汉长城西端新发现城址与敦煌汉简中的大煎都侯障

斯坦因曾在汉长城最西端终点处发现三座城址,后来再未见著录。笔者结合卫星照片与实地踏勘,发现实际有两座城址,位置与斯坦因所记有一定距离。结合附近烽燧出土的汉简,考证其中一座城址可能是西汉宣帝之后的大煎都侯障治所,即敦煌汉简中的大煎都侯障,由此可以对汉长城最西端的防御体系有更深入的了解。     

现代版的"人妖之恋"——以海岩《玉观音》为例

“人妖之恋”是中国传统文学原型,它表现了男权社会中男性对于女性的一种既崇拜痴迷又恐惧忌讳的心理。海岩《玉观音》将传统的“人妖之恋”继承翻新,创造出现代版的“人妖之恋”。现代版的“妖女”变成了现实生活中的缉毒警察,她有正常女人的职业、人际关系、人生理想、情感、道德,有合乎情理的感情关系,所有传统“人妖之恋”的超验特点全部消除。海岩《玉观音》中的“人妖之恋”在写实的外衣下,将传统“人妖之恋”的丰富的社会、心理蕴涵表现得更加充分、深刻。海岩对传统“人妖之恋”文学原型的继承翻新,为我国通俗小说创作的继承创新提供了某种启发。     

视界、格局与腾冲翡翠的发展

视界、格局的大小影响一个人的设计水准,影响一个群体的文化品位,乃至影响一种文化的境界层次;从市场层面而言,则是占有还是丧失的选择。从汉文化在云南边陲腾冲扎根开始,翡翠便经由腾冲走向中国乃至世界,由于历史等诸多原因,导致腾冲翡翠的视界、格局的变化,最终导致翡翠市场的格局也发生了根本性的改变。     

Distribution and circulation of Indian films in Singapore

ABSTRACT

Despite the long history of the export and exhibition of Indian films in Southeast Asia, a systematic documentation of how Hindi and Tamil films from India found their way into the region has yet to be undertaken. Theatrical exhibition of Indian films is reported to have sharply declined or ended since the late 1970s in their traditional markets in Malaya, Ceylon, British East Africa, Burma, Persian Gulf Ports, Thailand and South Vietnam. Yet films continued to be circulated through formal and informal networks such as video parlours, CD shops, television and, lately, on the internet. Although Singapore has the unique distinction of being the only Southeast Asian country, which still has a few theatres exclusively dedicated to screening Indian films, theatrical exhibition is not the only medium through which they are circulated. Based on fieldwork conducted between 2008 and 2010, this paper contrasts the formal distribution of Indian films with their informal circulation through which they “leak” into the multi-ethnic spaces of the global city. Drawing on photographs, exhibits, interviews, reports and observations, the essay focuses on television, CD shops, lending libraries and the internet through which Indian films are disseminated in Singapore.     

论秦骃玉牍研究四种及其相关问题

本文主要对近年来出土的一份重要的秦国文书--秦骃玉牍进行了探讨,并就四位学者在相关研究文章所提出的问题进行了进一步的检讨,包括玉牍文书的书写风格、玉牍文字释文与考释之举例、病主、文书的性质、华大山明神的准确含义以及诸文释文与考释之异同。通过分析,笔者认为玉牍甲、乙版的书写风格迥然不同,这与其书写方式关系不大（朱书、契刻）,而是说明甲、乙版出于不同书者之手;文中通过对诸文释文字数不同的考察,解释了玉版中合文及重文符号的不同用法及其与句读符号之区别;文章还通过对玉版“众人弗智,余亦弗智”语中“智”字的不同理解,强调文中所记病主为秦骃一人,而非“众人没有病愈,我也没有病愈”的众人与我;关于文书的性质,笔者认为是秦骃病愈之后”告大（？）□、大将军文”,而非祷病文或祭华大山明神之文;本文赞同李零、王辉先生的看法并进一步论证了华大山是特指太华山,认为华大山之名不仅体现了太华山与少华山之别,更以华大山之“大山”二字展现了它在秦人心中与东岳泰（太）山所具有同样重要的地位;文中通过中对四篇释文与考释的排比,列出了诸文释文与考释异同表,以备考鉴。     

最早岫玉制品的发现是中国玉文化研究史上的重大突破

根据对海域仙人洞古人类遗址中出土的有人工打击痕迹玉石片的分析，认为该玉制品属于岫岩透闪石质玉。该玉制品产于旧石器时代晚期地层，遗址的绝对年代测定是距今2－3万年，从而把人类最早开发和利用玉的历史提前到晚期智人阶段。这是中国玉化研究史上的一项重大突破。     

《西游记》玉帝形象补论

受偏见和研究力度不足的影响,《西游记》中的玉皇大帝形象被长期误读。探究《西游记》玉帝形象的来源——道教神话、民间传说中的玉帝形象,讨论文本中对玉皇大帝形象的客观表现,得出《西游记》中的玉皇大帝并非伪君子、昏君,而是有道明君的结论。造成玉帝形象误读的原因,主要是读者感受与文本表现的偏差和先入为主的偏见。     

Preliminary study on the impact of relative humidity on the conservation of jades

Abstract

This paper examines the impact of relative humidity on jades by enclosing the samples under constant relative humidity (RH) of 32, 49, 61.5, and 81.7% at the same temperature of 40 ± 0.1°C for 160 days. The simulated samples were pure and dense tremolite jade and serpentine jade, impure tremolite jade and serpentine jade containing some calcite, and serpentinized calcite, which are all common materials of ancient jade found in archaeological excavations. All samples were characterized through particle-induced X-ray emission and a glossmeter. The degree of deterioration proved to be greater in impure materials than in pure ones. The best RH to conserve various kinds of materials differs: for pure tremolite and serpentine, all of the RH levels are equal; for impure tremolite with some calcite, 61.5 and 81.7% were superior; for impure serpentine with some calcite, the highest RH (81.7%) was best; and as to the serpentinized calcite, there is no clear conclusion as yet and further research is needed.     

红山文化玉龙

红山文化玉龙发现数量较多,分为兽首龙、猪首龙和鸟首龙。红山文化玉龙造型为昂首、弯背、卷尾,整体大致呈圆形,首尾相接或相对。首尾相连者呈环形;首尾之间有小缺口者呈？形;首尾之间缺口较大者呈＂C＂字形。使用方法是吊挂在巫师胸前。玉龙是想象的灵物,是被崇拜和祭祀的对象,是巫师通天地的法器之一。通过玉龙通天达地,达到人与神的沟通,以实现人们祈祷的目的。     

"太平玉玺"读法异议

“太平玉玺”在史学界有多种不同的读法，但都失之偏颇。从玺印刻印的时间，洪秀全在太平天国后期思想的变化，以及太平天国印章的一般特征来考察，太平玉玺的名称、内容具有不同于一般玺印的特点，因而其认读顺序也有所不同。