留在照片上的圆明园历史影像

王致诚的信 18世纪,旅华的法国传教士王致诚（Jean Denis Attiret,1702～1768）写给达叟先生的信于1749年在法国公开发表,立即在整个欧洲产生了巨大反响。信中对圆明园这座“中国的凡尔赛宫”细致入微的描写让正处在一股“中国热”当中的欧洲人被深深吸引,西方古典主义视线中的中国建筑和园林艺术从东方神秘之境的虚幻中走出来,以帝王宫苑这一极致的形式在西方人眼前展开。     

Bring on the Dancing-Girls! (a Gadibus usque auroram)1

In Greece and Rome, Ionic rhythm appears to have been associated with erotic dances. A tune-type going with this rhythm is found in several of Alfonso's Cantigas (second half of the thirteenth century) and in folk music from around the Mediterranean, recorded from the sixteenth to the twentieth centuries. Could these tune-types (and their associated ground-basses) go back as far as Martial's Dancing-girls of Cádiz – and indeed to Euripides and Aristophanes? There is also a possible link with the kharjas of the Andalusian muwashsha.(h)āt, and a substantial connexion with the dance known from later sources as the Canaries. Not only is there evidence of a rhythm and associated melodic motive stretching over more than two millennia, but we can discern, even hear, parts of an unwritten tradition of improvised instrumental music and discover a harmonic vocabulary which mostly emerges on the written page only in the Renaissance.     

From A (Allende,Che, and Evita) to Z (Zedillo,Chamorro, Menem,and Fujimori): The Transformation of Latin American Culture at the End of the Twentieth Century

Algunas veces profundos, frecuentemente estimulantes y otras veces amenzadores son los cambios que a finales del siglo XX están ocurriendo en el mundo. Gracias a los medios de comunicación es fácil estar informado de acontecimientos como la caída de la Unión Soviética, los cambios de Europa del Este y Asia; pero, aparentemente, estamos menos concientes de los cambios que se están dando en América Latina. El fin de la Guerra Fría, el triunfo de la democracia, el colapso del comunismo, la revolucín tecnológica en las comunicaciones, la economía global, los sistemas de libre mercado y el impacto mundial de la cultura popular de los Estados Unidos, son factores externos que han influido de manera muy profunda en los cambios de América Latina. En esta investigación pretendemos analizar brevemente algunos de los cambios ocurridos en Latinoamérica y discutiremos cuáles fueron las causas de dichos cambios.     

固始李氏源流

皋陶李氏本为“理氏”，源于尧帝时皋陶之理官。《史记·五帝本纪》记载：“帝颛顼高阳者，黄帝之孙而昌意之子也。”《新唐书·宗室世系》记载：“帝颛项高阳氏生大业，大业生女华，女华生皋陶，字庭坚，为尧大理。”     

杨柳青石家大院

南有苏州桃花坞，北有天津杨柳青。知道杨柳青，是因杨柳青年画闻名遐迩，记忆里还有那个很著名的长联。     

创伤记忆：二世纪末的多余人——中古风流之一

2世纪末是一个让历史学家摇头不迭感慨万端的时期。那是一个政治与社会太黑暗无道的时代。3世纪初，以承继汉祚自命的蜀汉皇帝刘备与其丞相诸葛亮就经常在一起讨论桓灵之际的政治问题。刘备死后，诸葛亮在他的《前出师表》里，就告诫刘禅要吸取历史教训，感慨“亲小人，远贤臣，此后汉所以倾颓也。先帝(刘备)在时，每与臣论此事，未尝不叹息痛恨于桓灵也”。“桓灵”已经成为黑暗政治及昏君的代名词。     

The Power and Function of Images in Northern Europe During the Migration Period

ABSTRACT

In the fifth and early sixth centuries, numerous objects in northern Europe were decorated in a particularly consistent visual style (‘Germanic Animal Style I’). This article argues that we should treat these images not simply as representations of cultural notions, but as an active part in the process of creating a shared elite identity, formed during a particular period of historical crisis.     

Praying for (the) Community: Disasters,Ritual and Solidarity in the Eighteenth-Century Dutch Republic

ABSTRACT

Organised in the wake of disasters, early modern emergency rituals were intended to persuade God to waive further punishment. However, this article shows that these rituals were as much about communities as about God. Based on a close reading of prayer day letters, sermons, and instruction manuals from the eighteenth-century Dutch Republic, it proposes a Durkheimian interpretation of the rituals. For a day, participants collectively lived through an emotional disaster experience. This experience was then converted into (financial) solidarity with the victims.     

江西义门陈

江西省德安县车桥镇义门陈氏是中国历史上最为罕见的家族，3900多人曾聚居一堂，合炊300多年不分家；还创造了我国历史上规模最大的家族大迁徙，也是我国历史上唯一一个由皇帝颁旨并派官员监督分家的家族。     

Celebrate Nation,Commemorate History,Embody the Estado Novo: The Exhibition of the Portuguese World (1940)

ABSTRACT

In 1940, the Portuguese regime, named Estado Novo, hosted its biggest national exhibition: the Exhibition of the Portuguese World (EPW).

The event aimed both to commemorate Portuguese history and to justify the teleological nature of the dictatorship. This article discusses the national identity narrative conveyed by the allegorical pavilions conceived for the historical section of the EPW. In examining the ephemeral architecture and the debate which arose among intellectuals at the event, this article explores the process of narration and reinterpretation surrounding the display and elucidates the complex process of reception by the citizenry.