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.     

中西中古赋税理论中的一些概念及其界定

中西中古社会都存在赋税基本理论.在中国,赋税基本理论派生了一些具体理论,如"量入为出"、"量出制入"等.但在西方,"量出制入"作为一种理论较中国晚成,这时还仅以理念的形式存在,但同样由赋税基本理论派生,同样制约政府的征税活动.基本理论是一种深层理论,具体理论则是一种表层理论,前者一般决定后者的性质,后者则表现或反映前者的特征.基本理论是专制的,具体理论也一般是专制的;基本理论具有民主性,具体理论也一般具有民主性.     

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.     

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.     

对学校武术教育的历史回眸与当代发展的思考

摘要：现在是一个传统文化发展最为美好的时代。这一点不仅仅存在于文化界,而更为火热的却是在学校教育领域。作为长期存在于学校教育中的武术教育,正是在这一背景下开始被国家行政主管部门的高度重视。在文献资料查阅的基础上,运用历史学研究方法,对学校武术教育发展历程进行分段梳理和特点归纳;并在“思想是变革的先声,理论是实践的指南”指导下,就学校武术当代发展的一些问题在进行了学理上的思考。研究认为：坚持从传统武术拳种出发的学校武术教育内容的实施,才应该是我们的正确选择;下大力气建构起具有独立文化体系的学校武术教育平台抑或是校本课程,才是实现学校武术教育繁荣发展的有效路径;通过武术在学校教育中的务实推进和开展,让更多的学生体认和感知中国传统文化的精神实质,才应该是我们找回学校武术教育在学校教育中主导地位的最强动力;那种只将中国武术看成学校体育教育的部分内容或者一个领域的做法,显然是不明智的。     

English Proficiency,Identity, Anxiety,and Intergroup Attitudes: US Americans’ Perceptions of Chinese

Guided by the Common Ingroup Identity Model and Berry’s acculturation framework, this study examined the roles that perceptions of language proficiency, cultural identity, and communication anxiety had on intergroup attitudes and stereotypes in the American–Chinese contact context. Serial mediation analyses with 10,000 bootstrap samples revealed that perceived English proficiency of a Chinese contact had significant indirect effects on affective and behavioral attitudes toward Chinese through American participants’ perceptions of their contact’s host and home culture identification and communication anxiety. Perceived English proficiency had an indirect effect only on positive stereotypes through the Chinese contact’s perceived identification with home culture.     

30届伦敦奥运会男篮比赛中国队与前八名球队各位置主力队员对比分析

通过对30届伦敦奥运会男篮比赛中国队与前八名整体进攻和防守技术数据做对比,将前八名5个位置的主力球员得分指标、主动指标、被动指标、意识指标的均值与中国队5个位置主力球员做比较,找出中国队队员与世界强队队员之间的差距.得出结论:中国队只有5号位易建联一人可与国际强队抗衡,其它位置主力队员进攻和防守能力与国际强队相差甚远.     

《尔雅》讹脱补正举隅--兼谈版本校勘在文献学教学中的应用

原本《玉篇》部分抄本残卷中的书证、例证之于传世文献典籍的整理、校读具有重要价值。根据原本《玉篇》残卷所引《尔雅》这条书证材料,并以《名义》《玉篇》《切韵》《广韵》等传世字书、韵书为佐证,结合汉字俗写变异规律,考证出传世本《尔雅》“静也”条之“谥”即“”字之误。同时,在考辨传世本《尔雅》“静也”条之“谥”这一讹文的过程中,利用原本《玉篇》残卷引用《尔雅》的书证材料,校补了传世本《尔雅》的两处脱文。此种研究路径也可进一步佐证版本校勘在文献学教学中的重要作用。