越南某磷矿工艺矿物学研究

利用偏光显微镜、能谱仪、扫描电镜、XRF及MLA系统等对越南某磷矿进行了工艺矿物学研究.结果表明,该磷矿中P2O5含量为21.85％,为低品位磷矿,有害元素主要为SiO2,含量为34.73％,工业类型为硅质及硅酸盐型磷块岩;P2Os主要赋存在碳氟磷灰石中,少量赋存在银星石中;矿样中碳氟磷灰石主要为碎屑状、自形短柱状、微...     

Invisible Hands and Unseen Worlds Photography as a Projected Shadow Writing Photography in the Second Degree Victorian Scrapping A Sense of Place Margaret Watkins Everything's a Memory

This paper considers some of the ways in which compassion is framed in photojournalism focused on the USA at war – specifically, selected images by Larry Burrows in the Vietnam War and by Jean-Marc Bouju in the War in Iraq. Their work illustrates some of the tensions that attend the role of the photographer-as-witness and trouble the visual iconography of compassion in war photography.     

稀土功能材料2035发展战略研究

这是一篇冶金工程领域的论文。针对越南安沛地区某铁矿尾矿磁选后得到的含稀土富集物无法直接利用问题,采用硫酸焙烧工艺、萃取富集转型技术对其进行实验开发,考查硫酸焙烧、水浸、除杂、转型等过程的工艺参数对实验效果的影响,确定较佳工艺技术条件。实验表明,采用酸矿比（体积∶质量）=0.7,焙烧温度250 ℃,焙烧时间2 h,浸出水∶矿=4进行焙烧和水浸,以除杂剂浓度0.1 g/mL,除杂终点pH值=4.2进行除杂,以O∶A=1.5~2进行5级逆流萃取,O∶A=10∶1进行5级逆流反萃,整体收率可达90.1%~92.88%,稀土浓度在1.5 mol/L左右,杂质铁、铝含量均低于100 mg/L,满足工业化应用的需求,实现对越南安沛铁矿伴生稀土资源开发利用。     

越南邮电通信发展概况

邮电通信是越南发展最快的领域。本文介绍越南通过引入竞争机制，引进外资和国外先进技术发展邮电通信的概况，列出了近年越南邮电通信发展的主要数据和开展国际电主合作经营的主要项目。     

中越风荷载规范对比研究

本文评价了中国和越南两国建筑荷栽规范中关于风荷载的计算方法，比较了两种规范要求的异同，同时分析了产生差异的原因；最后，以具体工程为例，说明了在具体设计时所要注意的问题。     

浅谈中越经济技术合作项目前期的管理

从要充分了解投资国的政治、经济发展政策和有关法律、法规、要充分调查投资国的自然资源条件和基础设施情况等方面论述了中外技术合作前期的几个重点工作。     

越南能源战略发展趋势及启示

越南的油气资源主要集中在海域,石油剩余可采储量居亚太第三位。越南是我国近邻,部分油气勘探开发活动进入我传统疆域。我们研究越石油工业发展历程,厘清其能源发展重点及趋势,这对维护我国南海权益,保障国家能源资源安全具有重要的现实意义。     

Seeing syncretism as visual blasphemy: critical eyes on caodai religious architecture

ABSTRACT

The exuberant, eclectic architecture of the Caodai Holy See in French Indochina was described as a “grotesque combination” of European and Asian elements by several famous writers and this sense of horror served to construct a notion of “visual blasphemy” which merged aesthetic and ethical elements. Architecture is always read and misread though a cultural lens. It has been argued that the colonial “world as staged” (Mitchell 1999) produced its own “reality-effects,” so I argue that an anti-colonial counter project of large public works tied to an innovative Asian synthesis of world religions served not only to bolster the morale of a once downtrodden people but also to convince them of the historical inevitability of their triumph. Caodaism was a new religious movement followed by 3 million people in French Indochina and its daring and “presumptuous” architecture was a visual act of insurrection, an iconographic revolution designed to precede and prepare the way for the political revolution to follow.     

越南漆画艺术

20世纪二十年代以来,越南的漆画艺术迅速发展并逐渐成为现代漆画世界中的佼佼者。其后,历经60多年的发展嬗变,越南漆画享誉国际,对世界各国现代漆画事业产生重要的影响。1986年,越南结合自身实际并从中国的改革开放中摄取经验开始其"革新开放"。在新的国家发展方针下,越南的漆画艺术事业承载其优良基础进入到一个崭新的发展阶段。