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王叔岷号慕庐，四川简阳人。1935年，就读于四川大学中文系，1941年考入北京大学文科研究所，师从傅斯年、汤用彤先生。后任职于中央研究院历史语言研究所。1949年后，任台湾大学中文系副教授、教授。1963年后，先后任教于新加坡大学、台湾大学、马来西亚大学、新加坡南洋大学等校。1973年，自中研院史语所及台湾大学中文系退休，仍担任史语所兼任研究员及中国文哲所筹备处咨询委员。

学术文章风格因人而异，好比人的性格不能强求一律。所谓“文如其人”，即指文章风格，也指人的品格。写文章离不开技巧，要有基本训练。

西南联大的学术讲坛，也吸引了外省学者的兴趣。

从熊先生和许多良师益友的身上，使我懂得了应当走的路和如何去走。教训深刻，而又使我铭记不忘的，使我首先想到的是熊先生。熊先生这个人，以他的存在向人们展示了一种哲学的典型。一生坎坷，没有遗产留给儿孙，家庭关系处理得也不尽妥善。几十年来，没有见他穿过一件象样的考究的衣服。伙食注意营养，却不注意滋味，甚至可以说他吃了一辈子没有滋味的饭，人们认为值得留连的生活方式，对熊先生毫不沾边。熊先生博览群书，不讲究版本，手头藏书很少，可以说没有藏书。我认识的学者中，熊先生是唯一没有藏书的学者。别人也许觉得他贫困，他却显得充实而丰足。别人也许认为他不会安排生活，他却过得很幸福、坦然。他也象普通人一样，有时为了一点小事发脾气，过后，却深自谴责，好象雷阵雨过后，蓝天白云分外清新，他胸中不留纤毫芥蒂，真如古人所说的，如光风霁月。他具有只有他才具有的一种人格美。

任继愈专著、主编、学术论文、序跋、随笔等目录。

近年来，教育部及国内的很多大学开始在人文教育上进行探索，北大的元培班、清华的通识教育都是一种尝试。各大学在人文教育上所做的探索，从根本上说，是在回应中国文明崛起、中华民族复兴的历史使命。

问题的关键在于，中国的现代大学能否担纲中国文明的崛起、中华民族的复兴，中国大学的人文教育能否唤起中国人的文化自觉。首届中国文化论坛选择“中国大学的人文教育”作为议题，决非偶然。诚如清华大学人文与社会高等研究中心主任李学勤所言，“这是一次与国家发展前景密切相关的重要讨论。”

环境污染问题需要很多部门环节的协调工作来解决。明显些的比如工厂生产、污水处理。不那么明显的，比如景观设计。不得踩踏的整齐人工草坪现在是主流了，然而在干旱的北方，生命力强的野草实在不应当都被需要大量水灌溉的进口草种取代，这不仅是出于环保的考虑，也是保护物种多样化与地方景观特色。－－人文与社会

访谈人：张旭东，美国杜克大学文学博士；纽约大学（NYU）比较文学系教授；东亚研究系教授、系主任。中英文主要著作包括: Chinese Modernism in the Era of Reforms; Postsocialism and Cultural Politics; 《批评的踪迹》；《全球化时代的文化认同》，等。
采访人：姜异新，北京鲁迅博物馆副研究馆员，北京师范大学文学院博士后，约翰·霍普金斯大学历史系访问学者。（以下简称张、姜）

 The Nursery of GeniusA brief survey of ten magazines of influenceBy Nicholas Sabloff“A magazine,” Thomas Paine said, “is the nursery of genius.” Upon moving to America, Paine became a contributor and editor at the Pennsylvania Magazine. Not long after, he published Common Sense, the pamphlet that defined the American Revolution.Generations of young writers and thinkers have been drawn to what is an elusive project: to create a magazine that makes an indelible mark on the course of politics, art, literature, and history. Such idealists have persevered in the face of the debt, disillusionment, meager circulation, and general indifference from which all but a few of these publications inevitably perish.What follows are brief sketches of a certain variety of little magazine, “little” (with the exception of the American Mercury) by virtue of their circulation. They are not zines or self-published pamphlets or policy journals, all of which may also be entitled to a claim of littleness. The magazines here are united in their commitment to forwarding the causes of literature, high art, and politics; they are best remembered for helping to establish canonical writers and for their contributions to the intellectual culture of their day. The spirit of such magazines was perhaps best captured by Lionel Trilling in the 1950s when he wrote, “They are snickered at and snubbed, sometimes deservedly, and no one would venture to say in a precise way just what effect they have . . . except that they keep a countercurrent moving which perhaps no one will be fully aware of until it ceases to move.” The Dial, Boston1840-1844  Often considered the progenitor of the “little” magazine in America, the Dial was founded by “Transcendental Club” members Margaret Fuller and Ralph Waldo Emerson. Like many little magazines, the Dial was conceived out of frustration with the other journals of its day. Emerson used the second issue to call for a native literature that represented American culture. To this end, the magazine published obscure writers and poets, most of whom remained that way. The most notable exception was its most popular contributor, Henry David Thoreau. The Transcendentalists’ interest in Eastern religions and philosophy brought the magazine more mockery than readers (“ethereal” was a common complaint): it never had more than 300 subscribers and Emerson came away from the project $300 the poorer. The magazine’s influence, however, has lived on. Resurrected countless times, in the 1920s the Dial became the premier Modernist magazine in the U.S. (it brought T.S. Eliot’s “The Waste Land” to American readers) and gave birth to a publishing house, the Dial Press, that carries on to this day. Poetry, Chicago1912-Present The flourishing of Modernism in the first decades of the twentieth century coincided with a renaissance in American literary magazines. Harriet Monroe’s showcase for American poetry was at the center of this efflorescence. Poetry published T.S. Eliot’s groundbreaking “The Love Song of J. Alfred Prufrock” in 1915. The poem had been passed along to Monroe by the magazine’s foreign correspondent, Ezra Pound. Poetry’s early years featured Pound’s promotion of imagism and, following the publication of Carl Sandburg’s “Chicago,” passionate defenses of free verse. It published early work by Marianne Moore, Hart Crane, Wallace Stevens, and Edna St. Vincent Millay. The initial pay rate: a generous $10 a page. The amount the magazine received in a bequest from pharmaceutical heiress Ruth Lilly in 2003: $100 million.The Masses, New York1911-1917 The Masses advocated for progressive causes such as socialism, pacifism, vegetarianism, and birth control, and published such progressives as Helen Keller, Jane Addams, and Bertrand Russell. The furious satires penned by its cartoonist, Art Young—he pilloried everything from the press to Jesus, and depicted capitalism as an overstuffed bald eagle—brought the magazine its share of controversy and notoriety. Edited by Columbia professor Max Eastman, the Masses was radical enough to print the intrepid American journalist and revolutionary socialist John Reed and antiwar enough to run afoul of the Espionage Act in 1917, resulting in a series of trials that led to the magazine’s demise. After folding in 1917, Eastman and his colleagues returned a year later with theLiberator. Many of these same editors, though not Eastman, regrouped in 1926 to launch the more overtly Marxist New Masses.The Criterion,London1922-1939T.S. Eliot edited Modernism’s most famous magazine at night after coming home from his job at Lloyds Bank. The Criterion’s editorial office was his house. From these modest origins sprung a debut issue containing “The Waste Land” and a magazine that, in its first year, received contributions from Luigi Pirandello, Virginia Woolf, Ezra Pound, E.M. Forster, and W.B. Yeats. In his effort to convey a European consciousness unlike  that found in other magazines of the time, Eliot’s Criterion became the first periodical to publish Proust in English. Eliot spent the following years trying to establish such writers as W. H. Auden, Stephen Spender, and Wyndham Lewis, while simultaneously expounding his defense of classicism, tradition, and Catholicism. The magazine never reached more than 800 subscribers and Eliot somewhat dispiritedly ended the Criterion in 1939.The American Mercury, New York1924-1980H.L. Mencken conceived the American Mercury as a magazine capable of taking in the whole absurd carnival of the American scene during the Jazz Age. Irreverent, learned, iconoclastic, and satirical, the magazine became indistinguishable from Mencken himself. It furiously lampooned his favorite targets— creationists, Prohibition, the “booboisie”—in the pungent style of its editor. The premier literary tastemaker of his time, Mencken published fiction by William Faulkner, F. Scott Fitzgerald, Thomas Wolfe, and Sherwood Anderson alongside articles written by convicts, clergyman, lawyers, dishwashers, and outdoorsmen. At its peak, in 1928, the American Mercuryhad 84,000 subscribers. The magazine lost momentum after 1929 when Mencken’s satirical edge, defense of laissez-faire economics, and disdain for the proletariat put him out of step with the culture of the Depression era. The man Walter Lippmann once referred to as “the most powerful influence on this whole generation of educated people” left the magazine in 1933.Partisan Review,New York1934-2003It has been said of Partisan Review that despite rarely having more than ten thousand subscribers, it had the right ten thousand subscribers. When people get nostalgic for the golden days of the “public intellectual” in America, Partisan Review is never far from their minds. Though it began under the auspices of the arts branch of the American Communist Party, the magazine’s founding editors, William Phillips and Philip Rahv, soon parted ways with the party’s embrace of Stalinism. Staunchly anti-Stalinist and a defender of high art,Partisan Review was a magazine in which Rahv’s critiques of Marxism were followed by Eliot’s “Four Quartets.” The flagship publication of the New York Intellectuals, Partisan Review published Lionel Trilling, Irving Howe, Dwight Macdonald, Hannah Arendt, Mary McCarthy, and such classic essays as Clement Greenberg’s “Avant-Garde and Kitsch” and Susan Sontag’s “Notes on Camp.” The number of little magazines—Macdonald’s Politics, Howe’s Dissent—started by its former contributors over the years, often following an intellectual falling-out, testifies to its influence.Les Temps Modernes, Paris1945-PresentJean-Paul Sartre launched Les Temps Modernes one year after the liberation of France and at the height of his fame as a novelist, playwright, literary critic, and philosopher. It was truly a magazine of the moment and quickly became the leading exponent of Existentialism. (It, too, peaked at ten thousand subscribers.) The magazine published such titans of postwar experimental literature as Samuel Beckett, Jean Genet, Raymond Queneau, and Marguerite Duras, as well as Sartre’s monumental literary manifesto, “What Is Writing?” The magazine’s name, taken from the Charlie Chaplin filmModern Times, reflected Sartre’s belief that engagement with the present moment was man’s duty. Sartre also believed in the pen’s ability to ignite political change, and in its first decade,Les Temps Modernes condemned capitalism and colonialism, and demanded that France depart from Indochina and Algeria. By the early 1950s, Sartre’s Soviet sympathies had caused all the original editors but Simone de Beauvoir to depart, and it was on the pages of Les Temps Modernes, in one of the defining moments of 1950s intellectual life, that Sartre and Albert Camus’s friendship ended as the two quarreled bitterly in print over Stalinism.The Paris Review,Paris/New York1953-PresentThe Paris Review, which began life in hopes of recapturing the literary spirit of 1920s Paris, wanted to serve its writers, and George Plimpton, its charismatic co-founder and editor, was not bashful about engaging in a little showmanship to ensure that their voices would be heard. While never as fervently countercultural as Barnet Rosset’s more European-orientedEvergreen Review, in its early years the Paris Review helped to launch Terry Southern, Philip Roth, and Jack Kerouac, and was the first to publish Samuel Beckett in America. Its “Art of Fiction” interviews have become an institution unto themselves. Forever hovering around ten thousand subscribers, the magazine is still going strong despite Plimpton’s death in 2003 and despite the belief of one of its founding editors, Peter Matthiessen, that “little magazines should have short lives and then disappear.”The Baffler, Chicago1988-presentFounded by Thomas Frank, the Baffler modeled itself after Mencken’s American Mercury, and like his idol, Frank loved to cause mischief by exposing the absurdities and delusions of the “booboisie.” Unlike most little magazines, the Baffler was built around an explicit thesis: that American business culture had co-opted the very idea of dissent by making it a commodity. The magazine spent the 1990s ridiculing one instance after another—from the Gen-X rebel consumers at Details to the peddling of “alternative” culture—in which subversion and rebellion were marketed as lifestyle choices and the counterculture was used only to reinforce the logic of late-twentieth-century capitalism. Despite only publishing seventeen issues to date, the magazine has two anthologies of essays to its name. These days, Frank can be found on the punditry circuit, having brought his critique of the culture wars into the mainstream with his 2004 book What’s the Matter with Kansas?n+1, New York2004-Present  Over the course of only five issues n+1 has laid claim to being the most important new little magazine to emerge from post-9/11 America. Although its small circulation pales in comparison to such coevals as the Believer and McSweeney’s,n+1 has caused an impressive amount of commotion by responding polemically to the present era. Beyond liberal politics, the editors’ other great passion is the defense of the literary novel: the magazine openly declares itself a descendent of the high seriousness and sense of tradition of Partisan Review. Yet the magazine’s self-conscious tone and its ability to shift casually from discussions of European theory to dissections of pop culture are unmistakably contemporary. In recent issues, the magazine has begun focusing its breezy editorials on exploring the effects that such cultural phenomena as dating, casual sex, porn, and the omnipresence of cell phones and email have had on contemporary consciousness and the experience of everyday life.http://archives.jrn.columbia.edu/nyrm/2007/sabloff_well.html

梭罗素食的原因及其他。有些人素食不是因为毛茸茸的小动物可爱，更严肃的理由有清洁，节约，反对暴力，把女性从与处理肉食相关的繁重厨房劳动中解放出来，等等。

7月5日至7日聚在汕头大学讨论“中国人文社会科学三十年”的那些各领域学者而言，从更长的历史视野来反思和总结改革开放三十年以及此一时期的人文社会科学状况，则是基于一种文化自觉。这一主题为“中国人文社会科学三十年”的学术论坛，系由李嘉诚基金会支持的“中国文化论坛”的第四届（2008）年度论坛。由于篇幅的限制，本文并不试图全面介绍此次论坛讨论的基本情况，只是从部分议题入手呈现学者们在这三天对“中国人文社会科学三十年”的一些思考。因此这里只根据主题需要引述部分讨论，会议述要会另有专文及出版物。

阿拉伯之春对考古产生何等影响？陕西战国墓中的一锅肉汤是什么肉做的？美刊《考古学》评选2011年世界十大考古事件

德国小说家与法国社会学家就新自由主义把政治倒退成功地变成社会进步的标准，以及就启蒙运动在欧盟中这两大文化的命运交流意见。