从东糖西移和东桑西移到全国第一

蔗糖业和桑蚕业10多年前曾是我国东部地区的优势产业，在这两个产业逐渐向中西部地区转移的过程中，广西抓住机遇成功承接“东糖西移”、“东桑西移”，并把这两大产业做成自己的优势产业。两个产业跨区域大范围的成功转移，再次用实践诠释了科学发展观的重要理念。     

从东方到西方——一个布里亚特藏医世家的医学传播史

藏医学作为一重要的欧亚传统医学体系,其传统的传播区域不仅包括青藏高原和邻近的喜玛拉雅山地区,随着藏传佛教的传播,到18世纪时在蒙古文化所影响地域藏医学也已经成为主流医学。19世纪50年代,一个偶然的机会,贝加尔湖地区的一位布里亚特藏医白玛次成首次将藏医学带到了沙皇俄国首都圣彼得堡,并在上至沙皇宫廷,下至普通俄罗斯民众中产生了很大的影响。其家族成员后来又将藏医逐渐西向传播到波兰、瑞士等欧洲其它地区,甚至远及北美,演绎出一段鲜为人知的医学传播史。本文通过对白玛家族百年藏医传播史的回顾,重现藏医学在近代如何传播到欧洲,并在新的土地上开花结果的过程。     

从蛮荒到现代——韦荣慧写真

鎏光溢彩、乐曲悠扬,淑女窈窕,掌声细潮,“从蛮荒到现代”——韦荣慧少数民族服装现代设计表演展示会,正在聚满宾客的北京饭里举行。 这是多年潜心于苗族服装设计的韦荣慧经过探索实践,反复研究、精心设计的作品结晶。 达到今天这样的成功,韦荣慧十分坦然。她深悟:成功的乐趣,在于过程本身—— 从哲学到美学—相隔并不遥远 谁能想像,在少数民族服饰艺术研究和实践上,颇有成果的韦荣慧,当初却是从中央民族大学政治系毕业的。然而,这位来自贵州雷山、曾经在家乡清亮的河流和古老的水车旁     

雪茄烟厂——从作坊到现代化企业

最近几年,烟草行业之间的竞争可说到了白热化程度。然而,在一些厂家销路不畅、步履维艰的情况下,凤凰县雪茄烟厂产品却畅销不衰,保持旺盛的发展势头。问其原因,从厂长到职工,都会异口同声地说:“我们靠的是技术进步。”     

城市——从城邦研究到都市人类学

<正>相比于其他社会科学对城市的广泛研究,人类学的城市研究并不突出,这大概缘于人类学兴起之时对其研究范围的分类。在原始社会、古式社会和西方文明社会这三种研究对象中,从18世纪哲学当中脱胎而出的人类学更为关注原始社会。当时的哲学家们认为人类具有普同心智,研究比自身社会更为简单的原始社会,可以了解西方的过去,所以他们并不关注西方文明社会本身。正如R·E·帕克(Robert Ezra Park,1864~1944)所说:以人类为研究对象的人类学,迄今为止基本上只注     

回族民俗文化及回族妇女的传承作用——以西宁城东地区为例

回族民俗文化,是中华传统文化融汇了伊斯兰文化后,形成的鲜明特点的回族民俗文化.回族妇女是民俗文化传承的主角.她们从家庭到社会,用自己的智慧、辛劳和意志、孜孜不倦的追求,一丝不苟地坚守自己民族先民所开辟的一片绿地.传承和发展了回族民俗文化.     

从州长到董事长——访全国人大代表邱三益

“‘三农’问题关系经济工作的全局， 中国加入WTO后，农产品价格将会降低，农民如何增加收入?建议国家对农副产品价格实行补贴，把扶贫和退耕还林结合起来”，来自云南省的傈僳族代表邱三益对记者这样说。第八、九届全国人大代表、云南省第八届政协常委邱三益，原为云南省怒江傈僳族自治州州长，现在是怒江三利有限责任公司的董事长兼总经理。从州长到董事长、总经理，邱三益始终关注着与各族老百姓息息相关的农业、农村、农民问题。目前，他领导的怒江三利有限责任公司正在全力实施热带经济作物扶贫示范基地的计划。这个从1999年3月开始…     

从牧人到诗人——访裕固族诗人贺继新

从广阔的草原步入神圣的诗坛黝黑、清瘦,平静的目光内聚着思索时的专注和热情,真诚的微笑总也抹不去眼睑下那缕淡淡的忧郁——这是裕固族诗人贺继新留给笔者的第一印象。     

从僧人到外交家——论述藏族领袖人物侯显

候显,藏族,僧侣出身,明朝宦官;著名的外交家,政治活动家。他在促进中国和亚洲各国的经济、文化等方面,成就突出;在民族关系方面,为沟通民族感情,增进民族团结,做出了积极的贡献,是汉、藏关系史上一位极有影响的藏族领袖人物。据《辞海》、《辞源》上说他是航海家;《明史》上有《侯显传》,其功勋均有所记,但简略至没有籍贯、民族。至于他的家庭、出身与成长,上述典籍更未提到。     

从夫子到王者师——孟子的教育观纵览

《孟子》一书得以流传至今,离不开弟子和后人对其观点的认可,后人对师者“传道、受业、解惑”的定义也是以孔孟为代表的师者躬身实践的结果。他的学识、智慧、德行教化了一代又一代人,为中国人的精神血脉注入了正义的能量和不屈的精神。孟子在世时虽未能实现做“王者师”的愿望,但他的很多思想主张却被后世执政者所采纳,惠及百姓。     

新疆的俄罗斯人——从移民到少数民族

从一个外来流亡社体转变成当地少数民族,这个过程便是本文探讨的问题。通过对新疆俄罗斯人改变命运的历史过程的探讨,我们可以从中看到,这个人口虽少却有相当影响力的少数民族是怎样适应了当时十分复杂的局面——在苏联和中国正在发生着一场革命。同时,也可看到新疆俄罗斯人是怎样创造条件,积极地化不利因素为有利因素,维持自身生存。首先要说明的是,本文所指的俄罗斯人主要指近代反对苏联布尔什维克政府的白俄人,本文并不探讨苏联在新疆所扮演的角色,也不探讨苏联人在新疆的活动。     

从辽河到伊犁河——锡伯族人的西迁

乾隆二十九年(公元1764年)四月十八日,一千名锡伯族官兵和他们的四千多名眷属,齐集盛京(今沈阳)小西边门的锡伯家庙——太平寺前举行祭礼。他们将从这里出发,奉旨到新疆去长期戍边。锡伯族是鲜卑人的后裔,世居呼伦贝尔大草原和嫩江流域。清初和康熙年间,统治者深感兵力不足,曾将勇敢善战的锡伯族人先后编入蒙古八旗和满洲八旗,南迁齐齐哈尔、吉林、伯都纳(扶余)和北京、盛京等地驻防。这次乾隆允准伊犁将军的奏请,抽调他们去新疆加强防务,是锡伯族人历史上有名的西迁。这一千名锡伯官兵,分别来自辽河流域的辽     

从摇滚乐到人类学——人类学学者访谈录之四十二

摇滚乐反映了年轻人的一种对时代的责任,对现实的反思,它也体现了年轻人的生存状态,一种态度.摇滚乐从形式到内核都有对现代一种反思在里面,现代社会的人们对摇滚的态度已经是多元的了.     

从概念到实践——克里斯蒂安·克雷兹的建筑思想解析

作为新一代的瑞士建筑师,克雷兹的作品呈现出一个从概念到实践的过程,其在设计过程中以模型推敲和空间操作的方法来思考建筑,使建筑在突破确定性思维的基础上激发了空间活力。文章从空间操作下的建筑空间与结构探索、质疑与批判态度下的建筑尝试、概念本质追求下的建筑变化与融合三个方面进行分析,并结合其实践项目和竞赛方案来解读克雷兹的设计策略与建筑思想,希望能为当代建筑空间的创新发展提供新的思路与方法。     

从士兵到发明家——全国军地两用人才先进个人邹桂怀

在北京军事博物馆展厅,有《从士兵到科技发明家》的展橱,里面记录的全是邹桂怀的专利产品。今年38岁的邹桂怀,出生在湖北省恩施土家族苗族自治州利川市石坝镇双岭村一个土家族农民家庭,他的童年和少年时期,由于家境清贫,仅升至小学三年级就辍学协助父母耕作了,日复一日起早贪黑地担水劈柴、犁田挖土、播种收粮……极苦的环境赋予这个土家孩子勇于拼搏、刚毅不屈的性格。16岁那年邹桂怀怀着见见世面,学点本领的心思,向兵员征集部门报名参军。他的年龄本来不符合参军条件,但几位接兵首长见他天生一副聪明样,又生得虎笃笃的,破例将他接到了驻扎在“天府之国”的军营。     

从民族志物品收集到东南海洋系文化构建——林惠祥先生收藏与展示实践（1929-1958）

Since the 1980s, critical museum studies have interpreted the‘collecting and exhibi-ting activities’ of a museum as both practical activ-ities as well as a persistent scientific and socio-cul-tural process, and have explored the natures of museum, including the logic and strategy behind these practices. Through reviewing Lin Huixiang ’s collecting and exhibiting practices ( 1929 to 1958 ) , this article aims to explore internal rela-tionships between ( i ) museum practices and ( ii ) the practitioner, all under a particular episteme. This article moreover presents the genealogy of Lin Huixiang ’s academic ideas, museum practices, and‘Southeastern-oceanic-cultural ’ research pro-jects;it covers his earlier activities of ethnographic object collecting and exhibiting practices all the way to the construction of the‘Southeastern-ocean-ic-culture-system ’ within the framework of the‘New Theory of Evolution’ . Seen from a critical perspective, a museum is not a neutral and objective institution but a space full of power and discussion. In addition, in our modern times Museums have become a controver-sial place: the museum’s nature has changed from a‘palace of knowledge’ to a representation-system composed of objects. Eilean Hooper-Greenhill uses the terms“effective history” and“episteme” to ex-amine the history of a museum, and divides it into three stages: ( i ) the irrational cabinet, ( ii ) a classical episteme, and ( iii) a modern episteme. Different epistemes directly influence the collecting and exhibiting practices. Susan Pearce points out that collecting activities express and shape the rela-tionship between the human and material worlds. She distinguishes between “gathering”, “hoard-ing”, and “collecting” and she emphasizes that the term “collecting” points to products of imagi-nation. This imagination metaphorically creates meanings by arrangement and it displays the known world. Therefore, the activity of collecting and ex-hibiting is always practiced under a particular epis-teme;in addition political standpoints, value judg-ments, and academic interests are involved when interpreting the meanings of the objects and the constructing the knowledge order. This article moreover conducts a systematic exploration of Lin Huixiang’s collecting and exhibi-ting practices as well as the genealogy of his aca-demic ideas. All is examined from three aspects:( i) ethnicity, nation, and ethnographic object col-lecting practices; ( ii ) the intellectual, display practices and Museum of Anthropology; ( iii ) the New Theory of Evolution and the establishment of the Southeastern-oceanic-culture-system. The first section of “ethnicity, nation, and ethnographic object collecting practices”focuses on Lin Huixiang’s collecting practices from 1929 until the end of the Second World War. He started to collect aboriginal human objects in Taiwan since 1929 and ethnographical objects in the South Sea since 1937 . As most anthropologists from that area and period, Lin Huixiang’s collecting activities were influenced by patriotism, the establishment of a Chinese anthropology, and by personal academic interests. Chinese anthropologists during the 1920s to 1940s, including Lin Huixiang, believed that nationalism and the ‘Great Harmony ’ would lead to Chinese independence and civilization. And his practices had real significance for China in war-time. On the one hand, these aboriginal objects from Taiwan and the South Sea were regarded as material evidence of an extant“barbarian” culture;this was helpful in understanding that the‘barbari-an’ culture was basically same as that of ours, which then would reduce our ethnic prejudice a-gainst the ‘barbarian’ . On the other hand, these objects also became a means for the public to un-derstand Taiwan, the colony of Japan; in fact, these aboriginal objects even became a symbol of anti-colonialism and aroused the people’s patriot-ism. The second part of “the intelluctual, display practices and Museum of Anthropology” turns to Lin Huixiang’s ideas about the enlightment through a museum and its exhibitions. Lin Huixiang indeed emphasized the educational function of exhibitions and the museum. He displayed his collections to the public, held several exhibitions starting in 1929 , donated all his collections to Xiamen Uni-versity in 1951 , and advocated the establishment of the Museum of Anthropology. Lin Huixiang pointed out that museums were educational institu-tions meant to spread knowledge, and he used specimens, charts, and models to educate the pub-lic. As an anthropologist, Lin Huixiang understood the meaning of an ethnographical museum as an in-strument for teaching, research, and social educa-tion. By reviewing Lin Huixiang’s ‘collecting and exhibiting practices ’ during the period 1929 -1958 , we can clearly come to understand his aca-demic ideas about the discipline of anthropology and about the Southeastern-regional culture. The exhibitions in the Museum of Anthropology of Xia-men University represent his endeavor to construct the Southeastern-oceanic-culture-system within the framework of the New Theory of Evolution. He showed archaeological specimens from the prehis-toric period to the historical period, as well as eth-nographical objects of China’s Southeastern region and Taiwan region, Indonesia, Singapore, India, and of Burma. All objects displayed in exhibitions were used to illustrate the rule of evolution, espe-cially the ethnographic objects that evidenced the primitiveness of human culture; this is helpful to us when exploring the origins of cultures. At the same time, Lin Huixiang compared the cultures of Northern China and Southeastern China, and iden-tified cultural traits specific to the Southeastern ar-ea, aiming to show cultural similarities among China’s Southeastern region and the Taiwan region, and Southeast Asia, which he called the“South-eastern-oceanic-culture-system”.     

从神的世界到人的世界 ——从《山海经》到《尧典》看文明的进步

《山海经》和《尧典》是我们民族文明不同发展阶段的产物,反映了不同阶段的民族文化,本文通过分析这两部典籍书写模式的差异,探究文本背后思维模式的转变并得出结论:我们的民族从《尧典》开始逐渐摆脱了上古以己观物、以己感物的神话思维,开始萌生出想要记录下祖先历史的念头.     

从神的世界到人的世界——从《山海经》到《尧典》看文明的进步

《山海经》和《尧典》是我们民族文明不同发展阶段的产物,反映了不同阶段的民族文化,本文通过分析这两部典籍书写模式的差异,探究文本背后思维模式的转变并得出结论:我们的民族从《尧典》开始逐渐摆脱了上古以己观物、以己感物的神话思维,开始萌生出想要记录下祖先历史的念头。