火焰原子吸收法测定锡粉中Fe,Cu,Pb,Sb和Ca的含量

用ＨＣｌＨＮＯ３ 溶解试样,在相同量的试液中,分别加入浓度依次递增的５ 种元素的标准溶液,用空气乙炔火焰原子吸收法测定Ｆｅ,Ｃｕ ,Ｐｂ ,Ｓｂ 和Ｃａ 的含量,建立了优化的测定条件,并对可能存在的元素进行了干扰实验．方法的回收率为９８ ．５ ％ ～１０２ ．０ ％ ,相对标准偏差为１ ．３ ％ ～２ ．８ ％ ．     

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.     

‘To lie down to death for days’

On 20 October 2000, the longest and most deadly hunger strike in modern history began in prisons throughout Turkey. Organized as a response to the government's plans to develop and construct new so-called ‘F-type’ prisons – in which prisoners are isolated from one another, from legal advocates and from family members – the strike was also intended to challenge several recently-enacted ‘anti-terrorism’ policies that have resulted in thousands of arrests. In a country where political prisoners make up roughly one-sixth of the total prison population, and where a long history of prison torture has been criticized by a wide range of outside human rights groups, the hunger strike sees little chance of achieving its goals: convincing government officials to repeal the official legislation and to reconsider its shift to the F-type prison system. Nonetheless, the Strike has continued for well over two years, and has claimed at least 107 lives. This essay is intended to explore the political effects and performative value of a mode of resistance (1) founded on the eventual death of many, if not all, of its practitioners and (2) ineffective in eventuating its desired changes. By definition, hunger striking is an unsustainable form of resistance; and yet, the Turkish strikers have continued to fast far longer than anticipated, and seem to be willing and able to continue indefinitely. How are cultural meanings and political currencies of Hunger Striking reformulated in such a radically changed temporal context? In a practice that so dramatically fuses the subject and object of state violence into a single body (and at the behest of such a maligned community), what kind of political subject is produced, and how is her/his relationship to the state redefined? And finally, how might political efficacy be redefined in the case of the Turkish strike, and by the performative value of various attempts to represent the strike in the context of European assimilation?     

论张俭其人

张俭是东汉“党锢之祸”中的重要人物。在对宦官侯览及其家族的斗争中,他敢作敢为,大义凛然。二次“党锢之祸”后,他望门投止,害得数以十计的家庭遭到诛灭。党锢解禁后,他返回故乡,对政治冷漠,言行低调,前后判若两人。原因在于,他喜欢玩政治却没有坚定的信仰,贪恋政治的荣光却不愿为之付出生命的代价。大难临头,选择逃逸;大难之后,也就不再分辨正义与邪恶。与李膺、范滂相比,他是毫无光彩的一?黄土。     

论明中叶重钱轻银思想

明朝中叶,白银在流通领域已取得支配地位,以银为主、以铜为辅的货币体系开始形成。对于这一符合历史客观规律的事实,明中叶的一批官僚、士大夫却视而不见,提出了一系列重钱轻银的看法和主张。究其由,这些思想首先是当时自然经济占主导地位的必然反映,其次是为适应维护封建统治的需要而产生的。尽管这些思想中有考虑民生疾苦、揭露用银中的弊害等合理因素,但只是对表面现象的本能关注。特别是他们主张用行政命令来改变客观规律以达到其倡行铜钱的目的,不仅无法实现,反而反映了这一时期我国经济思想发展的停滞与落后。     

杜诗"承露金茎"是指"天枢"铜柱

对杜诗“承露金茎”的解释,古今注家均误。“承露金茎”是指武则天修建的“天枢”铜柱。这个“天枢”铜柱与汉武帝修建的“承露盘金茎”构造和规模基本相同,时人如李峤等已经将其称为“承露盘金茎”,杜甫是沿而称之。     

民间手工艺变迁中的“现代化”反思——以云南会泽民间斑铜手工艺为例

主要以云南省会泽县传统斑铜手工艺为主要对象，通过描述其产生与变迁过程，着重阐述传统斑铜手工艺在当代所面临的原材料匮乏等危机和旅游业发展带来的契机。通过对民间传统斑铜手工艺在应对“现代化”冲击时所表现出来的坚持传统与顺应现实的两难抉择的分析，对“现代化”概念进行反思，并且进一步探讨民间手工艺变迁中的价值冲突以及民间手工艺保护的路径。     

铜在维持机体运动能力中的重要作用

阐述了铜在造血、抗氧化、抗自由基损伤等方面的功能及机理,分析了铜与人体运动能力的关系,得出结论:适量补铜可以提高机体的有氧代谢能力和抗运动性损伤的能力,从而最终提高运动能力.     

表面纳米化对纯铜扩散焊接性能的影响

为了提高纯铜扩散焊接性能,通过表面机械滚压技术( SMRT),对纯铜试样进行表面纳米化处理,并在真空下对 纯铜母材和经表面机械滚压处理的纯铜试样分别进行扩散焊接试验,焊接压力10 MPa,保温l h,焊接温度为300℃、 400℃、500 qC。研究结果表明：经过SMRT纯铜表层晶粒达到纳米级别,纯铜试样焊接接头处的显微硬度高于母材试 样;同一温度下,SMRT铜焊接性能优于母材试样。     

铜工艺品品牌形象与消费者购买意愿的影响机理及实证研究

以铜工艺品品牌形象与消费者购买意愿之间的关系为研究出发点,在对品牌形象评价模型详细比较研究后,选取比较成熟的贝尔（ Biel）模型作为铜工艺品品牌形象测量模型,运用文献与实证相结合的研究方法,采用AHP分析法,从公司形象、使用者形象、产品形象和符号形象4个维度对铜工艺品品牌形象进行评价,深入研究品牌形象对消费者购买意愿的影响机理。在实证研究的基础上,提出铜工艺品企业品牌建设的相关建议。