全日空中日文化·体育交流架虹桥——庆祝全日空（ANA）中国航线开通20周年

2007年4月16日，全日空（ANA）值此樱花盛开、莺歌燕舞的烂漫春日。迎来其中国航线开通20周年纪念。 1987年4月16日，全日空开通了成田机场经由大连至北京的航线，成为联结中日两国友好交流的空中桥梁。[第一段]     

最受中日两国大学生关注的人物

中国大学生最喜欢日本的作家川端康成，日本大学生最喜欢中国的演员章子怡。[第一段]     

水墨情结 一衣带水——关于“中日友好水墨画作品交流展”

日前，由中国对外文化交流协会和全日本水墨画家联盟联合举办、中国对外艺术展览中心承办的《纪念中日邦交正常化30周年——中日友好水墨画作品交流展》在炎黄艺术馆展出，这一旨在增进中日两国艺术家之间友好交流的展览，充分展现了当代水墨画艺术的新风貌、新水平。     

“团圆”与“向死而生”——中日两国悲剧文化意识之比较

当《渴望》遭遇《入殓师》1991年,50集电视连续剧《渴望》播出后,中华大地的热血观众心潮激荡,情思飞扬。中央电视台1991年春节联欢晚会关于《渴望》的小品中,一句借用观众来信名义的台词说,假如不让刘惠芳站起来,我就让导     

五粮液酒文化的特征与历史文化价值研究

宜宾古代就是美酒的故乡,是中国名酒五粮液的摇篮.五粮液酒文化是随着古代酿酒文明而发展起来的,是宜宾地域文化的典型代表,是最具品牌效应和开发潜力的优势特色资源,具有独特的价值,在中华丈化体系中占有重要地位.     

日本女儿节偶人

中日两国在文化上有颇多相似的地方，这是因为“不少节假日的风俗是从中国传去”的，比如说每年的3月3日就是一个洋溢着日本特色的节日——女儿节。这个节日是为了祝福女孩子幸福平安成长的。日本的女儿节跟中国的文化有着很深的渊源。原来的女儿节是在农历的3月3日，是从中国的“上巳节”所演变过去的。中国的上巳节在传到日本以后对日本产生了文化上的影响，日本根据本土的需求又对其进行了融合和一定程度上的改变，最后形成了现在独具日本特色的女儿节。     

伊旗乌兰牧骑赴日本参加2009中国文化节开幕式演出《鄂尔多斯婚礼》

为增进中日两国人民的彼此了解,加深中日两国人民的友谊,鄂尔多斯市文化局副局长申建宏率领伊旗乌兰牧骑艺术团赴日本,于9月15日晚,表     

陈辉和水野龙生二人展

在全球化背景下，如何构建根植于民族文化传统又切实表达当代人生命感受的视觉图像，一直是中日两国艺术家共同面对的世纪性课题。经数代艺术家努力，具有东亚现代性色彩的绘画样式初露端倪，就其意义而言，东亚艺术家同西方艺术家一道成为历史的创造者。陈辉和水野龙生是此历史序列的新生代，他们均以融汇东西方文化的方式，构建全新的视觉图像，成功地阐释上述课题。     

三国研究的新视野——评《诸葛亮与三国文化（一）》

四川大学出版社2001年7月出版的《诸葛亮与三国化(一)》一书，是以最新视野展示近年来三国历史与化研究成果的学术论专集。     

日本新年民俗趣谈

新年是中日两国人民最重要的民间节日。人们在经历了一年的辛勤劳作之后,到这时候终于可以休息几天并张灯结彩、亲人团聚、祭天祭祖了。中日两国隔海相望并且在日本明治维新以前同为典型的农业国家,农业生产技术、思想文化等的交流源远流长。中国有关新年的许多习俗便很自然地传到了日本,有的在日本保留至今,有的则在日本被人们赋予了新的内涵,还有一些则是日本独有的。     

轵国·轵道·轵关

轵国轵国(今河南济源市轵城镇,有故城遗址),因出了我国古代四大刺客之一的聂政而闻名遐迩;又因轵国域内的漫漫轵道、巍巍轵关在军事上的重要地位,成为历代兵家必争之地。     

Populist cosmopolitanism: the predicament of subjectivity and the Japanese fascination with overseas

Abstract

This article examines the way in which seemingly contradictory positions of populism and cosmopolitanism are articulated in the development of the Japanese post‐Second World War fascination with overseas. Specifically, I analyze the writings of Ohashi Kyosen, a popular television entertainer, and investigate how a particular mode of subjectivity is expressed through his ideas of overseas leisure and retirement in his best‐selling book Kyosen: Choose Your Own Life (Kyosen: Jinsei no Sentaku) and related essays published around 2000. While the issue of subjectivity has been the central concern throughout modern Japanese history, earlier analyses have been focused on the critical writings of intellectuals. I argue that in order to understand the larger social impacts of the translation of subjectivity, we also need to examine how the issue is articulated in popular discourses. Ohashi’s popular writings suggest that the issue of subjectivity still haunts the contemporary everyday lives of many Japanese, and continues to be the key predicament for articulating a culturally meaningful model of ‘citizen’ in Japan. Ohashi’s writings raise questions about what it means to be an active agent of one’s life, and how to situate the self in the larger society. Through an analysis of Ohashi’s narratives, I first illustrate how subjectivity is negotiated through people’s demands for leisure and their concerns about retirement, both of which are entangled with their fascination with overseas. Second, I examine Ohashi’s narratives as an expression of the paradoxical position of the Japanese citizenry conditioned by the US–Japan political, economic, and military coalition. I discuss how the predicament of articulating Japanese subjectivity reflects this paradoxical position under the legacy of Cold War geopolitics in Asia.     

许姓祖地考

炎帝、许由与文叔《左传·隐公十一年》云:“夫许,大岳之胤也。”晋代杜预《春秋世族谱》云:“许国,姜姓,与齐同祖,尧四岳伯夷之后也。”《新唐书·宰相世系表》曰:“许氏出自姜姓。炎帝裔孙伯夷之后,周武王封其裔孙文叔于许,后以为太岳之嗣,至元公结为楚所灭,迁于容城,子孙分散,以国为氏。”《元和姓纂》、《急就篇·注》中均有相同记述。在上述文献中,出现了五个人物:炎帝、太岳(四岳)、伯夷、许由、文叔。他们似乎均为许姓始祖,让我们逐一予以分析。(一)炎帝。炎帝神农氏是上古时代活动于黄河流域的部落首领,炎帝部族早期以渭水流域为根…     

The power of circulation: digital technologies and the online Chinese fans of Japanese TV drama

Focusing on the online Chinese fans of Japanese TV drama, this paper explores the way in which the fan subculture, in connection with digital technologies, has carved out alternative practices in the circulation, production and consumption of Japanese TV drama. As ‘minority audiences’ who are not targeted as the objects of capitalist interests, online Chinese fans invent spaces for Chinese transnational networking with self‐help and sharing, as a way of resisting the aloofness from marketing strategies of Japanese TV distributors in Asia. This case study reveals that the online Chinese fan clubs, the websites for downloads, pirated VCD markets, digital file conversion, and private VCD burning – all of these have linked endless networks for the digitalized circulation and consumption of Japanese TV drama. The online Chinese fans are guerrilla fighters in the politics of autonomy, network and low‐cost digital technology; they are attempting to break down time–space constraints and the official distribution hierarchy. Such fan practices shed light on the new trends of audio‐visual consumption via digitalization.