阿拉伯史学抑或伊斯兰史学在国内的研究多借助于阿拉伯语或英语的二手资料，直接从一手文献入手的历史学者十分鲜见。郭黎老师将系统梳理公元8世纪到16世纪阿拉伯语历史文献的发展历程，历史分期，文体风格，以及每一阶段的代表作家和时代特征。报告还会兼及阿拉伯语史学著作和理论对波斯史学、莫卧儿史学的影响。

In this talk, I would teach some of the key poems dealt with in my essay, “Gender Poetics in Jewish American Poetry,” which was published in the Cambridge History of Jewish American Literature, ed. Hana Wirth-Nesher (Cambridge UP, 2016). The poems would include works by Penina Moise, Emma Lazarus, Celia Dropkin, Anna Margolin, Malka Heifetz Tussman, Adrienne Rich, and Marge Piercy.

Whether today’s modern societies are capitalist, socialism (or capitalism) with Chinese characteristics, non-human animals in these societies are victims of the current unbridled process of the global market economy. Animals become caught up in the eternal loop of production, consumption, and post-consumption - a journey as capital, garbage, or anything else except as sentient beings with affective capacities. One way to look at the emerging field of animal humanities is not only as a discursive engagement to reassess the human-animal divide, but more proactively, as most cultural criticism does, as a way to also generate political or social change.
This article sets out to render a more positive tone by asserting that, in dealing with contemporary systematic creation of animal capital and wasted animal, the film medium is more effective when perceived as an agent of redemption. The documentary genre in particular is capable of helping non-human animals break away from the viscous loop of the capitalist production chain through its visual, investigative, and other cinematic apparatus. In developing the idea of documentary redemption and hope, I first trace, by way of Nicole Shukin’s work, the entanglements of animals in the early film industry where animals are exploited materially by this industry and conceptually exploited for the advancement of a capitalist manufacturing process. Here, I see filmic redemption, at a rudimentary level, as a self-redemptive one: to redress/make amends for the material practice of the traditional film practice through the shift to digital film. The second idea of animal redemption is examined in light of animal documentary activism. What narrative and aesthetic strategies do filmmakers use to prompt post-cinematic change or action? What affects are appropriate for an animal advocacy film? In recognizing the potential negatives of documentaries to traumatize, terrorize, and numb the audience by cataloging the cruel reality of animal violence and suffering, I contend that the documentary genre actualizes its activist potential when it is conceived as a positive and affective technological apparatus of hope and aspiration. The following films (mostly documentaries) from multiple localities will be discussed: The Plastic Cow (India), Three Flower/Tri-Color(China),Twelve Nights (Taiwan), The Ivory Game (Australia), and four Asian Black Bear rescue documentaries from Australia, China, and Vietnam.

以往对中西近代思想的研究，主要停留在具体人物思想的研究上，而对总体的比较研究成果不多。中西近代思想比较需要有体系性的研究纲领。该报告采用结构发生学的研究方法，粗线条地对中西近代思想的结构差异做了浏览，并对其发生途径的殊异作了探究，是中西比较思想史研究的一次富于新意的尝试。
演说者认为，中国封建社会遗留下来的思想文化体系没有为中国近代和现代戏思想的产生提供积极的要素，新文化运动的主将只得从西方去取经。在伴随资本主义经济扩张到来的西方文化传播面前，奢谈发展中国家在文化发展中坚持自己的传统，走原生型的道路，并不具有现实性。

文学研究院中国古代文学讲座
主持人：上外文学研究院张煜研究员
讲座简介：苏轼的巜念奴娇（大江东去）》词堪称千古绝唱，当然可以而且允许有多种解读。但是，任何一种单独视角的观照，都不足以掘发其中富含的深厚文化意蕴和高妙的文学文字艺术。以文化解宋，以宋解苏，以苏解词，以诗解词，以地解词，以词解词，以词还原黄州时代的苏，以苏还原赤壁还原苏轼时代的宋人及其心态，是我们读＂大江东去＂词应取的视角、方法、路径，应有的心理准备、心理状态和思考方向。

拟讨论的问题：古汉语和古突厥语的接触
虽然“突厥”一词出现在史书中较晚（636年），但突厥族和汉族的接触却不是从唐朝时期才开始的。据史料记载可知，突厥的族源可追溯至商朝的“鬼方”，自商周时期突厥先民就已经与汉民族有密切的接触。这种接触导致语言中出现大量对应词语，比如汉语的“听”和突厥语tɨŋlɑ-“听”、“尺”和突厥语çı:ğ“尺子”等等。本报告以民族、族源为切入点，主要介绍上古时期两种语言的接触情况、研究现状以及对现有研究方法的反思。欢迎感兴趣的老师和同学参与讨论，为我们提供宝贵建议。

拟讨论的问题：
本次课题研究学术沙龙是针对国家社会科学基金项目“互动语言学视野下的汉语语气成分的功能与兼容模式”进行的第一次学术沙龙，相对宏观地介绍和讨论以下几个问题：
1、本课题的研究对象、总体框架、重点难点、主要目标。
2、本课题的研究思路、研究方法、工作安排。
3、本课题的实施情况、存在的问题。
上述问题的讨论将结合一些具体的语言事实展开。