郑樵《尔雅注》初探

郑樵是宋代著名的学问家，他的《尔雅注》是南宋雅学研究的重要成果。本文从语义的训释、文本的校勘和字音的标注等三个方面对《尔雅注》的内容进行了静态的描述，客观、全面地反映了郑樵对《尔雅注》所作的注释工作。我们认为：郑樵的《尔雅注》有着自己的特点和内容，值得我们借鉴和研究。     

名章隽语咏太平：柳永《望海潮、东南形胜》赏析

通过对<望海潮·东南形胜>的分析,并结合作者的生平事迹,引导读者领会作者的写作意图,欣赏该词所表现出来的优美意境和作者纯熟的写作技巧.     

Playing with molecules

Recent philosophy of science has seen a number of attempts to understand scientific models by looking to theories of fiction. In previous work, I have offered an account of models that draws on Kendall Walton’s ‘make-believe’ theory of art. According to this account, models function as ‘props’ in games of make-believe, like children’s dolls or toy trucks. In this paper, I assess the make-believe view through an empirical study of molecular models. I suggest that the view gains support when we look at the way that these models are used and the attitude that users take towards them. Users’ interaction with molecular models suggests that they do imagine the models to be molecules, in much the same way that children imagine a doll to be a baby. Furthermore, I argue, users of molecular models imagine themselves viewing and manipulating molecules, just as children playing with a doll might imagine themselves looking at a baby or feeding it. Recognising this ‘participation’ in modelling, I suggest, points towards a new account of how models are used to learn about the world, and helps us to understand the value that scientists sometimes place on three-dimensional, physical models over other forms of representation.     

Pictures of sounds: Wittgenstein on gramophone records and the logic of depiction

I consider the way Wittgenstein employed some kinds of sound recordings (but not others) in discussing logical form in the Tractatus logico-philosophicus. The year that Ludwig Wittgenstein was born in Vienna, 1889, nearby developments already underway portended two major changes of the coming century: the advent of controlled heavier than air flight and the mass production of musical sound recordings. Before they brought about major social changes, though, these innovations appeared in Europe in the form of children’s toys. Wittgenstein uses the fact that a symphony performance can be constructed from both a written musical score and the grooves of a gramophone record to explain what logical form is. His characterization of logical form in the Tractatus in terms of intertranslatability rather than in terms of interpretability is highlighted by reflecting on the kinds of examples of sound recordings that he did not use to illustrate the notion of logical form. There were other well known technologies for making visual records of sound at the time, but these did not serve to illustrate logical form.