辞趣类析

辞趣是陈望道首先提出来的一个术语 ,它是一类能增强语言表达效果的言语现象。文章立足于辞趣的三种主要类型和修辞效果进行探索     

笔墨情趣——明代文人画的再审视

一般观念认为,从明至清是中国美术史的衰落阶段,其实不然。虽然明清是封建社会走向消亡时期,而这时候,在封建社会内部产生的资本主义萌芽和人文主义思潮,为艺术的发展注入了新鲜血液。在中国历史上,文人士大夫一直起着重要的作用,尤其在文化建设领域。在身受各种环境条件的制约之下,他们不能施展自己的抱负,总是幻想突破成法,另立新法,以发挥他们的才能。在明代特定的历史条件下,文人画家真正把笔法与墨法自觉地、紧密地结合起来,将笔墨发展为独立审美要素,与形象一起构成情趣画面,给欣赏者带来无限遐思与享受。明代文人画笔墨积淀了中国几千年来的文化与哲学,以笔墨之道体现人文关怀,是明代文人画家在绘画领域开辟的一个新天地,是对文人情愫的深层次展现。     

广东开放海外贸易两千年——以广州为中心

本文叙述广东(以广州为中心)自汉朝至今天对外开放海外贸易的兴起和持续发展两千多年、且经久不衰的历史轨跡,说明今天广东成为中国开放改革前沿地、对外贸易居全国首位和经济发展欣欣向荣,是历史发展的必然。     

正庚醛合成壬烯酸的研究

本文由正庚醛合成壬烯酸 ,确定了适于工业生产的催化剂及其用量和反应时间 ,解决了产品的后处理问题 ,获得了较满意的产率     

人类学的香料研究与“客体叙事”

Spice is not an object of narration in classical anthropology. In anthropological works, such as Edward Burnett Taylor’s Anthropol￣ogy and Julius E. Lips’ The Origin of Things, studies on material culture mainly focus on the bas￣ic necessities of daily life, like clothing, houses, movement,and utensils which embody humankind’s thoughts, technology and clusters of traditions and customs as cultural carriers. In these studies, food and spice are always understated, if mentioned at all. The return of spice to the foreground of anthro￣pological knowledge seems to signal a formal return to the narrative objects found in classical anthro￣pology. The objects, however, are totally differ￣ent. Moving from conspicuous large-scale objects in the field and life, the focus is on minimalist ob￣jects such as spice. Spice, sugar, tea, coffee, chocolate, salt and other such things have become the objects of narrative in anthropology. This change continues the objective of plain subject in the discipline. This return to heritage, intensifies and surpasses the classical themes of anthropology. It is all about building the Noah’s Ark for anthropology’s returning home.
Traditional anthropologists firmly defended fo￣cus on “the pure, primitive ethnic group”. They never considered their own western world as the object of fieldwork. In the beginning, anthropolo￣gists upheld the theoretical ideal of the uniformity of ethnic groups. However, practically, they drew a distinct line between the primitive “other” and their own groups ( themselves) . If anthropoplogy is trying to do reflexive research, then, the commonly-used material objects in daily life are the best ones for self -reflexive observation. Whereupon,“eating” becomes a common divisor of human’s u￣niformity. Food systems, like language or the other acquired behaviors, not only reflect diversities in uniformity , but also locates in the core of self-de￣fining conception ( S. W. Mintz, Chinese Ver￣sion, 2010,3). Spice, sugar, tea, coffee, choco￣late, salt and other such minimalist objects provide a mirror for the Western anthropologists to engage in self -reflection and inward self -gazing, and also to reflect on the interactivity of emic -etic. The desire, motivation, event, symbol, change and influence hidden in the modernization of west￣ern society are reflected. This kind of research also unpacks the process of food supply from the “oth￣er” before our eyes, and weaves the world into an interdependent and distinctive network through the dual change between “self” and the “other”.
Following the “thread” of “eating” has be￣come a growing trend for engaging in self-reflec￣tion, and returning home. An increasing number of anthropologists are engaging in this trend and mak￣ing significant achievements. Mintz, Turner, and Rain are influential representatives.
Spice, as an element of food, is quite subtle. If these anthropological works are merely consid￣ered as the “texts” of food anthropology, then, it is misleading. If viewed intuitively, the category of spice is quitebroad. Daily seasoning, adventurous seasoning, and traditional aromatics are all conclu￣ded in this category, as well as sugar, salt, cof￣fee, chocolate and tea. The types and classes are numerous and complex. These spices play various roles beyond the food and cuisine systems in the world, permeating into the relevant social and cul￣tural fields, and reflect cultural phenomena and in￣trinsic meaning. Compared with the macro objects in material culture, spice, like the atom in phys￣ics, is a component of material culture. By stud￣ying the minimalist elements of material culture, we can uncover the universality of humanity, pro￣vide better explanations for group differences, and achieve an ideal link and interaction between the differences and similarities. Disassembling the a￣tomic symbols, together with the reference of“oth￣erness”, Western society is well situated in the field to complete its self re -exploration and cul￣tural writings ( S. W. Mintz, Chinese Version, 2010, 210). By playing a narrative role, the sub￣tle pieces of spice deliver profound and significant meaning . This attempt is brand new for anthropolo￣gy. Its academic purport goes far beyond the field of food anthropology.
Among these texts in which spice is used as a narrative object, a mixed research method is main￣ly adopted. Fieldwork is essential. It is important to make investigations of spice in the field, and to gather first-hand observations. Collecting histori￣
cal references and doing a literature review are also necessary . Documents, personal notes and dairies, and relevant references should be collected and processed. From the academic point of view, it has obvious cross - disciplinary characteristics. Not only is anthropological training needed, but also a rich knowledge of various disciplines such as histo￣ry, international trade, botany, perfume, and chemistry. Compared with some anthropologists who sit in rocking chairs, and others who work in the field, the narration of spice is a much tougher task. In these above instances, after one year of fieldwork, an ethnography can be written and pub￣lished quickly. However, it took Mintz 30 years to conceive and produce his ethnography on sugar. This striking contrast reveals the great difficulties and challenges the research encountered.
There are three kinds of contexts contained in writing this kind of narrative. The first one is “a￣tomic” context. It takes spice as the essential com￣ponent of the established culture of material, spirit and institution, and attempts to discover the way different ethnic groups mould their concept of group values and behavior. It is also the process of moulding the nation-ness of ethnic groups which is linked with the holistic structure of the groups. Spice experiences diving from the luxuries confined to kings and great noblemen to the common daily consumption of the middle class and underclass. When items which were once luxuries become daily supply, national tastes and living styles will form or change. The next is the “radial” context. The multiple-uses of aromatics, which are given fresh meaning in the process of their use, turn into sym￣bols. In the sacrificial rituals of ancient civiliza￣tions which used aromatics, the fragrant spices symbolized the concept of “attracting and appeal￣ing to the gods, and expelling evil spirits” ( J. Turner, Chinese Version, 2007,p. 274). In the medical context, spices could maintain health, prevent plague and treat disease. The culinary spices represented communication and identity of the rich and politically connected, and illustrated their control and power over other classes ( S. W. Mintz,Chinese Version, 2010,p. 101). The pre￣servative function of spices was not only used in food preservation, but also used as one of the ma￣terials for mummifying the pharaohs. The function of beauty and cleaning reveals their lifestyle. The different fragrances used by the sexes illustrate their stimulation and enhancement for reproduc￣tion. ( P. Rain, Chinese Version, 2007, p. 30&43). Spice, as a cultural symbol, radiates ( ex￣tends) into multiple fields, and presents the pat￣terns of thinking of certain ethnic groups. The last one is a context of concatenation. Spice is an ever flowing and changing material object. The fluidity of spice stems from its rareness, remoteness, and high price. The pursuit of aromatics developed into a worldwide spice trade. But the spice trade did not change the taste of different people radically. During the establishment of the modern world sys￣tem, spice brought about great change not only of the production pattern, but also the western lifes￣tyle. In this process, the production of spice, sug￣ar, tea and so on, the trade, the consumption of these daily supplies is linked together through a network. A series of events such as the great mari￣time expansion, colonial expansion, the slave trade and plantation economy, the alternation of the world hegemony, and the bulk agricultural trade are woven into this interconnected context. The interactive causality of the evolution of culture is the needle of linkage, and is the mirror image of the tandem structure as well.
This triple context organizes the micro-scale object, medium-scale society and the larger scale macro world into one text. It focuses on the core object of the Western society itself, ultimately im￣plements the mutual reflection of “micro spice”and the “macro world, and completes the “self-observation” of western society.     

浅析《聊斋志异》中“情痴”形象的审美情趣

在<聊斋志异>的爱情作品中,作者塑造了一大批"情痴"形象.这些"情痴"志痴情笃,行为放荡不羁,蔑视权贵,敢于同封建礼教和传统道德观念作斗争,热烈而诚挚地追求建立在"知己之爱"基础上的自主婚姻.作者赋予了"情痴"以崇高的审美情趣,使他们成为后世爱情故事的典范.     

从陶渊明的诗歌看门阀政治下庶族独特的生活情趣

在东晋门阀政治的影响之下,士族沉浸在玄谈之中,大量创作玄言诗,庶族文人也用诗歌来表现他们与士族全然不同的生活情趣。通过对陶渊明4种诗歌的分析,即农家诗、躬耕诗、咏贫诗和家风诗,来呈现庶族文人独特的隐逸生活空间。     

元代烹调辅佐料的制作生产与消费

元代烹调辅佐料的消费与生产,大致可以分为两大类型,一类属于天然烹调辅佐料,主要是以植物为主;一类是属于加工烹调辅佐料,主要是利用食物原料,经过一定的工艺技术加工制作而成。了解元代烹调辅佐料的消费与生产,或者可以从更多方面,领略元代饮食文化的风貌。     

香气氤氲中的苦闷与哀愁——试论《乐府补题·天香》的艺术及其文化意蕴

《乐府补题》为宋末元初词社唱和的一部咏物词集,自清初复出以来产生了巨大的影响。其中第一组词作《天香·龙涎香》的艺术结构主线为采香、制香、焚香、忆香、惜香。采香之地及其传说的奇谲描写,予人联想那个时代的沧桑巨变。制香、焚香的铺写,既表现了制作过程的繁复、香料的昂贵以及焚香细焙的精心细致,同时又暗寓着对以往富贵闲雅生活的怀念。忆香、惜香则由体物转为寄情,于哀怨的往事追忆中寄托无限的忧伤。词人们通过这一系列香事活动的叙写,不但展示了中国古代的香文化传统,提高了咏物词的艺术表现力,同时更抒发了易代之际一种难以明言的苦闷与哀愁。     

古代印尼与中国香料贸易的变迁影响

香料在中国的饮食、医药和日常生活中具有广泛的用途和巨大的经济价值.中国的用香文化可以追溯到上古时代,而南洋香料的传入极大地促进了中国香料文化的发展.其中,印尼与中国的香料贸易是其中不可忽视的重要因素.古代中印尼香料贸易分为官方的朝贡贸易和民间贸易两个路径.随着贸易政策与规模的演变可以分为三个主要历史时期,分别为汉唐的开拓时期、宋元的鼎盛时期与明清的衰落时期.中印尼香料贸易对中国的社会文化生活和两国经济发展产生了深远的影响.