With the ultrahigh-speed, large-scale development of tourism and the increasing frequency, intensity, and scope of extreme natural hazards in the context of climate warming, tourism has entered a high-risk era. Based on the central urban area within the outer ring of Shanghai as the research area and the tourism attraction as the research object, this paper takes the flood scenario simulation combined with GIS network analysis to evaluate the spatial accessibility of the emergency response of urban key public service departments (...) under current and future river flood scenarios in different return periods. The results of the study show that, under the current and future flood scenarios, the submergence range is mainly distributed within 2 ∼ 3 km along the banks of the Huangpu River, and it tends to increase from north to south; there are 6, 9, and 21 tourism attractions in the emergency blind area under the once-in-a-century floods in 2010, 2030, and 2050 and 98, 105, and 112 tourism attractions in the emergency blind area under the once-in-a-millennium floods in 2010, 2030, and 2050, respectively; in the flood scene, local road traffic in the inundation area is interrupted by water, and 120 first aid cannot get or be delayed to some tourist attraction ; and in 2030, under the normal and flooding scenarios, 120 first aid in the downtown area of Shanghai has the fastest route to tourism attractions according to the speed of S1, S2, S3, and S4. The flooding intensity, road traffic conditions, and the number and location of key public service departments jointly determine the service scope and response time of medical emergency in urban floods. Since the flood control area of the central city in Shanghai is mainly distributed in the 2 ∼ 3 km area on both banks of the Huangpu River, the impact of flood on the emergency medical service in the entire central city is limited, mainly in some hospitals in the riverside area, where 120 emergency vehicles are unable or delayed to reach some tourism attractions. The research indicates that the quantitative assessment method of spatial accessibility of the emergency response under flood scenario simulation has important scientific value and practical significance, which can provide decision-making basis for emergency management of tourism in China’s urban flood disaster. (shrink)

本书共分佛学、宋明理学、清初朴学、专题探讨、附录五部分。主要内容包括: 自汉魏至宋初的儒佛道三教关系和道学的形成 ; 试说大乘佛教的兴起 ; 论张载思想 ; 程朱理学批判 ; 论王夫之思想 ; 论王廷相思想 ; 关于我国封建社会土地所有制的一些意见等.

本书为中国美育历史的专著,勾勒出美育思想的轮廓,指出中国美学与西方的思辩美学的不同。.

「玻璃帷幕•懵懂篇Ⅲ」，承接「玻璃帷幕‧懵懂篇 Ⅱ」，幼嵐身受重傷，卻因為葉文芸一句話，令她憤而上臺演出。拿命與葉文芸賭氣的方幼嵐，是否會因此葬送演戲生涯？ 慕容麗華勸梅玉晴選擇愛情歸屬，她究竟會選擇葉文芸？還是柳季剛？ 柳季剛帶女人回家，被葉文芸抓姦在床，卻是經紀人繆于綸大發脾氣。到底發生了什麼事？ 愛戲成痴，卻對人沒有感情的葉文芸，屢屢被人侵犯底線，造成她為此昏迷不醒？一位巨星是否會因此殞落？ 戲劇節的賭局揭曉了。最後的結論究竟是什麼？ 零度劇團的下齣戲，導演是誰？演員又是哪些？劇碼為何？ 何雨煙成了零度劇團子團的團長，接下來，要面對的是什麼？ 明爭暗鬥的舞臺背後，隱藏了多少精彩可期的事情，敬請期待！.

本书论述的内容包括:可持续发展的模糊性与确定性,工业文明能否延续,可持续与发展何以兼容,不可持续之源,难以超越的主客二分,协调人与自然的关系,善良和困难的公平,持续的杠杆----政府与市场,科学技术: 罪魁还是救星,关于中国的可持续发展问题.

本书通过对中国古代文化现象中的火与天文,《周易》,五行,丹道,中医,哲学方面联系的研究,阐述了"火"作为特殊哲学范畴所经历的漫长发展和演变过程.全书再现了中国人传统思维的特点,以及人类文明中独特的中国 智慧.

Ben shu ji shu le ri ben xian xian er gong zun de de si xiang he shi ji,Nei rong bao kuo:er gong jia de shi fa,Fu bu jia de shi fa,Ying ding de shi fa,Qing mu cun de shi fa,Wu shan de shi fa,Xiao tian yuan shi fa,Xiang dou di qu de shi fa,Xia guan shi fa deng.

Ben shu yi "zhou xin shi dai" Zhongguo wen hua ren wen xing te zheng xing cheng ji qi dui Zhongguo zhe xue te zhi de su zao wei qie ru dian, zai xi tong shu li ru xue xin xing lun de ji ben zhu ti he li shi fa zhan, jie shi qi te zheng de ji chu shang, cong dao de yu sheng ming, dao de shi jian deng fang mian dui tang jun yi dao de xing (...) shang xue jin xing le shen ru de yan jiu. (shrink)

Ben shu zhu zai zhang xian ru jia yi li zai xiu dao fan chou de te se, Bao kuo wang chuan shan liang duan yi zhi lun yan yi, Bian zheng si wei yu shi jian zhi he, Zhong guo ren wen chuan tong yu xian dai jiao yu.

Di 1 ce. Cang shan ji, zi cang ji shi, "Xin zi xue" gou xiang -- di 2 ce. Zhi yan lu -- di 3 ce. Shang lin ji -- di 4 ce. Cun ya tang yi gao jiao bu -- di 5 ce. Nan Song yi min shi ren qun ti yan jiu, Zhuangzi shi ri tan -- di 6 ce. Zhuangzi shu mu ti yao -- di 7 ce. Zhuangzi xue shi (yi) -- di 8 ce. Zhuangzi (...) xue shi (er) -- di 9 ce. Zhuangzi xue shi (san) -- di 10 ce. Zhuangzi xue shi (si) -- di 11 ce. Zhuangzi xue shi (wu) -- di 12 ce. Zhuangzi xue shi (lu) -- di 13 ce. Zhuang xue shi lüe -- di 14 ce. Zhuangzi quan ping (shang) -- di 15 ce. Zhuangzi quan ping (xia) -- di 16 ce. Zhuangzi zuan yao (yi) -- di 17 ce. Zhuangzi zuan yao (er) -- di 18 ce. Zhuangzi zuan yao (san) -- di 19 ce. Zhuangzi zuan yao (si) -- di 20 ce. Zhuangzi zuan yao (wu) -- di 21 ce. Zhuangzi zuan yao (lu) -- di 22 ce. Zhuangzi zuan yao (qi) -- di 23 ce. Zhuangzi zuan yao (ba) -- di 24 ce. Zhuangzi zuan yao (jiu) -- di 25 ce. Zhuangzi jin gu (shang) -- di 26 ce. Zhuangzi jin gu (xia) -- di 27 ce. Mengzi jin gu -- di 28 ce. Mozi jin gu -- di 29 ce. -- Xunzi jin gu -- di 30 ce. Zhou Han wen chao -- di 31 ce. Shu jing lüe ying. (shrink)

Ben shu fen li shi yu wen hua nei han,Shan zong li shi yu wen hua,Dao jiao li shi yu wen hua,Tian ren he yi de si xiang nei han deng duo ge lan mu lai jie shao ru jia si xiang.

v.1. zhe xue de mu guang -- v.2. shu ren de shi jie -- v.3. tan suo zhen shan mei -- v.4. chong gao de wei zhi -- v.5. zhe xue guan yan jiu -- v.6-7. bian zheng fa yan jiu -- v.8-9. zhe xue tong lun.

In lieu of an abstract, here is a brief excerpt of the content:An Exegetic Study of the So-Called Proposition of Confucian AestheticsWang Yi (bio) and Xiaowei FuSince Wang Guowei and Cai Yuanpei introduced the concepts of aesthetics and aesthetic education, respectively, to China in the early twentieth century, there has been a strong tendency in many of the aesthetic discussions to examine ancient texts and materials using modern concepts of aesthetics. In particular, sentences with the character-word mei1 are often sought (...) in classical works and interpreted as speeches on or about beauty, which has led to frequent misunderstandings of the classical texts and of the ancient Confucian aesthetic theory.The most typical among these misunderstandings, we think, is the misinterpretation of one of Mencius's remarks on the goodness of human nature-"To possess these qualities of goodness fully is beautiful" (Chongshi zhiwei mei)2-as a representative statement of the Confucian aesthetic theory of "the union of the beautiful and good." Although it is not clear who was the first to put this interpretation forward, it is now widely accepted and almost unquestioned that the statement "Chongshi zhiwei mei" is the classical proposition of the Confucian aesthetic theory after countless repetitions by aestheticians and educationalists. And extended from this is the claim that "the union of the beautiful and good," or the union of the moral and beauty, is the traditional theory of Confucian aesthetic education.3 Finding it coincidentally in accordance with the idea of "the union of the beautiful and good" in both the Soviet and Greek philosophies, aesthetic educators are apt to admit that aesthetic education is included in moral education or aesthetic education is but one of the means of moral education; thus, aesthetic education cannot be an independent subject. [End Page 80]It is rather surprising that in spite of the wide interest in quoting this sentence, very little in the textual research and criticism has offered convincing proof that it is really Mencius's opinion about beauty or aesthetic theory and therefore-since he is the most influential Confucian educator and philosopher after Confucius-representative of the aesthetic theory of Confucianism.Actually, the proper analysis of the meaning of the word mei in this statement by Mencius has long been a controversial issue in Chinese history. There have been two main approaches: mei as an equivalent of shan (good/ goodness) and mei as a synonym with its modern Chinese counterpart. The former is taken by Zhao Qi,4 according to whom mei in this statement is a term used to explain a level of shan. This analysis is further developed by Sun Shi,5 who argues that mei is the third level of the six shan. Likewise, Yang Bojun,6 among other modern scholars, also considers mei an equivalent of shan. The latter approach, on the other hand, is pursued by Zhang Zai, Zhu Xi, Jiao Xun,7 and many modern aestheticians, who all interpret mei as "beauty" or "beautiful" in the aesthetic sense.The main interest of the present analysis is an attempt to decode the genuine meaning of the statement. With references to ancient dictionaries like Origin of Chinese Characters8 and exegetic works (from 206 bc to the modern times) of Mencius, this article attempts to contextualize mei in the original text and historical context in order to interpret the meaning of the sentence and the real intention of Mencius. In this way we hope to determine whether it can be regarded as the proposition of Mencius or the Confucian aesthetic theory of "the union of the beautiful and good."IIn the first part of this article we shall offer a contextual study of the sentence with reference to two of the ancient interpretations of the theme of the passage and the meaning of the character mei. By investigating the context of the sentence "Chongshi zhiwei mei" we argue that the theme of the passage is a discussion of the six levels of shan (goodness).The context of the sentence comes from a passage in Mencius (Jinxin part 2), which begins with Mencius talking with Haosheng Buhai about one of his disciples, Yue Zhengzi, who was reported to embark in a political career in the State... (shrink)

Mengzi dui yu ru jia si xiang he Zhonghua wen ming de gong xian ju gong zhi wei, xue xi ru jia si xiang, chuan cheng Zhonghua wen ming, yang cheng du li ping deng de ren ge, bu neng bu du"Mengzi". "Mengzi" shi yi bu zheng zhi shu ji, jiang de shi wei jun zhi dao. Yi ci wei xian suo, ben shu zai shu li Mengzi qi ren de ji chu shang, zhuo zhong cong xing shan lun, (...) ren zheng lun he ren ge lun san ge fang mian chan shu liao Mengzi de si xiang ti xi. (shrink)

Di 1 juan. Da kai yu zhou de ling yi shan men -- Di 2 juan. Guang yi yu xia yi sheng ming shuo -- Di 3 juan. Wo cong na li lai, you dao na li qu -- Di 4 juan. Jin ru yin xing wu zi shi jie.

1. Huai hai yi tan ; Si shu jin yu -- 2. Zuo cui ti ping -- 3. Zhuang yi yao shan -- 4. Sun Shanfu du xue wen ji ; Xue kong jing she shi gao ; Lun xia xi guan shi zhu sheng xi wen ; You xin yao cao ; Ji yi ; Sun Ying'ao bei ke ji yi.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Spirit Stones of China: The Ian and Susan Wilson Collection of Chinese Stones, Paintings, and Related Scholars' ObjectsGraham ParkesSpirit Stones of China: The Ian and Susan Wilson Collection of Chinese Stones, Paintings, and Related Scholars' Objects. Edited by Stephen Little. Chicago: The Art Institute of Chicago in association with University of California Press, 1999. Pp. 112.Let me introduce Spirit Stones of China: The Ian and Susan Wilson Collection (...) of Chinese Stones, Paintings, and Related Scholars' Objects (edited by Stephen Little) with this quotation:The purest essence of the energy of the heaven-earth world coalesces into rock. It emerges, bearing the soil. Its formations are wonderful and fantastic. Some with cavernous cliffs, revealing their interior; some with peaks and summits in sharp-edged layers.... Within the size of a fist can be assembled the beauty of a thousand cliffs. Rocks large enough to be set up in great courtyards, small enough to be set upon a stand. Like gazing upon the peaks of Song Shan, or facing the entire range of the Meng mountains; sitting quietly, your imagination purified.... The Sage [Confucius] once said, "the humane man loves mountains," and the love of stones has the same meaning. Thus, longevity through quietude is achieved through this love.This passage articulates the very different understanding of stone—as "essential energy" rather than mere matter—that underlies the traditional Chinese passion for rock collecting and appreciating, for which even the terms "petromania" and "litholatry" seem too weak. It comes from the preface to the earliest surviving Chinese manual on the topic, Du Wan's Stone Compendium of Cloudy Forest, compiled in the early twelfth century, and is quoted by Stephen Little in his erudite and informative introduction to this magnificent catalog for a unique collection of "spirit" or "strange stones" (guai shi) and other scholars' articles. This essay nicely complements and amplifies ideas set forth some fifteen years ago by John Hay, in his now classic introduction to the catalog Kernels of Energy, Bones of Earth: The Rock in Chinese Art (New York: China House Gallery, China Institute in America, 1985).Most cultures appear to begin with a natural reverence for stone in its natural state—one thinks of the Druids, the Indian tradition, the Polynesians, Native Americans, and Australian aboriginal culture—and many seem to retain that reverence as they develop. Indeed, when seen in a global perspective, the general lack of interest in (or respect for) rock in its unhewn state that characterizes the European and Anglo-American traditions seems idiosyncratic. But Chinese culture definitely has the longest and most enthusiastic tradition of collecting stones and arranging rocks in gardens: "strange stones" figure among articles of tribute offered to the mythical emperor Yu (mid-second millennium B.C.E.), and the emperor Wu Di (second century B.C.E.) is recorded as having had rocks arranged in the gardens of his palace. [End Page 306]Stephen Little's essay gives an eloquent account of the development of the practice of stone collecting in China, delineating its relationships with poetry and painting and other arts and practices, and containing numerous translations of passages from primary sources otherwise inaccessible to the non-reader of Chinese. Most of the rocks in the catalog are of the well-known Lingbi (sonorous) and Ying types, but other kinds are represented, too. The editor also supplies a context for appreciating the paintings, scrolls, and other articles from scholars' desks that are in the catalog: brush rests, inkstones, brush holders, and so forth. The sixty-six items from the collection are represented in excellent black-and-white photographs.The book is beautifully designed and produced—and is indeed a work of art in itself with its handsome, dark blue Chinese-style case. All in all, this a stylish and informative contribution to the growing literature on a philosophically fascinating topic. [End Page 307]Graham Parkes University of Hawai'iCopyright © 2001 University of Hawai'i Press... (shrink)

jild 1. ʻIbādāt -- jild 2. ʻĀdāt -- jild 3. Muhlikāt -- jild 4. Munjīyāt.