中国古代史学中的比较研究

从总结历史经验、历史人物、历史编纂、史学批评等几个方面与比较研究之关系的角度,对中国古代史家历史撰述所用比较方法,如史事比较、人物比较、制度比较、政策比较、历史思想比较、史学思想比较、史家特点比较、史书编纂形式比较等进行论述,以揭示中国古代史家在比较研究方面的认识和方法。     

Torsions Within the Same Anxiety? Entification, apophasis, history

In Anglophone educational research in the United States, the name Foucault has been more pointedly celebrated in some subfields such as curriculum studies relative to its more noticeable censorship in subfields such as history of education. This paper illustrates how such differential epistemological politics might be accounted for through reapproaching the challenges to historiography that Histoire de la Folie (Madness and Civilization) raised. Through the formalist lens of performative apophasis, and with attention to the dependencies of discourse that characterize narrative prosthesis, this paper re-engages the least referenced of Foucault's major histories in the educational field to bring into noticeability other 'conditions of possibility'—ones that explicate how an apophatic turn might account for divergent reactions to less familiar philosophies of history and/or to 'alternative' approaches to documents through which history is now being narrated and critiqued in education and beyond.     

推动史学发展,拓宽文化研究领域——"史学批评与史学文化"学术研讨会综述

由北京师范大学史学理论与史学史研究中心、大连大学中国古代社会与思想文化研究中心、大连大学人文学部联合主办的史学批评与史学文化学术研讨会是一次成功的学术盛会。与会代表们主要围绕史学批评和史学文化两个议题展开了广泛的交流,从多方面总结了史学批评的成就,探讨了史学批评发展的途径和前景,也从多角度审视了史学文化的影响和意义。     

简论南朝刘宋时期的史学

刘宋史学,是南朝史学发展的第一个高峰,在中国史学史上有其独特的地位.在刘宋时期,史学的多途发展格局得到了巩固和继续,以<后汉书>、<三国志注>等为代表的前史撰述取得了杰出成就,刘宋史学的社会地位也发生了一定的变化,新的史学机构的设置,成为史学走向独立进程中的重要现象.     

思想史编史理论与实践的比较——以余英时《朱熹的历史世界（绪说部分）》为参照

选取陈来、漆侠、钱穆等学者的相关文本与《朱熹的历史世界（绪说部分）》进行比较,揭示了《绪说》与这些文本之间在思想史编史理论及其实践上有着重要差异,这些差异给思想史理论的深入研究提供了许多新的启示。     

安全文化史学的创建研究

为建立安全文化史学(SCH)学科体系,完善安全文化学(SC)与安全史学(SH)学科理论体系,立足于学科建设,论证创立安全文化史学的可能性与必要性;基于安全文化学与安全史学的定义提出安全文化史学的定义,分析安全文化史学的内涵及其学科基础、研究对象、研究内容、研究方法和研究步骤5个学科基本问题。研究结果表明,从方法论角度看,安全文化史学是安全史学与安全文化学的一种研究新策略,其研究可有效弥补传统二者研究所存在的弊病和缺陷。     

Postcolonial film historiography in Taiwan and South Korea: The Puppetmaster and Chihwaseon

Abstract

This essay is concerned with the ways in which postcolonial historiography is inscribed in cinema. Two representative films of Taiwan and South Korea, The Puppetmaster by Hou Hsiao‐Hsien ¹ 1. Names in Chinese, Korean and Japanese are written in the order of family name followed by given name. For example, Hou Hsiao‐Hsien, Im Kwontaek. and Chihwaseon by Im Kwontaek are compared, not only to understand the working of de‐colonization in the cinematic apparatus but also to understand the impact, effects of colonial history. The notion of postcolonial filmmaking as an alternative construction of the archive is evoked to locate film practice in the intersecting spaces of repository, historiography, cinematic representation and social memory. Hence, these two films are cited as instances of illuminating retrospection on fractured pasts, the almost‐invisible archive and the future cinematically envisioned by suggesting a sustainable postcolonial episteme in the age of global spectatorship.     

Interrogating the Eyewitness

ABSTRACT

Following on from Peter Burke, Eyewitnessing (2001), this article considers again the potential for collaboration between historians and art historians, and presents ‘ten commandments' to be borne in mind by historians who wish to make use of visual materials in their work.