唐太宗晚年弄权一例

唐初大将李勣(徐懋功),原是瓦岗军旧部,他以不甘之心归唐,内心深处对唐五朝不满,唐太宗李世民对李勣耿耿于怀,一直不放心,晚年更是这样。贞观十七年,在一交宴会上,李世民对李勣说,“联将属以幼孤,思之无越卿者。公往不遗景李密,今岂负于朕哉!”名为托孤,实为试探,故太宗临终之时,对太子李治说“李勣才智有余,然汝与之无恩,恐不能怀服,我今黜之,若其即行,俟我死,汝于后用为仆射,亲任     

新时期加强大学生创业教育与实践的思考

大学生就业形势日益严峻,本文归纳了大学生创业教育与实践对于培养人才、抓好高校就业工作、促进社会经济发展等方面的意义,梳理和分析了高校长期以来的创业教育与实践工作中存在的突出问题,并从完善创业教育课程体系、完善创业教育实践师资力量、发挥大学生党支部和团委学生会在创业教育实践活动中的作用、建立大学生创业孵化园和实践基地等方面提出了相应的对策建议.     

未知频偏下直扩信号的扩频序列估计

针对未知频偏下的直扩信号,通过将载频吸收至扩频波形中,提出了一种有效的基于协方差矩阵子空间分解的扩频序列估计算法。通过信号子空间分解,提高了含有未知频偏信息的扩频波形估计的信噪比,从而降低了载频估计难度。在随机信号模型条件下,还推导了扩频波形估计器的克拉美劳界。在低信噪比条件下,仿真验证了该算法的有效性。     

砂带磨削技术及其应用展望

本文介绍了砂带磨削的机理及其在国内外应用的状况,提出应重视对砂带磨削机理及其设备的研究开发,尽快缩短我国先进国家在砂带磨削技术研究及应用领域的差距。     

反思环保法庭制度化发展之正当性

由于案件受理数量过少,基于“审判专业性”和“审判统一性”的论证结果表明环保法庭的设立多流于形式,制度化发展欠缺正当性基础.并且,从经济学视角看,与其他环境规制手段(包括环境行政)相比,环境司法的制度效率较低,治理优势并不明显.由于司法资源有限,司法制度对环境司法需求具有客观而必要的抑制作用.依据公共选择理论,除环境治理需求,环保法庭制度化发展的实际推动力源自法院内部治理、回应司法改革政策等自身利益诉求.在环境司法改革朝向更加精细和纵深方向发展之际,对前述问题的清醒认识是避免司法能动变盲动的重要理念性前提.     

基于“逆选择”和博弈模型的食品安全分析——兼对转基因食品安全管制的思考

食品安全问题（包括转基因食品安全）与食品生产企业的“逆选择”行为密切相关,政府需要出台相关政策矫正“市场失灵”,为供求双方提供充分的市场信息。博弈分析表明,政府需要在以下方面加大力度,即健全食品安全监管法律法规、实施严格的质量认证体系;加强对执法部门的监督和激励、明确监管职责;加大对不法企业的惩处力度等。     

通过法治迈向民主

法治是实现民主的途径和保障,民主只有在法治的引领下,通过保障基本人权,才能实现其终极目标。在认识法治建设中存在问题的基础上,我国应该通过培育法治文化、贯彻司法独立、改革立法模式、健全法律监督,逐步迈向民主。     

贵州彝族传统情歌（曲谷）的音乐特色

Being one of the most ancient eth-nic groups in China, the ‘Yi’ have a long history and an abundant culture. Yi folk songs, which are widely sung in many regions of China, have vari-ous forms and styles. These folk songs reflect the lengthy history of the Yi society; indeed they ex-press the happiness and misery, the dreams and desires of the Yi people. Within this context, this article focuses on‘Qugu’ which is a unique type of music belonging to the Yi people. In fact most Yi people of Guizhou live in the Wumeng Mountains. In their quest for survival, over time the Yi had developed a series of natural worship rites which became one of the sources of their traditional mu-sic. In addition, Yi people formed a unique way to express their love: in times past they developed a tradition of singing in the mountains and forests as to convey their love to their beloved;the‘Qugu’ is one of these Yi’ s traditional love song genres.‘Qugu’ means ‘singing’ and this genre has its own social functioning. According to traditional Yi culture and habits, a ‘Qugu ’ should not be sung in front of parents, brothers, or other rela-tives;instead it should only be sung in a place sur-rounded by mountains and forests and on certain singing sites, called ‘Guji’(in Yi language). In most of the Yi settlements, such ‘singing sites ’ were placed far away from the villages, sometimes on flat areas and sometimes in the remote wilder-ness, in forests or caves. The singing activities on those special sites took place according to specific rules and calen-dars. During the so-called ‘singing festival’ peri-od ( from the 1 st to the 15 th day of the 1 st lunar month and on the 5th day of the 5th lunar month), the singing performances were particularly magnifi-cent. People of all ages, young and old, would gather together from all directions and would sing without interruption for several days. Moreover , the singing festival also had certain traditional rites ( ceremonies ) . For example, at the very beginning, certain clan elders or prestig-ious singers would offer wine and water to the‘heavens and earth ’ . After this offering, ‘the soul of the song’ was invited. The Yi people tradi-tionally worship nature and believe in animism, so indeed a ‘Qugu’ also has its own ‘soul’ . There-fore, when the singing festival would commence, they would invite the ‘soul of the song’ to come;this custom is called ‘Guyexi’ in the Yi language. The nextritual would be the ‘Guyidai ’ ( in Yi) , which means‘the settling down of the soul of the song’ at the particular singing site. There are lyrics like:‘If there is no settling down of the soul of the song, then when the next spring comes the sil-ver flowers will sever their roots, the golden flowers will sever their roots, and the singing sites cannot be set up ’ . After the settling down of the soul of the song, the next ceremony would be the ‘Gukoupu’ ( in Yi) or ‘opening of the mouth of the song ’:this basically means the ‘opening of the door of love’ and also indicates the formal beginning of‘Qugu’ activity. All of this shows indeed that the rite of‘Qugu’ is not as solemn as other rites, as in fact the lyrics of ‘Qugu ’ are mostly about love af-fairs and romance. When the‘Gukoupu’ ends, the young people can start to freely sing. There are indeed lyrics like: ‘Three young chaps brought three axes and went into three directions of the universe; they chopped three pine trees, sawed off three boards, made three chairs, and placed these facing three di-rections. They invited girls to take a seat; the girls sat down and sang. The girls invited the chaps to take a seat;the chaps sat down and sang’ . When this‘free singing’ begins, an ‘antiph-onal group singing’ starts at the singing site (‘Gu-ji ’ ); males and females take part in this and stand/sit separately as they all sing in antiphonal style. In the middle there is a ‘go-between ’ in charge of coordination, judging, and passing on information. The males and females sing and ob-serve back and forth. During this process, affec-tions may emerge between a certain male and fe-male. If indeed a guy or young lady takes a fancy to another person, he or she will ask the go-be-tween for help. If the counterpart gives a positive response, then the two will leave the group and go elsewhere to talk and sing. During this ‘antiphonal group-singing’ , each group can allow a certain ‘representative ’ to sing solo;this solo should not be a repeat of some song performed by someone from another group. The young males and females thus can each show off their voices by singing songs with free rhyme, sweet melodies, and serious or deep topics. It is easy to see that this ‘antiphonal group singing ’ provided a major means of romantic communication between young Yi men and women. In fact, the number of songs they could sing as well as the technique used in singing these significantly deter-mined one’ s ability to attract the opposite sex. As a consequence, both males and females were strongly committed to learn to sing, trying their best to master more and better songs. Through learning from their predecessors, they made an ef-fort to improve their singing abilities. As said, traditionally at the beginning of the singing festival, ‘the soul of the song’ would be invited; well, likewise at the end of the festival‘the soul of the song’ should be sent away again. The Yi people believed that if they would not send the soul of the song away, the young would be ob-sessed by affections all the time and even lose their minds. Finally, Guizhou Yi ’ s folk music-generally speaking-has a great variety in content, perform-ance locations, forms, and genres. Moreover, due to the regional differences music styles also vary geographically. All of this makes the multi-colored Yi music even more delightful and appealing. Unfortunately, the entire tradition ( ceremo-nies) of the‘Qugu’ as described above, no longer exists today. The singers who still know these pro-cedures are getting old and eventually will forget these rites. This is a big loss for the living tradition of the Yi culture, and it is a source of grief for those who study Yi culture, in China and abroad.     

“第三次民主化浪潮”引发的哲学思考——评《当代世界的民主化浪潮》

一美国政治学家寒缪尔·亨廷顿把 70年代中期以来遍及全球的民主化运动称为“第三次民主化浪潮”。他认为 ,人类已经经历了三次民主化浪潮 ,每次民主化浪潮都有一批国家实现了民主化。“第三次民主化浪潮”是 1 974年从欧洲南端涌起的 ,葡萄牙、西班牙、希腊三个欧洲最后的权威主义政权相继垮台。70年代末 ,民主化浪潮蔓延到葡萄牙。西班牙的前殖民地拉丁美洲 ,一个接一个的军人政权还政于民 ,到了 80年代末 ,这片大陆已基本实现了民主化。 80代年中期 ,主民化浪潮涌入亚洲 ,菲律宾、韩国等权威主义国家实现了向民主的过渡。 80年代末和 90…