民族记忆与文化基因--瑶族民族记忆中“中华民族共同体”文化基因的表征及其价值阐释

民族记忆既是传承民族文化基因的载体,也是彰显民族文化基因的重要文化表征。民族记忆作为延续民族历史和文化基因的内在根基,通过传承民族历史文化、建构民族身份、塑造民族形象等形式传承和彰显民族文化基因的内在特征。以瑶族为代表的少数民族文化基因是中华民族文化基因的重要组成部分,深入挖掘瑶族民族记忆中蕴含的“中华民族共同体”文化基因,并阐释其内在的价值与意义,对培育和铸牢我国各民族的“中华民族共同体”意识有着重要的理论价值与现实意义。     

A Boy’s Journey: Public Sociology for in and Out of the Classroom

This essay is a response to Stein (2019; 2020) and his use of lived experience to tell the story of violence and the Holocaust. I discuss these works’ contributions to public sociology and teaching.     

中国共产党宪法治理百年探索及省思

中国共产党的宪法治理经历了从根据地局部执政时期的革命宪法,新中国成立初期移植苏联宪制模式及本土化探索,到改革开放后逐步形成依宪治国与依宪执政的新局面。百年宪法治理历程曲折蹒跚,终坚定向前,经验值得弘扬。宪法治理模式的移植当慎重,宪法的权威应维护,加强党的领导和中国特色社会主义宪制创新,培育中国特色社会主义宪法文化任重道远。     

陈训慈与抗战时期浙江省图书文化事业

抗战时期，中国图书文化事业备受日寇摧残，众多文化典籍被日寇劫掠而去或毁于战火。在此特殊时期，陈训慈征求各类文献，举办图书文献展览会，保护文澜阁《四库全书》与天一阁藏书，撰文与创刊宣传浙江图书文化事业，创建图书馆协会推进全省图书文化事业，为图书文化事业做出了难以磨灭的贡献。     

数字媒介视域下的文化记忆研究

文化记忆媒介经历多次嬗变,从口述媒介、书写媒介、印刷媒介到当下的数字媒介。媒介嬗变为文化记忆当下化提供了基本的结构框架,尤其是数字媒介,对文化记忆的储存、传播和表现产生了诸多新影响。首先,它极大地提升了文化记忆的储存能力,也产生了“数字黑暗时代”问题;其次,它有利于传播个体关于文化记忆的观点和评价,放大了各群体间关于文化记忆的认知差异,改变了文化记忆的水平传播和垂直传播;最后,它为文化记忆的表现带来了非线性叙事,产生了超文本和超作者,并为文化记忆文本提供了互文性链接,提高了多叙事主体间互动频率。不仅如此,数字媒介的影响还延展至文化记忆的代际延续和集体认同领域。     

辽代制度文化的兼容与变通--基于契丹君主文化追求的考察

辽代9位契丹君主在文化追求上有共同性也有差异,共同性在于他们普遍重视契丹民族传统文化,因此,他们都精于骑射,而且在其国家制度体系中斡鲁朵制、部族制、四时捺钵制占据重要地位,他们崇拜多种神灵,对各种宗教持包容的态度;差异则体现在他们各自对本民族文化发展所采取的举措,以及对其他民族文化的尊重与学习的程度有所不同。他们的文化追求致使制度建设和各方面的政策的调整具有兼容和变通的特点。     

Older sibling contribution to younger children's working memory and cognitive flexibility

We used structural equation modeling in the Early Childhood Longitudinal Study—Kindergarten Cohort (N = 17,020) to explore the influence of having an older sibling on kindergarten‐age focal children's cognitive self‐regulation. In model 1, we tested how having a sibling who is generally older than the focal child contributes to the focal child's working memory (WM) and cognitive flexibility (CF) upon entering kindergarten. In model 2, we assessed the contribution to the focal child's kindergarten WM and CF of having an older sibling in a non‐proximal age range (age 12–18) or not having siblings relative to having an older sibling in a proximal age range to the focal child (up to age 11). In model 3, we considered the contribution of having an older sister, an older brother, or both an older sister and an older brother of any age. Having an older sibling in general was associated with increased kindergarten WM, whereas having an older sister was related to increased WM and CF. Compared to having a proximal older sibling, having no siblings and having a non‐proximal older sibling were related to decreased WM and CF. Findings have implications for involving siblings in family interventions in early childhood.     

魏晋哲学新变与礼乐建构

魏晋既是中国思想史变革最为剧烈的时段,也是传统礼乐观念的重要调试期。玄学作为礼乐变革的背景,它很好地应对了轴心时代以来儒、道两家在言与意、有与无等问题上的分歧,并进行了哲学性弥合。玄学家对"有"的肯定,为儒家礼乐(广义)信仰的延续、"礼乐"(狭义)内涵的升华提供了空间。就前者而言,尽管何晏、王弼、郭象等人思想有所差异,但都表现出对"礼乐形态"的肯定;就后者而言,玄学家通过以自然内涵置换道德内涵的方式,赋予狭义"礼乐"新意,使其获得了本体论和价值论的合法性,并实现了与时代雅乐建设实践的互通。     

非洲反殖民传统的灯塔：埃塞俄比亚文化诸相略论

位于非洲东北部的埃塞俄比亚是非洲文明、语言、艺术和哲学的摇篮，也是非洲政治思想和文学思想的发源地和重镇。埃塞俄比亚独特的历史地位使它成为非洲人民心目中的一座文化丰碑和一面精神旗帜。埃塞俄比亚人坚持使用阿姆哈拉语，已成为当代非洲本土意识的一个重要表征。埃塞俄比亚运动具有宗教改革和政治革命性质，对近代非洲意识的觉醒和非洲崛起具有重要作用。埃塞俄比亚哲学是一种富有哲理性的智慧，典型地反映了非洲人的生存和思维方式。埃塞俄比亚的艺术是本土艺术与宗教艺术的结合、非洲传统工艺和欧洲现代工艺的结合。以“埃塞俄比亚之风”为代表的非洲音乐元素是美国非裔文学乃至整个欧美现代主义文学之中回荡的一种旋律，对它们的主题思想和艺术形式都产生了深刻影响。     

Ambivalent memories of imperial legacies: Asmara as ‘beautiful' and ‘segregationist' from Ethiopia

ABSTRACT

This paper discusses how the capital town of Eritrea, Asmara, is depicted alternately as Italian, Eritrean and Ethiopian thus showing the competing claims of ‘ownership’ that traverses its colonial and postcolonial histories and a multifaceted identity. It focuses specifically on how the Italian architecture of Asmara is depicted both as a sign of modernization and oppression. Literary and oral- sources are analysed to illustrate Asmara as a site of cultural encounter and a historical palimpsest such as the poems Asmara (1958, included in the collection Esat Wey Abeba) by Tsegaye Gebremedihin, and And Nebis (1992, included in the collection Efta 60 Tirekawoch) by Haile Melekot Mewael. The novels Oromay (1984) by Bealu Girma, Ye Burqa Zimita (1992) by Tesfaye Gebreab. These contemporary literary and oral reminiscences of Asmara show how Asmara’s architectural legacies are remembered to express memories of ambivalence between beauty and inhibition; being modern and segregated. Whereby, Asmara gets represented as a model town for other African cities, and a city of colonial decay and segregation, in these contradictory accounts of memories of Asmara, a de-colonial method of engagement seems to emerge.