新农村职业教育与新农村文化建设

文化功能是教育的基本功能，农村职业教育在新农村文化建设中大有作为。依靠农村职业教育建设农村物质文化、精神文化和制度文化，充分发挥农村文化在新农村建设中的作用。     

利玛窦与西方数学的传播

利玛窦构建了良好的知识结构,具有很深的数学功底;他注意理论与实际的结合,学以致用,为他到中国传播西方的数学奠定了坚实的基础;他以数学赢取民心支持,在中国不仅传播了欧氏几何,而且还传播了大量非欧几何等数学知识;他一方面激活了正在走向衰落的中国传统数学,开创了中西数学文化融合的新纪元,另一方面他也激励了一大批中国数学家的成长、成才,推动了中国近现代数学的萌芽发展.     

基因工程菌株EscherichiacoliC600（pRLK14）的流加培养

在１Ｌ搅拌发酵罐中对含有重组质粒ｐＲＬＫ１４的大肠杆菌进行了培养。结果表明，采用二段培养法，于３４℃增殖细菌，在对数增殖后期升温到４２℃进行诱导，可以高效表达基因产品半乳糖激酶。诱导期，醋酸浓度增长较快，模拟实验表明，控制醋酸浓度可进一步提高半乳糖缴酶产率。     

一个黑色幽默的荒诞传奇:《第二十二条军规》

从总体形象、结构、语言、人物等不同侧面,剖析了荒诞艺术形式反映的荒诞世界的疯狂与残酷。     

沉积的文化流动的生命--关于传统文化在现代设计中作用的思考

现代设计中传统文化作为旧的元素进行新的组合，从而强调个性化，形成民族化的设计只有立足民族化，面向国际化，才会使现代设计既有民族风格又充满时代气息。     

入世与出世--儒家文化与基督文化之比较研究

从文化背景、精神意向、人生态度、思维方式等方面，对儒家文化与基督文化进行了比较研究。并试图对这两种文化分别进行扬弃与整合。     

铜鼓是东盟古代文化的共同载体

铜鼓广泛分布于中国南方和与之相邻的越南、老挝、柬埔寨、缅甸、泰国及马来西亚和印度尼西亚等东南亚国家。铜鼓是这些国家和民族在两千多年的漫长历史中,通过各种形式的交往与融合形成的共同文化载体。     

世界文化史上的五种科学思维模式

思想方法的更新是人类进步的重要标志之一。对这种标志的认识,在哲学史和文化史研究中通常不被人们所重视。人类思想史上最鲜明、最有意义的科学思维模式,主要表现为本文论及的五种类型,这些思维模式的互补与进步,是东西方文明相互推进的内在标志;对它们的研究和探讨,是把握先进文化前进方向的重要前提。     

The crystal-like anatomical uniformity of the striate cortex

The visual field is topographically mapped onto the primary visual cortex (V1), forming a retinotopic map which is far more detailed for the foveal regions than for the periphery. We found that receptive field (RF) size in monkey V1 increases with eccentricity, and that a 1—2 m² V1 region contains roughly a complete set of machinery necessary to analyze a visual-field area whose size is about that of the RFs of the cells. This allows V1 to be anatomically uniform, and is in sharp contrast with the retina.     

Picturing the moon: Hevelius’s and Riccioli’s visual debate

This article investigates the maps of the moon produced in the mid-seventeenth century by Jesuit Giambattista Riccioli (1598-1671) and Johannes Hevelius (1611-1687), whose cartographic projects competed for widespread acceptance. Although Hevelius’s Selenographia (1647) was applauded for its many detailed, self-engraved pictures of the moon, his cartography and proposed nomenclature were supplanted by Riccioli’s as offered in Almagestum novum (1651), in spite of the latter’s simplistic pictures and promotion of geocentric cosmology. Exploring this paradox through pictorial analysis, three types of images common to both Selenographia and Almagestum novum are compared, employing an analytical tool developed by Svetlana Alpers in The art of describing (1983). A focus on this debate exposes the tensions evoked by new technologies of vision and competing cultures of visual epistemology in seventeenth-century astronomy. As both selenographers grappled with questions about the role of representation and what kinds of knowledge could be generated visually, the successes and failures of their competing projects present implications for the course of visual astronomy, as well as for our understanding of the use of ‘visual technologies’ in a period of controversy.