论驯鹿鄂温克人的兽皮文化

生活在大兴安岭中的驯鹿鄂温克人是鄂温克族中的独特群体,千百年来一直以饲养驯鹿和森林游猎为生。他们在特定的自然环境、特殊的生存条件以及特有的生产生活中,创造出了适合于他们物质文明和精神文明的兽皮文化。     

历史与注释--对马克思"人的本质的对象化活动"之文化价值解读引发的思考

历史是由注释组成的.每一个注释都是历史片断的回放和缩影.人生的意义和价值在历史注释中得到体现和说明.人们在注释历史,历史也在注释人们.人们注释历史是对历史的雕刻和理解,历史注释人们是对人们的铭记和评价.每一部个体人生史在历史中表现为大小不同的历史注释.     

‘Cinema,Glamour, Atrocity’: Narratives of Trauma

Abstract

Cinematic treatments of trauma have to confront the challenge that every aesthetic choice is also an ethical one. This challenge poses special problems for questions of truth and the representation of victims and perpetrators. Three documentaries made by Mark Kaplan (1996–2004) explore the history of South African student activist Siphiwo Mtimkulu, tortured and murdered by security policemen in the early 1980s, and the subsequent interaction between Gideon Nieuwoudt, one of the perpetrators, and the Mtimkulu family during the Truth and Reconciliation Commission Hearings. Ian Gabriel's fiction film, Forgiveness (2004), uses key aspects of this history in his treatment of a repentant perpetrator seeking forgiveness from his victim's family. In my analysis, I argue that respect for a realist aesthetic – the notion that the camera can and does reveal the world to us – may be combined with self-reflexivity, narrative layering and generic innovation to produce a complex representation of truth, victim and perpetrator. I suggest, further, that the initial choice of subject will determine to some extent the degree of complexity with which issues of truth, on the one hand, and the nature of the victim and the perpetrator, on the other, will be developed.