前期是水德,中后期是土德。至于西汉后期极为盛行的火德,并未被定为法定徳属,直到光武帝时才"始正火德"。若以为"炎汉"即为两汉,则是对历史真相的曲解。     

《勒俄特依》中火、水文化反映出的生命美学意识

《勒俄特依》是彝族文化中的创世典籍,具有极高的文化价值,其中蕴含了丰富的哲学思想。凉山彝族人民居住在山高谷深,水多流激的四川西南地区,他们的《勒俄特依》鲜明地反映出了符合这一地域特征的独特的生命美学意识。他们认为水是万物之源,火是人类生命觉醒过程中的第一次尝试,生命的诞生是一个漫长的进化过程。火与水文化作为这一创世典籍中不断交互出现的元素,反映了凉山彝族人民充满抗争感的生命美学意识,而这一抗争不是单独的抵抗,是相生相克的辩证思想．是以德为生、以生为美的生命美学意识。     

A 14-h night-shift in the control room of a fire brigade

Abstract

All 29 operators in the control room of a fire brigade performed test sessions during work and leisure time at 2-h intervals on a day with a 14-h night-shift, a day off and a day with a 10-h morning shift. The test sessions consisted of a visual search choice reaction time test and two Sternberg memory search tests (1 or 5 letters had to be memorized). Furthermore, the operators recorded their oral temperature and their subjective alertness before each test session. The subject also kept a diary of work and sleep times for 14 days. The circadian rhythm of body temperature was hardly changed by a single night-shift. Parallel to the body temperature, the subjective alertness fell significantly during the night-shift reaching a minimum value at 06:00 h. The mean reaction times increased non-significantly at the end of the night-shift and the results of the two Sternberg memory search tests showed no significant trends. The sleep of the operators after the night-shift was on average reduced to 5 hs 34 min. The results of subjective rating of alertness and reaction time test are interpreted as effects of the combined influences of circadian rhythmicity, sleep loss and time on professional task. Most results support the conclusion that a 14-h night-shift without extensive breaks is not acceptable.     

Relighting the Fire: Visualizing the Lesbian in Contemporary India

This article revisits the controversy surrounding Deepa Mehta's Fire (1996), India's first publicly released film depicting female same-sex desire. The film has become a touchstone for discussions of the representation of queer and lesbian, gay, bisexual, and transgender (LGBT) lives in India. While the majority of critical accounts of the film have rejected the use of “lesbian” on the basis of its Anglo-American specificity, this article seeks to recast lesbians at the heart of Fire by filtering them through the lens of transnational protest, and by offering a close reading of the film's own play on religious and cultural symbolism. Viewed almost two decades after its release, in the light of the Delhi rape case of December 2012 and subsequent events, including the upholding of a law criminalizing gay sex in November 2013, the film now more than ever seems to offer a fantasy of the future, rather than a viable reality in the present day. Within Fire, the circumnavigation of heteronormative power and desire is certainly queer, but the film's labeling as “lesbian” subsequent to its release in India opened up an important public forum for a debate about female desire and independence that continues to resonate today. This article does not attempt to offer a conclusive argument about the use of the term “lesbian” to label the relationship between women that is depicted within the film, but it does examine the way in which the film itself visualizes desire between women, and in particular the use of Hindu narratives, imagery and motifs. The film's interpellation into lesbian politics is facilitated by the strong emphasis on a female-centered desire that is not defined by motherhood, that cannot be contained, and that demands to be seen.