《后水浒传》的多重价值

《后水浒传》是《水浒传》的续书之一,是在《水浒传》之后产生的又一部歌颂草莽豪杰的英雄故事作品。小说写宋江等人死后转世托生为杨幺等人,发动了洞庭湖农民起义,继承和发展了水浒的事业。他们提出了＂均贫畗＂＂平等＂等思想,反对招安、外族入侵。小说塑造了杨幺的杰出形象,以续书形式反映了明末清初的市民心理。     

《后汉书》李贤注称引《史记》考校

对中华书局整理本《后汉书》李贤注称引《史记》材料所存在的校点问题,结合有关资料,提出12则作讨论辨正。     

《天问》"咸播秬黍,莆雚是营.何由并投,而鲧疾修盈"考

对于《天问》“成播柜黍,莆雚是营。何由并投,而鲧疾修盈”四句,注家们的解释不能确定,根据相关文献,此段四句是将鲧与后稷进行比较以质问的。     

20世纪80年代以来侯方域诗歌研究述评

学术界对侯方域诗歌的研究主要集中在诗歌渊源、诗歌理论、诗歌创作等方面,表现为研究方法较为单一,研究不够深入,利用材料不够充分。今后的研究在文本细读的基础上应借鉴田野考察法、文化学、比较研究法等方法,借助文学理论进行系统性研究,挖掘包括墓志铭、书信、碑刻等更为广阔的研究资料。在诗名和文名、比较研究、整体研究、影响研究、艺术技巧、风格特色这几个方面,侯氏诗歌还有很大的研究空间。     

杭锦后旗基本农田划定方法浅析

本文以巴彦淖尔市杭锦后旗为研究对象,通过应用耕地利用等别成果,采用聚类分析法和 GIS空间分析法划定基本农田保护范围并与传统的基本农田划定结果进行对比分析,发现传统划定方法主观随意性较强,但是保护区域的分布的却非常均匀。由于利用等别的基本农田划定方法比较科学、客观地将高质量耕地划定为保护区域,与当地经济发展与建设用地指标发展矛盾冲突。因此得出：杭锦后旗基本农田划定应结合两种方法综合确定。     

青岛天后宫及其信仰境遇评析

妈祖信仰因海运航线而北传青岛口,在明成化年问青岛口便建成青岛天后宫,并以神之名保护各港往来商旅。妈祖信仰作为一种外来文化进入青岛口,被当地民众接受崇拜,天后宫中香火不断,但在后来的发展中却逐渐被同庙的多神信仰所同化,职能逐渐宽泛,不司专职。再加上德人来青后带来的天主教信仰的影响,青岛天后宫的地位在中西传统的信仰较量中日渐衰落,趋于弱化,正确认识青岛天后宫的信仰境遇对于青岛这座沿海城市显得尤为重要。     

安徽地区出土的青铜乐钟及其相关问题

青铜乐钟作为一种乐器,在青铜器文化史上占有特殊的地位。安徽地处江淮流域,在历史上出土了许多青铜乐钟。以安徽地区出土的青铜乐钟为视角,以蔡侯铜钟和钟离国铜钟等为例,分析安徽地区的青铜乐钟所反映的社会功能和历史等相关问题。     

榆园军：反清复明的一曲悲歌

清初李化鲸等领导的榆园军是山东境内一支奉明朝为正统的农民义军,从客观上支持了南明政权。史学界认为侯方域对榆园军失败负有关键责任。其实榆园军失败有多种因素,主要原因是活动范围小,首领意志不坚,与其它义军协同作战不够,清政府重兵镇压;而侯方域只不过是个被清政府利用的懦弱文人,并不是榆园军失败的关键人物。     

The eloquence of the taciturn: an essay on Hou Hsiao‐Hsien

Abstract

Dust in the Wind, a color film set in the verdant mountains of Taiwan, includes two scenes almost identical to the black‐and‐white and silent films by the Lumières, shot at the end of the nineteenth century: Arrival of a Train at La Ciotat and Passage Through a Railway Tunnel. As Hou’s mise‐en‐scène consists of the fixed camera angle with its long takes, it is the means of transportation that brings motion to the film, controlling dramatic elements of each work. The luxury cars, which appear in his first three romantic comedies, symbolize the rich and the motorbike the common people. The drivers are all young women, but an automobile cannot be a setting for love. In Daughter of the Nile and Goodbye South, Goodbye, the cars offer no protection to men trying to escape. Compared with the thematic negativity that the automobile possess in Hou’s universe, the motion of the passing trains, taken from many angles, offers rich and profound significations. When the camera is inside the train, the protagonists are taciturn, such as the two adolescents in Dust in the Wind who show their intimacy with each other without saying words. When the camera is next to the tracks or on the platform, the situation changes. In A Time to Live, A Time to Die, Hou depicts the grandmother sitting next to her grandson at a shop by the train and sipping sweet ice while behind them passes a freight train that emphasizes the anxious solitude of the old woman exiled from her homeland. A sublime depiction of the sense of powerlessness of both the deaf‐mute photographer and his family before a passing train is the scene on the deserted platform in A City of Sadness. In Café Lumière, the young woman and her friend in the passing train recognize how valuable they are to each other without saying words. This taciturnity suggests a certain kind of love that needs no sexual language.     

The times of subjectivity and social reproduction

Abstract

A reflection on the reasons why we take films such as Hou’s as cherished cinephilic objects and on the ways that we, as critics, often try to disguise our desiring relation to films.