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“龙”是中国人想象出来的也是中国人崇拜的一种神奇的动物。传说中的龙,是形体大小可以自由变化(小可以藏身于芥子之内,大可以头如巨瓮),生活于深水中,遨游于太空,行动伴有风雷,能兴云布雨的神兽。 由于“龙”是这样的神奇并令人敬畏,历代皇帝为了使百姓对他敬畏崇拜,便自称为“真龙天子”,是“龙”的化身。据《史记》记载,汉高祖刘邦在做皇帝前曾乘醉用剑斩断了一条拦路的白蛇,后来一个老妇人对人哭诉说她的儿子“白帝子”为“赤帝子”所杀,说完后突然不见。笔者想这些都是刘邦等人编造出来的故事,用以宣传刘邦就是“赤帝子”,是“龙”转世的,将来一定做皇帝。 皇帝既然是“龙”转世的,皇帝的“脸”便是“龙颜”,身体便是“龙体”,旧小说中常有“龙颜大怒”、“龙体欠安”的说法。皇帝的子孙便是龙子龙孙。 现在有一种说法,说中华儿女都是“龙的传人”,我不敢苟同。我辈乃一介草民,女娲氏做的泥人罢了。《水浒传》中公孙胜绰号入云龙、李俊绰号混江龙;他们都是绿林好汉,可以有那样的绰号。但绰号毕竟是绰号,不是“真”的。皇帝的后裔,龙子龙孙,才是龙的传人哩。 相似文献
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香椿和臭椿 总被引：1，自引：0，他引：1
小时候,我们一群小伙伴常在吃过晚饭后去听一个叫“瞎话儿刘”的老人讲故事,也就是大人们说的讲“瞎话儿”。“瞎话儿刘”肚子里装满了稀奇古怪的瞎话儿,妖魔鬼怪,长虫精、狐狸精在他的嘴里一讲就是一大串。在那个文化和经济都极匮乏的年代里,“瞎话儿刘”的“瞎话儿”把我们带进了一个又一个虚幻而神奇的世界里。可是有一天,母亲对我们说,快不要去听“瞎话儿刘”讲的烂瞎话儿,那都是他瞎编出来骗你们的呢。我说,那你能给我们讲不是编出来的故事吗?母亲笑了,说,故事都是编出来的,可他整天编些鬼呀怪呀的事儿来,也只能骗你们这些不懂事的小傻瓜,瞧瞧你们,一个个都听得鬼里鬼气的了。我们说,那你快给我们讲一个不是鬼的故事吧。母亲说好。 相似文献
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通过重读《汉书》,对比刘贺先王后帝的表现和其他不守丧礼的结果,可知他在奔丧和典丧过程中所表现的诸多违礼行为,正是他一贯不修个人品行、不好治国之道的体现。而且惩治"不孝无礼"乃是先王们的惯有做法,故而《汉书》的相关记载真实可靠,对此海昏侯墓存在诸多与之相合的信息,亦为其证。至于随葬的儒家经典,反映的只是当时尊孔崇儒的社会风气。刘贺帝位的被废,就是在于他"荒淫迷惑,失帝王礼谊,乱汉制度",而不是霍光因私废公,更不是班固刻意丑化,由此可观丧礼对于西汉社会的重要性。 相似文献
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Ilaria Bonaduce Catharina Blaensdorf Patrick Dietemann Maria Perla Colombini 《Journal of Cultural Heritage》2008,9(1):103-108
The “Terracotta Army” is a worldwide known archaeological finding in China. It is a part of the burial complex of the emperor Qin Shihuangdi (259–210 BC), which is still under excavation and study. The fact that the sculptures, chariots and weapons of the First Chinese Emperor's Terracotta Army were originally all painted in bright colours is still not widely known. The chemical characterisation of the paint medium was performed through an analytical procedure based on GC-MS. The proteinaceous binder was identified for the first time through a desalting procedure used in proteomics. The identification of egg as a paint binder is extremely interesting in terms of the historical significance of the work of art itself and important in terms of the method of conservation. Moreover it represents one of the first steps towards an understanding of the painting technique used on ancient sculptures in China, of which – despite their fame – nothing is yet known. 相似文献
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CiteSpace分析发现:水文化和大运河文化的研究热点分别为"大禹治水""李冰"和"大禹"与"大运河""京杭大运河""浙江"和"漕运"。前者的演化路径呈现为从"李冰""郭守敬"及"水利工程"向"大禹治水",再向"导淮""大禹""张謇"及"李仪祉",最后向"治水思想""都江堰"及"长江"转向的趋势。后者呈现为从早期关注隋炀帝开凿运河的原因探索、功过评价、个人轶事追溯向大运河漕运研究、大运河沿线城市研究以及大运河文化带建设研究转向的模式。在研究前沿方面,前者以"李冰"以及"李冰父子""李冰水利功绩"和"李冰修复都江堰"为重点,而后者以"大运河"以及"漕运"和"大运河沿线城市发展与繁荣"为重点。上述分析结果对中国水文化在世界范围走出去、走上去、走进去,并向不同文化背景的听众讲清、讲明、讲懂大运河文化故事能够发挥积极有效的作用。 相似文献
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《Journal of Cultural Economy》2013,6(1):85-102
Efforts to make (and keep) knowledge public have provided a powerful counter-model to the recent expansion of exclusive intellectual property rights in such arenas as information technology, digital media, biological research, and pharmaceutical access. While sympathetic to the impulse to counteract the new ‘enclosures’ with knowledge made public, this essay critically interrogates some of the constitutive limits – in fact, the constitutive outsides – to these counter formulations. Paying particular attention to how public domain initiatives, like their strict intellectual property counterparts, also police the line between the proper and the improper copy, I argue that mechanisms for keeping knowledge public do not just circle the wagons against the predations of the Monsantos and Microsofts of the world. In their rhetorical and normative commitments to the proper copy, they also risk reproducing some of the same constrictions and exclusions that we tend to associate with (privatized) acts of enclosure itself. I explore this argument first in reference to creative commons and copyright, which can reproduce a strong ideological commitment to improvement – ‘innovation’ or ‘creativity’ – against the mere copy. What is the cost, I ask, of making the idea of improvement the price of admission not just to intellectual property claims, but to participation in newly ‘democratic’ public and common spaces of knowledge production? Second, I look to global pharmaceutical politics – specifically, regulatory efforts to improve access to cheaper copied and generic drugs in Argentina – to raise questions about the public domain's normative place in the continued expansion and harmonization of intellectual property regimes in the so-called global South. Together, these discussions suggest how the public domain and the commons, like their IP counterparts, can rhetorically and normatively expand and be secured against the improper copy. 相似文献
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Luciano Kay 《Minerva》2012,50(2):191-196
Inducement prizes have been long used to stimulate individuals and groups to accomplish diverse goals. Lately, governments have become more and more interested in these prizes and sought to include this kind of incentives within the set of policy tools available to promote science, technology, and innovation. To date, however, there has been little empirically-based scientific knowledge on how to design, manage, and evaluate innovation prizes. This note discusses aspects of the prize phenomenon and the opportunities and challenges related with the use of innovation prizes as a government policy instrument. Compared to other incentive mechanisms, prizes are likely to present advantages to, for example, accelerate the development and commercialization of technologies that are held back for diverse reasons and help to leverage public money with external ideas, collaborative efforts, and the participation of diverse individuals and organizations. Still, despite these advantages and other interesting features of prizes, there are key questions that policy-makers and scholars must address to better understand this kind of incentives and further improve prize designs and implementations before governments move forward to a more widespread use of innovation prizes in science and technology policies. 相似文献
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《Journal of Cultural Heritage》2014,15(4):448-457
Many deterioration processes are linked to unsuitable microclimatic condition in cultural buildings. One of the most diffused processes is soluble salts crystallization that can be accelerated in masonry structures within specific microclimatic values for different chemical compounds. In this paper, microclimate and efflorescence diffusion were monitored over a one-year period in the Crypt of the Cathedral of Lecce (South Italy). This allowed to relate the microclimate with the efflorescence variation over time. A three-dimensional computational fluid dynamics (CFD) model was then developed to detail the thermo-hygrometric parameters and airflow patterns responsible for salts crystallization and artworks deterioration. Two main conditions were reproduced; one to simulate the current microclimate, which simulations showed to be inadequate for conservation, and the other to search for a more appropriate solution. In both cases, summer and winter conditions were simulated and compared to find a microclimate able to ensure more suitable thermo-hygrometric intervals required by the constituting artworks materials. The results helped to suggest actions to improve maintenance of the Crypt. 相似文献