Rewritten in stone: imperial heritage in the sacred place of the nation

ABSTRACT

This article examines the relationship between architectural transformations and the reshaping of memory in post-imperial urban space. It reflects on two forms of symbolic violence: first, iconoclastic acts of reshaping space to reflect national self-determination and moving away from empire, and second, acts that embody the recovery of imperial legacies. It analyzes the recent restoration of the Habsburg-built Alba Iulia citadel in the eve of Romania’s Centennial celebrations of the 1918 Alba Iulia assembly which proclaimed the unification of Transylvania with Romania. It interrogates the intentionality of architectural transformations and how this heritage project expresses the frictions between memory narratives centred on the nation and forms of imperial duress and nostalgia. It traces how the after-lives of empire materialize in the built environment, as they do in the attitudes and yearnings of the cultural elite. Moreover, it reflects on parallels between European post-imperial and Global South post-colonial nation-building.     

From hegemony to affinity

Drawing upon a critique of the (post)Marxist theory of hegemony and examples from contemporary activism, this article assesses new possibilities for the construction of radical alternatives within and against postmodern globalizing capitalism. It notes that many elements of the ‘newest’ social movements have taken a turn away from the universalizing conception of social change that is characteristic of the logic of hegemony as it has developed. within (post)Marxism and (neo)liberalism. Instead, these activist currents are driven by an anarchist logic of affinity. Along with this logic has come an emphasis on direct action tactics, which is discussed. with reference to a theoretical distinction between a politics of the act and a politics of demand. Although most existing paradigms of social movement analysis have not addressed. these shifts, they are implicitly acknowledged. in the concept of constituent power developed. by Michael Hardt and Toni Negri. Their work falls short, however, to the extent that it remains in other respects within the tradition of hegemonic thought. To more fully comprehend current developments, it is necessary to construct an alternative genealogy based. on anarchist theory and practice, with a focus on the tradition of ‘structural renewal’ that finds it apogee in the work of Gustav Landauer.     

波斯帝国时期巴比伦文化对犹太文化的影响

犹太文化在波斯帝国时期深受周边文化的影响。如巴比伦文化就对犹太文化产生了强烈影响，这些影响主要体现在巴比伦文化中的宗教、建筑风格、生活习俗以及姓名等对犹太文化的影响。也正是由于巴比伦文化对犹太文化的侵蚀，在很大程度上促使了犹太民族进行文化抗争和保持自己民族文化与特征的自觉，特别是促进了犹太民族文化核心《托拉》（《摩西五经》）的正典化定型。     

蒙古帝国的猎豹与豹猎

13- 14世纪 ,随着东、西方交往的畅通 ,蒙古帝国的统治者大量使用原产于西亚、非洲地区的猎豹进行狩猎活动。这在蒙古历史上是罕见的现象。蒙古政权通过接受朝贡、高价购买、遣使访求等方式来获取猎豹。购买、饲养猎豹给国家财政和社会生活造成恶劣影响。不惜代价以取得猎豹、进行豹猎的史实反映了蒙古皇权的强大     

论科学技术与蒙元帝国的崛起

蒙元帝国时期是中国科学技术发展史上的一个重要历史时期。科学技术的发展,为蒙元帝国的崛起创造了条件。     

浅谈西夏公文文风与公文载体

西夏在学习中原王朝文化的同时, 也在不断地汲取周边各少数民族的文化精髓, 结合党项羌民族的实际和特点, 创造出了灿烂辉煌的西夏文化。西夏公文是西夏文化的奇葩, 在近二百年的发展过程中, 形成了自己的文风: 教化实用性增强, 艺术表现手法也更加丰富, 如骈体写作、叙议结合、具有现实主义风格和浪漫情调, 在写作上还增加了描写、对话等手法, 也将民间故事引入公文创作之中, 增强了公文的表现力。本文也对西夏公文载体进行了简单的探讨,说明西夏公文载体以纸质为主, 兼有金属、木质和石刻载体。     

西夏佛教卷轴画艺术风格

西夏卷轴画集中出土于今内蒙古和宁夏两地,约有200余幅。其中的佛教卷轴画并存汉地传统绘画风格与吐蕃传统绘画风格(唐卡)两种形式。前者较多表现汉地净土信仰题材,特别着重于“阿弥陀佛来迎”场面,体现了西夏在继承唐代基础上的独特性;后者的构图、色彩、造型等内容,皆可于12世纪前后的西藏唐卡中找到源头。     

略论西夏与金朝的关系

北宋、辽朝灭亡后,西夏与金朝关系密切。夏金初期的交往是明争暗斗,在一系列事件中,矛盾激化。后基于国内的改革与发展,夏金关系有所改善,使臣往来频繁。夏金关系友好的同时,还出现过三次破裂,导致两败俱伤,终被蒙古所灭。     

比较历史学视野中的《百苗图》

清朝所绘制的《百苗图》是近代中国早期的民族志。将《百苗图》与日本及奥斯曼帝国所绘制的图绘进行对比,以一个比较历史学的视角来看待这些处于扩张时期的几个帝国,从而指出对他者的民族志兴趣并非欧洲所独有,而是普遍地存在于全世界的帝国体系之中。     

论西夏法典中的文书制度

文书是国家组织、社会团体、个人在社会活动中为处理各种事务而形成的、具有特定效用和格式的文字材料.中国历代统治阶级都非常重视文书工作,西夏也不例外.因此,我们利用西夏法典<天盛改旧新定律令>,对西夏文书发文制度、收文制度、传递制度、管理制度等四个方面的内容进行了比较系统的探讨.