论胡乔木的新体咏物诗

胡乔木的新体咏物诗不仅数量多，而且质量高，是其新体诗的精华所在，有其独特的艺术个性和鲜明的艺术特征，诸如由物起兴、物显人情；托物抒怀、物人一体；借物述理、生动形象等等，极具艺术魅力，为新体诗的发展作出了重要的艺术贡献。     

浅议世界女子高校发展之路——从WEW教师论坛谈起

在崭新的世纪,世界女子高校将有何发展?世界妇女教育组织(WEW)的成立与2011年教师论坛的召开让我们认识到世界女子高校在发展中存在的问题,在坚定了发展女子高校信念的同时,对中国的女子高校亦有所启示。     

戴维森意义理论的主要思想导源

戴维森意义理论具有明显的思想继承性,主要表现在:弗雷格的真值条件论是其基本立足点,塔尔斯基真之语义论的约定-T模式充当其形式表征基础,蒯因的彻底翻译理论成为其经验解释的理论基础。正是由于戴维森善于借鉴这些影响深远的思想成果,使其意义理论呈现出一种解释性的真理论而潜在地具有非凡的理论优势和影响力。     

‘Queen of the world’: experiences of ‘at-risk’ young people participating in equine-assisted learning/therapy

There is a significant body of research into the benefits of animal-assisted therapy (AAT) but less into the fields known as equine-assisted learning and therapy (EAL/EAT) where horses are incorporated in therapeutic and learning interventions. This paper explores the experiences of seven ‘at-risk’ young people who participated in a therapeutic horsemanship (TH) programme. The study followed a practice-near approach seeking to capture the young people's experiences within a participative ethnography. Themes related to the risk and resilience literature such as self-confidence, self-esteem, self-efficacy and a sense of mastery, empathy and the opening of positive opportunities are explored in this paper.     

朝鲜人眼中的日本近代城市——以1881年“朝士视察团”的记录为中心

"朝士视察团"考察报告中有关城市社会生活的记载,浓缩了1868-1881年间,明治政府为实现"富国强兵"、"脱亚入欧"和"文明开化"的基本国策,在科学技术、文化教育、思想风尚、生活方式等领域推行的近代化运动和业已取得的斐然成绩,全面展现了日本社会在明治维新之后发生的巨变。此期的日本城市既是日本近代化的产物,又是日本近代化的见证者、亲历者,它从外延和内涵两个方面佐证了日本在近代化道路上的起步、迅跑。该考察报告,实际上是一篇日本近代化的全记录。     

《大西洋宪章》再现英美论战——评述历史对中美构建新型大国关系的启示

《大西洋宪章》是"二战"期间英美两国首脑首次会晤最重要的成果,它的诞生不仅标志着英美两国政治同盟的形成,也对后来反法西斯大同盟和联合国的建立产生了重要影响。但英美两国的战略处境不同,致使所抱的预期目标差距甚大。罗斯福的主要目标是想发表一个能阐述战争目的和重建战后世界和平秩序构想的联合宣言,而丘吉尔则期望通过会晤来解决英国当时所面临的一系列现实问题。然而,作为"求援者"来参会的丘吉尔最终不得不屈从于罗斯福,二人会晤后所发表的《大西洋宪章》也主要体现了罗斯福的思想和意志。重温这次英美首脑会晤以及《大西洋宪章》在战后所产生的作用,对当下中美两国在太平洋地区构建新型大国关系颇有启示。     

‘The Rule of Men Entirely Great’: Republicanism,Ritual, and Richelieu in Melville’s ‘The Two Temples’

Abstract

This article explores the complex and multifarious reasons behind Herman Melville’s decision to refer to the English playwright Edward Bulwer-Lytton’s 1839 work Richelieu, or The Conspiracy in his 1854 diptych ‘The Two Temples’. It responds to a critical consensus that has seen the reference merely as a sarcastic attack on William Macready (whose rivalry with the American actor Edwin Forrest was the nominal cause of the bloody 1849 Astor Place Riot in New York), by contextualizing the play within traditions of antebellum American Anglophilia. By using a combination of new critical work on Anglo-Americanism and anthropological ritual theory, I show how Bulwer-Lytton’s play was significant to Melville’s artistic development. In particular, I demonstrate how the play influenced his increasing engagement with republican and theatrical forms of expression that emphasized the importance of filial relationships between America and Britain in a period of increasing hostility between the two nations.     

试论楉矢石砮文化

肃慎民族的"楉矢石砮"是其民族智慧的结晶,也是肃慎文化的特有标志和显著特点.肃慎的楉矢石砮文化是我国东北地区北部文化的源头之一,它与挹娄、勿吉、靺鞨、女真等民族的文化形成了渊源关系,因而具有文化开创的珍贵历史价值.     

《史记》所见"胡"与"匈奴"称谓考

<史记>中所见"胡"与"匈奴"两种称谓,其含义是有明显差别的.战国时匈奴及北亚草原各游牧部落,大多以"胡"为名."胡"的称谓泛指或分指"诸胡","匈奴"的称谓则专指匈奴.秦汉之际,匈奴在政治上统一了北亚草原,汉人的观念也随之发生变化,"胡"与"匈奴"两种称谓频繁互换,出现了严重的混淆."匈奴"的称谓既指匈奴,也指汉朝北境"诸胡".而<史记>以"匈奴"指代战国"诸胡"的做法,正是司马迁用汉人观念解释旧史的结果.