中文图书套录编目若干问题的探析

根据目前中文图书编目中套录数据的来源,针对套录数据中存在的一些问题,探讨了套录编目的优点,提出了具体的处理方法。     

社会和谐是中国特色社会主义的本质属性

社会和谐是科学社会主义理论对未来社会科学构想的本质诉求,是我党探索中国特色社会主义的不懈追求.社会主义和谐社会的核心价值观是以人为本,坚持以人为本和科学发展观,实行全面协调可持续发展,促进人的全面发展,实现社会和谐,是建设中国特色社会主义的本质要求.     

论现代中国民族歌曲中五种主要情感美类型

音乐是非常擅长于表现情感的一门传统艺术.现代中国民族歌曲表现了我国各族人民丰富多采的情感,特别是爱国之情、乡情、亲情、友情和爱情这五类情感.表现这些情感的现代中国民族歌曲,在旋律、节奏、调式和情调等方面整体上呈现出各自不同的艺术特征,并给欣赏者带来各具特色的审美体验.它们并非互不相干和孤立自存,而是内在关联和彼此融合,并且在某些情形下一者向另一者转化.     

普通话音节结构再分析——从韵律研究的角度

比较汉语音节结构传统分析与现代音系学分析的异同,可以根据语音学和音系学研究,在非线性音系学的框架内提出关于普通话音节分析的最简方案.亦即,普通话音节分为首音和韵两部分,首音包括传统分析中的声母和韵头(介音),韵包括韵核与韵尾,对应于传统分析中的韵腹和韵尾.介音不再被看作是音节中占有时段的实体,而是看作声母的特征.韵不管是只有韵核还是韵核加韵尾,都包含两个韵素,占两个时位.普通话音节均为包含两个韵素(莫拉)的长音节.     

论镖局文化与中国武术文化的融合

摘要：镖局文化是中国武术文化的重要组成部分,也是武术强势价值与功能的集中展现。采用文献资料法、对比研究和逻辑分析等方法,对镖局文化对中国武术文化的影响进行研究。认为：镖局是特殊社会环境和历史背景的催生以及经济演化的结果,武术搏击护卫价值的强势显现是镖局的基本入世态势;镖局的产生具有地缘、尚武和诚信三个方面的社会文化属性,在运作模式上主要体现为宗族属性和关系属性;镖局与镖局文化的出现促使习武者职业选择的多元化,在一定程度上促进了武术文化的扩布;促使崇尚强者、尚武精神与社会软性控制的文化元素在武术文化中进一步融入;在传统的道德伦理约束之下尚武、谦和、隐忍、诚信、无畏、正义、助人的镖局文化精神与武术文化精神相互融通;诚信教化、关系互动的社会属性与武术文化深入融合。     

论体育治理体系的价值目标

摘要：体育治理体系的价值目标是以时代发展潮流和人类文明进步为方向,以社会主义核心价值体系和核心价值观为基准,以我国体育改革实践为动力,以国外先进体育治理的理论与实践为借鉴,立足体育治理体系现代性、人民性、公共性的要求,根据国家体育目标、社会体育需求、公民体育权益,通过多元治理主体协同合作,在法制支撑的稳定规范平台上,依靠科学治理的方法、手段,高效率的完成功利性的体育实践项目的方向和标的。     

当代高低杠成套动作编排发展态势的研究

摘要：里约奥运周期高低杠成套动作的编排与伦敦奥运周期相比发生了较大变化,要保持我国的高低杠优势,编出符合国际潮流和有竞争力的高低杠成套动作,就必须了解当代国际高低杠成套动作编排的发展态势。本文通过技术统计、录像观察、比较分析等研究方法,分别选取伦敦和里约两个奥运周期中（2010年—2014年）的4届世锦赛和1届奥运会体操比赛的40套高低杠决赛动作为观察统计对象,对两个奥运周期成套动作的上法、下法、换杠动作、杠中动作、连接加分以及成套动作的数量进行了全面、深入的对比分析,得出当代高低杠成套动作编排的发展态势是：上法以A组低难度为主;换杠动作加难、加长,连续飞行换杠将成为潮流;杠中动作数量有所减少,成套动作的编排趋向于高难动作直接相连,成套动作数量将趋于减少;下法将朝着“旋空翻”的方向发展。     

Xu Beihong and the New China: thoughts centered on the painting At the World Peace Congress

This essay analyses a politically tinged painting by Xu Beihong (1895–1953), a representative modern Chinese painter. He composed the work in 1949, just before the founding of the People’s Republic of China, or the New China. In this article’s discussion of the perplexing work, the author attempts to unveil Xu’s understanding of revolution and of the relationship between art and politics, in relation to his difficulties in exploring and practicing art in the early Republic period (1912–1949). Based on this, the author discusses the painter’s mindset in the social and political context of the New China. She also tries to reveal that Xu’s art practices were restrained by the realities he was in – a crucial point to understanding his achievements and predicaments. As an artist who resisted the western modernism in the course of modernization, and who idealistically pursued the highest good and beauty through “realist” approaches and historical expressions, Xu’s predicaments interestingly reflect the complicated relationship between art and revolution in China’s road to modernization, and provide a foundation for further explorations into the core issues and the particularity of modern Chinese paintings.     

Mandarin lessons: modernity,colonialism and Chinese cultural nationalism in the Dutch East Indies,c.1900s

The Chinese Association in the Dutch East Indies, known locally as the Tiong Hoa Hwe Koan (THHK) was first established in Batavia in 1900. A key objective of the THHK’s foundation was the creation of modern schools instructing in Mandarin for local Chinese students. At the turn of the 20th century, this odd choice of instructional language led to highly charged debates about languages, pedagogical efficacy, practicality, modernity-tradition and cultural authenticity. Using underutilized source materials in the local Malay-Hokkien vernacular, this article revisits these debates amongst the Chinese in the Dutch colony. This article interrogates the transparency of common ethnicity in analyses of Chinese nationalisms that developed outside of continental China. Drawing on the concept of “literary governance” as well as comparative work by scholars on Indian and continental Chinese nationalisms, it demonstrates the significance of the colonial context which provoked the THHK to adopt the vocabulary of modernity in reworking progressive ideas circulating in displaced Chinese nationalistic circles. Notwithstanding the THHK’s promotion of Mandarin, such reworking was accomplished through vigorous acts of transliteration and translation in the hybridized Malay-Hokkien vernacular. The THHK was hardly on the receiving end of nationalistic influences emanating from the proverbial China core but was an active agent in what has been described as a “global moment of Chinese nationalism.” The case of the THHK demonstrates the need for a finer understanding of multivalent histories of Chinese nationalisms as well as how these histories intersected with those of European colonialism in Southeast Asia.     

The trajectory of the “Third World” in early modern Chinese thought

In this essay, I trace two aspects of the thought on the “Third World” in early modern China: how to understand the world revolution, and how to create a new China. While focusing on two trendy notions at that time, i.e. “Chinese revolution” (Zhongguo geming), and “nong country” (nongguo), I argue that the thought on the “Third World” in early modern China breaks free of the shackle of fashionable theories and draws upon local circumstances and China’s own repertoire of power when exploring an ideal of a new world. While the difficulty in confronting the “Third World” consciousness in today’s China is still overwhelming, the fact that we now remember “the spirit of Bandong” signals some progress.