留住青春

女人30岁以后各方面都会发生越来越大的变化,因此,有一些事情,是需要在30岁之际完成的。 1.展示美丽的化妆 找出自己最美丽的地方,也可能是眼睛,也可能是双唇,并学会展示自己美丽的化妆方法,让自己30岁以后依然美丽。     

三星堆青铜纵目面具与铜兽首冠人像的藏文化解读

This article is the fourth article re-lated to the research of “Zhangzhung·rGyalron· Sanxingdui and Jinsha”—Tibetan cultural interpre-tations of relics unearthed in Sanxingdui and Jin-sha. The main focus of the article is Tibetan cul-tural interpretations of the vertical-eyed bronze mask and the copper statue of a man with an ani-mal head crown in Sanxingdui Museum. 1 . Vertical-eyed bronze mask and Miwo Lon-glong The bronze cultural relics unearthed in Sanx-ingdui or even Jinsha have broad and deep links to ancient Tibetan culture. The vertical-eyed bronze mask is the most typical of the numerous bronze objects depicting human heads. In the following discussion, we would like to give an interpretation of the symbolic meaning of the bronze objects de-picting human heads. In order to draw inferences about other cases from one instance, we would like to choose two typical cases: choosing the vertical-eyed bronze mask as our model of cultural relic, and choosing langshi jiazu ( the Lang family clan) as our model of Tibetan ancient literature. It is generally stated that the eyes of the verti-cal-eyed bronze mask kept in Sanxingdui museum roughly meets the appearance of the Shu people ’ s ancestors, the Cancong, who are recorded as hav-ing “vertical eyes” in the historical books. Some people also believe that “vertical eyes” means“upright eyes”, just like the eye in the forehead of the God Erlang in Chinese ancient myth, so the image might be a statue of an ancestor god. Addi-tionally, some connect it with the frontlet of kuilong ( a sacred dragon in Chinese myth ) , and believe that it is related to zhulong( another sacred dragon in Chinese myth) who has a human head, a dragon ( snake) body, and “upright eyes”. Langshi Jiazu is an important document for studying the political and religious unification sys-tem in Tibetan areas during the Yuan, Ming and Qing dynasties, meanwhile, it is also an essential material for the study of the Gesar Epic. Langshi Jiazu was published by Xizang renmin chubanshe ( Tibet People ’ s Publishing House ) for the first time in May, 1986, and the whole book is com-posed of three parts. From the perspective of the ancient Indian centralism and Tibetan centralism, Langshi Jiazu has many unique parts, and its con-tent has an unusual connection with rGyarong in the southeastern part of Tibetan areas. For in-stance , the content of the fist part is very similar to shengniao xiongqiongwang zhuang ( Biography of the Sacred Bird Garuda) recently discovered in the rGyarong area. There is a myth in Langshi Jiazu, and the sto-ry is very common in Bon literature. The academic circle calls it the Bon religion’ s view on the crea-tion of world—the universe is oviparous. Most scholars believe that the view of oviparous creation of the world in Bon religion might be Tibetan peo-ple’ s own cognition. We provide translations to some content included in the Langshi Jiazu, and compare them with the vertical-eyed bronze mask, and notice some information which has been ig-
nored by the current academic circle. For in-stance, the vertical-eyed bronze mask symbolizes“”, Chinese phonetic translation Miwo Longlong, which means “may all your wishes be-come truth”. 2 . Copper statue of a man with an animal head crown in the Bon Religion The copper statue of a man with an animal head crown kept in Sanxingdui Museum is not com-plete, with only the upper part of the body remai-ning. The statue wears an animal head crown. On the two sides of the top crown, there stands two an-imal ears, in between of which there is a curly decoration which looks like an elephant ’ s nose. Apart from the previously-mentioned characteris-tics of the sacred bird Gaguda, the copper statue of a man with an animal head crown also has several other outstanding features, for instance, its crown and posture. The crown is not only high, but also has a rectangular hole, on the top of which there are three long strips. The statue is posed in a grasping gesture. This paper gives firstly an overall interpreta-tion of the copper statue of a man with an animal head crown according to the shengniao xiongqiong-wang zhuang, then gives a Tibetan cultural inter-pretation of the details of the statue. Concerning the knowledge of the three long strips on the crown of the copper statue, this article finds some clues from the angle of philology and archaeology, and proves that the origin of this crown is the sacred hat in Bon religion of Tibet. Moreover, this article also discusses the reason why the crown has these three strips on top of it. The author mentions that it is related to the sacred bird Garuda, and the three strips respectively represent the two wings and horn of the bird. In other words, the strips on the right and left side symbolizes the bird opening its wings and viewing the world, while the strip in the mid-
dle symbolizes that the sacred bird is male, not fe-male. From one aspect, the head dress of adult women in the rGyarong area symbolizes the sacred bird Garuda, and from another aspect, in Tibetan culture, including rGyarong culture, only the sa-cred male bird Garuda has the horn. That means the sacred bird Garuda with a horn must be a male one. Concerning the vertical-eyed bronze mask and the copper statue of a man with an animal head crown unearthed in Sanxingdui, there are still many details that need to be explored, and also we feel that it could be differently interpreted. Howev-er, due to the limitations of space, we will not do a long discussion here, but we do hope that from the examples provided in this article, one can draw inferences about other cases from this one in-stance.     

国际文学中环境怀旧的三种类型

美国文学以及国际文学中有三种重要的环境怀旧类型：地点怀旧（ nostalgia loci）、境况怀旧（ conditional nostalgia）、策略怀旧（ strategic nostalgia）。第一类怀旧是对深度历史感的一种复杂的情感反应,因为它依附于世界上某些特定的地点———它是地点本身的情感结构的一部分。第二类与焦躁不安的渴望———它构成人性的一个基本侧面———相关。第三种怀旧将怀旧语言视作环境作家所运用的一种修辞工具,目的是通过使受众对种种濒危现象———从特殊地点到整个物种———可以预见的变化或损失保持警惕,并由此而促使他们采取行动。这三种怀旧的范例文本分别取自奥尔罕·帕慕克（土耳其作家,现居纽约市）、J. M. G.勒克莱齐奥（法国作家,他将自己的生涯分作法国阶段、毛里求斯阶段以及美国阶段）以及美国作家里克·巴斯和约翰·尼科斯的作品。     

杜威留给21世纪的遗产

杜威是实用主义哲学的代表人物。随着实用主义的复兴和新实用主义的产生,杜威哲学的当代价值受到越来越多的关注。本文作者拉里·希克曼(Larry A.Hickman)教授是国际上最为知名的杜威研究专家之一,他从在哲学史中追踪杜威的影响、古典实用主义文本中的解释学的完整性、对被应用到动态系统理论的杜威技术哲学的前溯、杜威哲学与逻辑教学改革的关系等维度探讨了杜威哲学的当代意义,本文还从杜威哲学对当代经济学和教育学的启示等角度,讨论了杜威的思想与现代社会的持续的相关性论题。     

小额信贷在西藏的实践评析

文章以通过长期演化而在世界范围内获得普遍认可的小额信贷典型机制和相应理论为规范,以实际调研获取的数据资料为佐证,力图规范分析和经验实证中国农业银行西藏自治区分行和西藏扶贫基金会在西藏农牧区开展小额信贷近10年所取得的成效.研究发现,在覆盖率和扶贫方面取得良好成效的同时,由于机构自身的性质和西藏农牧区经济的显著差异性,农行西藏分行和西藏扶贫基金会的小额信贷分别存在定位模糊、激励不足和拓展困难等问题.据此作者提出明确农行西藏分行的商业化定位,鼓励邮政银行西藏分行开展小额信贷以促进竞争和培育政策性小额信贷机构的政策建议.     

要警惕和预防官员的权力“更年期”

近日,一则关于“云南省水利厅直属单位领导多年带头上班赌博”的帖子在国内各大论坛热传,帖子中还列出8人姓名,并配发5张图片,直指多家单位“长期赌博成风”,更有参与赌博的领导称此举“是陪单位女同胞安全渡过更年期”。领导上班率下属赌博,本是一种违纪行为。然而,当事领导非但不知醒悟,反而找出了一条冠冕堂皇的理由     

中华老字号的会计基因:基于盈余管理的视角

文化作为契约环境的重要组成部分深刻影响企业的会计行为.研究聚焦于中华老字号的企业文化,考察了文化规制因素对企业盈余管理行为的影响效应及其机理.研究发现：相比非中华老字号企业,中华老字号企业的应计和真实盈余管理程度更低,表明中华老字号企业存在显著的会计效应.异质性考察发现,在国有企业、强内部控制和高机构持股公司,中华老字号的会计效应表现得更为显著.机理渠道检验发现,中华老字号企业影响盈余管理的机理是重视文化渗透和稳健经营,这表明中华老字号企业具有诚信经营的会计基因.研究以老字号企业文化的独特视角拓展了“文化与财务”的研究范式,对理解驱动微观企业会计行为的非正式制度动因提供了现实启示.     

论环境管理会计的作用

本文从企业、环境管理系统以及对外开放等几个方面剖析了环境管理会计所发挥的作用,用以促进企业尽快实施环境管理会计,并对已经实施环境管理会计的企业能够充分发挥环境管理会计的效用。     

问责，远没有形成“风暴”

春去春又回。又到一年一度春节时．因此，与年有关的话题自然也就多起来了．“年关”能否把好“廉关”．便是人们议论的热点话题之一。     

青年毛泽东：年轻知识分子的流浪生活

在政治形势尚未明朗化的时期,半知识分子总是最有影响的人物。在军队,毛泽东开始显露出自己的半知识分子的特征。毛泽东不愿参加学生组织不只是因为自己年龄大,而且还是因为他对教育一直存在着矛盾心理。毛泽东担心学校生活对他的影响。作为毛顺生的儿子,他比自己所期望的更像一名有教养的绅士。他喜欢那些没有文化的士兵把他看