辽朝建立前契丹族文化与习俗考

根据有限的文献资料、考古资料,以契丹族文化习俗为主线（包括辽朝建立前的契丹族、辽代契丹族、辽亡以后的契丹族）,比照与契丹民族有内在联系的北方民族,如匈奴、鲜卑、奚、室韦、靺鞨、女真等,就契丹族早期文化与习俗及其特点进行考证分析。早在辽朝建国前契丹人就有自己的文化与习俗,主要表现在经济文化与习俗,军事文化与习俗,社会组织文化与习俗,法律文化与习惯,交易文化与习俗,婚姻丧葬习俗,宗教、道德、信仰与礼仪,衣食住行文化与习俗。契丹早期文化与习俗具有原始性、流动性、粗犷性、融摄性、学习性、创造性的特点。     

焊头机构运动建模与仿真技术的研究

为了开发高速高精度焊头机构,确保全自动LED键合机的整机性能,在完成运动方案和结构参数设计后,研究了运用Pro/Engineer运动仿真模块Mechanism/Pro对整个焊头机构进行运动建模的技术与方法,包括机构模型创建、驱动控制等,进行了机构运动仿真;并对仿真结果进行了分析,验证了所设计的焊头机构的可行性和合理性。成功地将设计出的焊头机构应用到整机设备开发,满足了整机功能和性能的要求。该设备已投入实际生产运行。     

汉语作为第二语言的关系从句习得难度调查

通过句子连接的语言测试任务和调查39名外国留学生汉语关系从句的习得情况,以及分析研究中心词位置和关系从句类型对汉语关系从句习得的影响,并与关系从句习得的八种假设进行对照,结果发现：（1）中心词位置对汉语关系从句的习得没有产生显著的影响;（2）关系从句的类型对习得的影响是显著的;（3）中心词位置还与关系从句的类型交互作用影响二语习得。这主要是由关系从句的加工策略与汉语关系从句的句法结构两个因素共同作用的结果。     

VPN中的安全卫士—IPSec协议

IPCec是目前适用于所有 Internet通信的唯一一种安全技术 ,是目前最易于扩展、最完整的一种网络安全方案。本文就 VPN中的第三层隧道协议 IPSec的组成、特点、工作模式、工作原理及在 VPN中的应用做了理论性的阐述。同时也指出了 IPSec的尚待补充之处和发展前景。     

盘古化生神话文化的重要发祥地在广西大明山(上)

各地人们时盘古的崇拜在地理上相连成片,形成了盘古信仰圈.盘古信仰圈的出现说明壮侗语族诸民族先民--百越民族中的西瓯、骆越和南越民族世居地都可谓是盘古文化的重要发祥地.从盘古信仰圈的凝聚力出发,就地理、堪舆、图腾、敬祖、活化石、民俗等六个方面论证南朝梁任防<述异记>所记的南海"亘三百里"的"盘古氏墓"的具体位置就在北回归线经过的中国南方以稻作农业为主的壮侗语族民族中的壮族居住的古南海的中心区域广西桂中平原地区的大明山上.具有显赫景现形象和浓厚礼法含义的广西桂中大明山其人文地理特征与南朝梁任防<述异记>卷上所记录的"亘三百里"的"盘古氏墓"相吻合,古代西瓯、骆越世居地的广西大明山是盘古化生神话文化的重要发祥地.     

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.     

论师范院校院系负责人的选拔、考核和监督管理

师范院校院系负责人的选拔和管理,是师范院校改革的重要内容,要充分考虑师范院校的特殊性,不断完善院系负责人选拔制度,健全院系负责人考核机制,构建院系负责人监督机制,从而使院系负责人真正成为院系发展的领导核心,推进教师教育现代化。     

地域文化与农村“当家权”流变——基于江汉平原桥村的文化社会学考察

通过对江汉平原桥村的田野调查,呈现了一个地缘性村落当家权流变的概貌及特征,其主要表现是当家权掌控者的年轻化和女性化。调查发现,对于农村当家权流变而言,除国家权力介入、话语引导和被市场经济推行所重塑的家计文化奠定的基础性作用之外,地缘性村落社区文化有着重要影响,使当地妇女当家成为普遍共识,同时妇女自身对小家庭经营的投入和责任担当同样为她们掌握当家权赢得了"道德"优势和资本。由此可见,社区文化在重塑当地农村社会新的当家权话语和"当家"文化中发挥了主导作用。