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晚清以前,郑成功正面至多是以“遗民忠义”的“忠烈”形象受人景仰。19世纪末20世纪初,随着西方民族主义思潮的传人,革命者开始用近代民族国家的视角重新塑造和认识中国既往的历史。郑成功因其“排满驱荷开拓台湾”的历史功绩及极富传奇色彩的生平,尤被晚清革命者所看重。在后者的阐释下,作为“反清英雄”的代表人物之一,郑成功形象发生“近代转型”,既迎合了反清革命宣传的需要,又是重构民族历史的重要组成部分。民国成立后,郑成功的英雄形象融入了国人的历史记忆之中,因应时代的需求,一直成为激励国人奋发图强、救亡图存的精神资源。抗战胜利后,郑成功又被作为光复台湾的精神象征而受到国人的进一步推崇。 相似文献
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This article juxtaposes two of the most influential yet under-studied America watchers within the top echelon of the Chinese Communist Party (CCP), Wang Huning and Zheng Bijian. To be sure, the two have indelibly shaped CCP attitudes, yet surprisingly enough, although Zheng has been written about extensively in the English language, Wang has hitherto largely remained outside academics’ purview. This article also aims, in passing, to explore linkages between Wang and Zheng ideas and those of other well- known America watchers like Liu Mingfu and Yan Xuetong. The comparison offers clues as to the extent to which the current advisory shaping CCP thinking on the US differs from the previous generation, and as to whether CCP thinking is un-American or anti-American in essence. The conclusions ties the study together by arguing, based on Wang and Zheng's views, that New Confucianism may shape Chinese society in the future 相似文献
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党化教育是国民党掌权后在思想领域实行一党专制的重要手段,尤以民国国立大学内的党化教育最为典型。本文着重以民国华侨教育家郑洪年任校长期间的国立暨南大学为考察点,探讨国民党在国立大学实施党化教育的主旨、具体措施及其影响,以加深对民国时期党化教育的认识。 相似文献
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徐映奇 《福建省社会主义学院学报》2004,(2):13-17
郑观应既有民族优越观,又有民族平等观,二者的对立,在他资本主义商业民族观中又得到统一。这种以“对立”、“统一”为鲜明特征的民族观,既是历史发展的结果,更是他对历史发展的贡献。 相似文献
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开展和平外交,是郑和下西洋最主要的目的和活动.郑和船队尊重各地习俗,礼待各国统治者和人民,积极进行文化交流,开展平等贸易,促进了中国与各国间友好关系的建立.郑和下西洋忠实地执行了明王朝睦邻友好的外交政策,谱写了中国与亚非各国和平友好关系的新篇章,使中外经济文化交流达到前所未有的鼎盛局面. 相似文献
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古今学者对孔子删诗说的论争,其分歧可以分为三个层面。一是孔子删《诗》说的源起与生成,二是最早否定孔子删《诗》说的是何人,三是孔子删《诗》说可信与否的具体辨析。根据现存文献资料,此说的最早提出者是司马迁,最早的否定者是孔颖达。从古诗三千之数、孔子编选取舍的标准、季札观乐等角度考查,孔子删《诗》说可信。 相似文献
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郑玄是东汉最大的通儒,他打破了今古文经学的分界及各种家法师法,融通众家以为一,因而可以说是两汉经学之集大成者。论者每以为郑玄推翻了今文经学,实际上,郑玄经学有明显的今文经学色彩。汉代经学的衰落有多方面的原因,有人归咎于郑学,这是对郑玄经学影响的一种歪曲,并不符合学术发展史的实际。 相似文献
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Arif Dirlik 《二十世纪中国》2013,38(1):2-10
A pivotal figure in the birth of Chinese cinema, Zheng Zhengqiu (鄭正秋 1889–1935) established an art of dramatic film integral to the creation of early Chinese motion pictures. His style incorporated unique cross-media perspectives, producing theatrical works fundamentally grounded in his experiences in graphic arts (illustrated news) and theater. This article focuses on crucial links between Zheng's films and his work for various illustrated newspapers, as well as between his stage plays and his own experience of family life. The author offers new approaches to and interpretations of Zheng's art, analyzing his emotional modes of narrative and provocative forms of engagement. These artistic traits are rarely discussed in contemporary scholarship on his contributions to Chinese cinema. Emerging during the 1911 Revolution, Zheng's sensational style of drama aimed to foster broad social and cultural reforms. For Zheng, art was never for art's sake alone; instead, art was always in the service of society. 相似文献
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刘宇 《胜利油田党校学报》2009,22(2)
被朱元璋赐以"江南第一家"美称并在此后屡受旌表的浦江郑氏家族,因其孝义治家的大家庭模式和传世家训《郑氏规范》,奠定了它在中国传统家训教化史上的重要地位。《郑氏规范》中关于孝义方面的思想,对中国封建社会后期的稳定和儒家伦理、文化的世俗化,都产生了深远的影响。 相似文献