新近发现的廖仲恺藏书研究

论文介绍了皖西学院图书馆最近整理出的廖仲恺先生当年的藏书,并对其进行了分析研究,认为这些书籍是廖仲恺为参加留学生科举考试所研读之书,并且对其后来的实践活动产生过影响.     

香港地区书文化事业散记

香港地区书文化事业散记谭华军ＡＢＳＴＲＡＣＴＡｆｔｅｒｅｆｏｒｔｓｏｆｓｅｖｅｒａｌｄｅｃａｄｅｓ，ｂｏｏｋｃｕｌｔｕｒｅ，ｉｎｃｌｕｄ－ｉｎｇｌｉｂｒａｒｉａｎｓｈｉｐ，ｐｕｂｌｉｓｈｉｎｇｉｎｄｕｓｔｒｙａｎｄｂｏｏｋｔｒａｄｅｉｎｄｕｓｔｒｙ，...     

《诗经》中"马"的多重涵义

马在《诗经》中的具有多重涵义。《诗经》中常以马喻人，特别是君子贤人，有时还用马来代指财富和战争。     

略论《诗经》的乐歌性质及其认识价值

从周代礼乐文化建设的角度看《诗经》的乐歌性质,它首先是实用性的乐歌,在周代社会承担着多种实用功能,这是我们认识其思想内容的基础。同时《诗经》也是具有审美意义的乐歌,充分体现了周人在制礼作乐中自觉的艺术追求,而这一点,正是我们重新认识《诗经》艺术成就的取得和如何评价先秦诗歌发展水平的关键。     

《诗经》生殖崇拜文化管窥——以《螽斯》、《桃夭》、《芣苢》、《鱼丽》为例

在《诗经》中的《螽斯》、《桃夭》、《芣苢》、《鱼丽》四篇作品中,都反映出一定的生殖崇拜文化。通过对这四篇作品的分析,可以进一步揭示出《诗经》中包含的生殖崇拜文化的体系,认为社会生产力和宗法制是形成生殖崇拜文化的主要原因。     

Hybrid Journals: Ensuring Systematic and Standard Discoverability of the Latest Open Access Articles

An important current challenge for research information providers is ensuring the automated discovery of Open Access (OA) content in hybrid journals. We found no evidence of discovery services that are able to systematically identify the crucially important free full-text availability of OA articles regardless of where and how such articles have been published (i.e., in fully OA journals or in hybrid journals). A solution is important because hybrid journals are proliferating and consequently the chances of missing OA articles is real and is happening. Nearly all of the major publishers now provide such journals in order to take advantage of recent changes in research funder requirements, and to be competitive in the new OA business model. By working with a group of scholarly publisher partners and by using standard metadata elements that publishers are already familiar with, we show a systematic and standardized manner to identify OA at the article level. Our proposal is to embed OA-related elements in the metadata freely exposed by publishers for aggregators and discovery services. For example, in the Table of Content (TOC) Really Simple Syndication feeds the publishers use to announce new journal issues and content. Based on the initial results obtained, we discuss the capabilities of our solution, and evaluate the impact produced by our application in the systematic discoverability of OA content from the participating hybrid journals, using an implementation done with the freely available journal current awareness service—JournalTOCs.     

孟浩然《诗经》情结原论

孟浩然诗歌具有很深的《诗歌》情结,诗人对《诗经》精神的接受主要体现在“词汇多用”、“典故活用”、“比兴巧用”等三个方面,故而形成了其诗歌清淡中蕴古朴、自然中涵雅致的审美风格与艺术境界。孟浩然钟情于《诗经》精神,一则由于其家庭素有“重儒风”、崇《诗》《礼》的优良传统;一则由于其时代重视《诗经》教育的因素。诗人如此钟情《诗经》,古为今用,故而造就出自己山水田园诗别具精神与风貌的审美特征。     

《风》《骚》体制异同论(下)

对《风》与《骚》的篇章、句式、韵律、内容等4方面之体制进行比较论析。篇章体制方面:《诗经》篇幅短小,大多分章节,二章诗具对称美,无标题;《楚辞》篇幅宏大,不分章节,思想感情内容在结构上亦具对称美,始立标题。《诗经》对答之体对《楚辞》有影响。句式体制方面:《诗经》以四言为主,间以杂言;《楚辞》亦有少数四言诗,多为带"兮"字的七言句,五言、六言句大量产生。韵律体制方面:《诗经》在用韵位置、疏密程度、用韵格局与关系等方面甚为灵活;《楚辞》多用偶句韵,以四言二韵为定制,有全篇一韵到底者。多用高呼度韵脚和鼻韵尾韵脚,形成屈骚悲壮激切之声韵特征。《诗经》韵律多呈自然美,《楚辞》韵律多呈人工美。内容体制方面:《诗经》以音乐为标准划分内容为风、雅、颂三类,少数诗篇则三体皆备;《楚辞》不标风、雅、颂三体之名称,但精神实质则含有风、雅、颂三体之特征,无"形"有"神",内在与《诗经》相一致。总之,《诗经》与《楚辞》体制存在渊源关系。