晋察冀敌后抗日根据地的村财政建设简析

晋察冀敌后抗日根据地代表人民利益顺应历史潮流的村财政建设,既成功地使千百万农村革命人民投入到抗日民族解放战争的洪流中去,也为当今市场经济条件下农村财政建设提供了有益的借鉴。     

浅析路易士·康的“计量”建筑设计思想

就路易士·康的“计量”建筑设计思想展开讨论,简单介绍了康的一些建筑作品以及康“计量”思想的内容。通过与实例的结合,说明不可计量的精神和可计量的物质需求的内容与意义,以及在建筑设计中如何应用,最后总结不可计量的和可计量的两者关系密不可分,同时指明路易士.康的思想对当代建筑师的借鉴作用。     

查慎行粤游诗的生态美

查慎行晚年游岭南,有诗《粤游集》二卷,查慎行的粤游诗体现了人与自然、人与人、人与社会、身与心、言与行、情与理的全面的生态和谐意识,对自然的诗意化观照和体验,对生命的认同和热爱,对社会和谐的追求和向往,对人生和现实的超越,是查慎行粤游诗最富有生态美意蕴的内核。从生态美学视野解读查慎行的粤游诗,对于理解清初朱彝尊、王士祯等诸大家的游粤诗创作有一定的借鉴意义。     

析阿尔都塞的"症候阅读法"

阿尔都塞哲学中出彩的观点应该是源生于拉康的症候阅读法。他明确地反对了旧反映论中的“无罪”直读观,在消除神目主义的基础上提出了非直观的深层阅读模式,即症候阅读法。阿尔都塞要求在阅读中穿透有形文字,读出空白读出失语,从而真正把握作者写作文木的深层理论问题式。这一立论,由阿尔都塞运用于对马克思《资本论》的解读之中。     

The Fourie collection of Khoisan ethnographica: forming an archive

In the 1920s, in the course of exercising control over the furthest reaches of South Africa’s recently acquired protectorate, Dr Louis Fourie, Medical Officer for the Administration of the Protectorate of South West Africa, amassed what was to become probably the world’s most extensive collection of Khoisan artefacts. Today the results of this decade of part‐time collecting and anthropologising form a neglected source of knowledge as it rests in the storerooms of Museum Africa in Johannesburg. Fourie and his collection formed an important part of the process of a discourse that created knowledge about the Khoisan over the subsequent decades, both shaping and being shaped by the academic paradigms of his time and the colonial perceptions and imperatives that informed policy and practice in the Administration. This recursive pattern continued as the collection moved in and out of public institutions, reflecting a continuing obsession with the Khoisan in the West, both in public and academic discourses. Examining the collection, its history and its context uncover seldom distinguished characteristics of archives and, particularly of, mixed‐media collections.     

雷霆超《吃碗茶》中的“厌女症”

自古以来,文学作品中的妇女形象或女性人物都是男性所期望和设计的东西。被认为真实而准确地描绘了美国华裔人物经历和特定历史时期唐人街历史的《吃碗茶》在华裔美国文学史上有着特殊的地位,其在对女性形象选择和渲染方面也流露出作者雷霆超的＂厌女症＂倾向。     

Native subjects on display: reviving the colonial exposition in Marcos' Philippines

At the 1904 St. Louis World's Fair, 1100 Filipino ‘natives’ were used as human displays to argue for the colonial enterprise in the Philippines. Seventy years later, the Marcos regime staged Kasaysayan ng Lahi (History of the Race), a mass ceremony that reworked the visual, performative and commercial dynamics of the 1904 colonial exposition to promote heritage tourism in the Philippines. While the use of human displays in colonial expositions has been well documented and analyzed as a constitutive element of a Eurocentric ‘exhibitionary complex’, its uptake in developing nations seeking entry into an emergent cultural economy has yet to be explored. This article places critical analyses of colonial expositions, human displays and heritage tourism in productive dialogue, and examines the continuities and discontinuities between the Philippine exhibit at the 1904 St. Louis World's Fair and the 1974 staging of Kasaysayan ng Lahi by the Marcos regime. Against established views of ‘staged authenticities’ as either exploitative or socially empowering, this case study advances a more complex framework for critical histories of the exhibitionary complex, and foregrounds the internal contradictions that inhere within the staging of indigenous heritage for purposes of cultural revitalization and economic development.