自然的追寻——卢梭“回归自然”思想初探

在近代法国启蒙运动中 ,卢梭是最特殊的一个思想家。在高倡科学精神、推崇理性至上的时代大潮中 ,他高举“回归自然”的大旗 ,对当时的文明社会进行了猛烈的批判 ,从而完成了另一种意义上的启蒙。由于他的思想涵盖哲学、政治、伦理、宗教、教育、文学等诸多方面 ,因此作为其思想的逻辑起点的“自然”观也具有丰富的内涵。(一 )自然状态与自然人性在整个思想体系中 ,卢梭往往在不同的意义上多次使用到“自然”这一概念。有时是实体概念 ,指称与人类社会相对而言的自然界 ;有时是价值概念 ,意指自然规律、顺应自然等。有时是批判社会的一把利…     

德莱姆作品中的幸福观

德莱姆是细微主义文学的重要代表作家。“幸福”是贯穿其所有作品的根本主题。德莱姆作品中体现出来的幸福观具有返朴归真的特点,它强调关注日常生活,并从中积极探寻一种以“简单”、“慢”为主要特征的闲适生活。这与节奏不断加快、竞争日益激烈的当代社会生活形成鲜明对比。本文主要以德莱姆的两部短文集即《第一口啤酒的滋味》和《被打扰的午睡》为例,从亲近自然、回忆以及感觉主义三个方面论述作者的幸福观,希望对当代人的生活有所启示。     

法语动画短片《种树的人》之物质焦点与生态意蕴解析

弗雷德里克·贝克的动画《种树的人》集文学、绘画和音乐多元艺术表现形式为一体,以生态整体主义视野讲述人类与自然构建的命运共同体。首先,灰白、赭黄为主的初始色调营造的荒芜感渲染生存的危机,融合第一人称旁白讲述的故事强调人性异化所导致的人类与自然的危机;其次,远景镜头构建的叙事空间让人类退出画面中心,强调自然的独立性与主体性,否定人类中心主义。而后青绿、蔚蓝等多重色彩的画面转变隐喻村庄再生后的生机,还原自然的本真美感,描绘生态整体观下人与自然的和谐共生;最后,背景音乐与自然之音交融,自然以本原的声音“叙述”生态的变化,描绘生态和谐的人类诗意栖居地风景。     

北欧绿党与欧洲一体化:以瑞典和芬兰为例

无论从议会政治实力还是选举支持稳定性方面来看,瑞典和芬兰绿党都是北欧地区最具代表性的绿党。但是,对其欧洲一体化立场的形成过程及其主要内容的分析表明,它们之间并不存在一种内在一致的、欧洲一体化政策上的“欧洲怀疑主义”,而是在明显地走向两个不同的方向。北欧绿党欧洲一体化政策异质化发展的成因可以归结为两个方面:一是绿党生态主义的“绿色欧洲观”在从理想主义向现实主义转化过程中几乎必然发生的战略选择分化,在很大程度上就像它的生态主义政治意识形态在国内政治舞台上所正在发生的过程一样。二是北欧国家自20世纪70年代中期起开始到90年代中期基本结束的民族国家利益重新界定与建构过程的客观结果,使得这一在自然地理和政治传统上曾经相对均质的区域国家间有了更多的异质性因素。     

李白与李奎报酒诗同异试论

李白是中国唐代浪漫主义伟大诗人,李奎报为朝鲜高丽时代著名诗人,二人皆以好酒传名于世。而就酒诗看,李白与李奎报也有相同之处,如酒诗浪漫主义的风格、吟志抒怀的内容、“以气为主,以自然为宗”创作手法的运用等。但就二人酒诗相异之处而言,李奎报诗歌在浪漫主义手法之外,还采用现实主义手法,因而其作品写实内容多于李白,李奎报酒诗并有援禅入诗的创作手法。     

作者电影——浅析法国文学化电影的特点和实践

20世纪上半期，西方出现了大批文人、学者和作家加入到电影创作中，导致了文学技巧和思维理念等深层次的因素加入到电影创作中，它使得人们从传统的、认为改编意味着单纯从故事到电影的单向流动的视线困境中挣脱出来，认识到电影与文学关系出现多样化的可能性。这种多样化中最能为引人注目的是发源于法国20世纪60年代新浪潮之中的“作者”电影。基于此，笔者分析“作者电影”的核心理念和理想诉求。     

20世纪20年代俄国侨民界对欧亚主义的批评

20世纪20年代,欧亚主义在其诞生的俄国侨民界引发了激烈的争论,各个流派都从各自立场出发对其展开批评。以别尔嘉耶夫为代表的宗教哲学家把欧亚主义视为根本无法实现的乌托邦,是感情化的、非理智的运动;以米留可夫和基泽韦捷尔为代表的自由主义者将其视为极端主义和俄国种族主义;以弗洛罗夫斯基为代表的斯拉夫主义者视其为斯拉夫主义失败的、倒退的继承者。各派都承认欧亚主义是一股强劲的思想潮流,他们在毫不留情地批评欧亚主义主张的同时,亦指出其富有积极意义的一面。这些反响从另一层面凸现了欧亚主义的特点。     

吉奥诺与卢梭:返璞归真的文学自然观

卢梭宏伟的思想体系的根本点是"回归自然",他的文学创作也深刻反映了这一点。20世纪普罗旺斯作家让吉奥诺也是书写自然的伟大专家,甚至被誉为"卢梭的门生"。"自然"在两者的文学创作上都占有非常重要的地位,本文试从山川哲思的角度研究两位作家对自然与城市的文学表现,进而深刻揭示两者在文学创作上的自然观。     

美国联邦最高法院裁决中的自然法解释

虽然美国国内对于大法官在最高法院的司法审查中用自然法和自然权利学说来释宪是否恰当长期存在着争议,但是在美国最高法院的宪法解释和裁决中,自然法作为一种解释方法和论据从未消失过。立国初期,在塑造联邦国家与维护财产权方面,最高法院大量使用了自然法解释;随着19世纪末20世纪初期实体性正当程序的兴起,最高法院利用自然法捍卫自由放任主义和契约自由;20世纪后半叶,随着权利革命的来临及人们对捍卫个人自主性的诉求日益增强,最高法院大法官在涉及个人生活方式的案件中不得不再次使用自然法解释。     

新地区主义的特点与成因

从 2 0世纪 80年代后期起 ,由于两极体系对峙的缓和 ,欧洲单一法案的出台与实行 ,乌拉圭回合谈判中欧洲以“以一个声音说话”导致的对欧洲“堡垒”的担心 ,以及美国的地区主义政策转向等因素 ,使 70年代以来一度停滞的地区主义 ,重新掀起了发展的新浪潮 ,人们惊呼“地区主义又回来了”。[1] 伴随着两极体系的结束与全球化时代的来临 ,90年代的地区主义更是向深层次、多维度发展。为了将 80年代以来发展的地区主义与以前的地区主义相区别 ,学术界将之冠称为“新地区主义(ｎｅｗｒｅｇｉｏｎａｌｉｓｍ)”。[2 ]新地区主义的特点2 0世纪 80年…     

Noucentisme's “arbitrary” nature in the Mont-roig landscapes of Joan Miró (1918–1922)

The purpose of this article is to discuss the development of Joan Miró's aesthetics between 1915 and the early 1920s, and to offer an interpretation of a series of landscapes that he painted between 1918 and 1922, by highlighting their similarities with some of the landscapes described by Catalan writer Josep Pla in his Obra completa. Both Miró's and Pla's landscapes are situated within the context of Noucentisme and, more particularly, of Noucentisme's classicist aesthetics as defined by Eugeni d'Ors in his Glosari.     

从佐藤春夫的《星》看近代日本的中国想象

佐藤春夫的中国题材作品《星》是以中国闽南地区的民间传说"陈三五娘"为框架改编而成的,该作不仅寄寓了佐藤春夫个人的情感体验,同时也阐发了他的"东洋"美学。文章通过《星》与"陈三五娘"故事原型的比较分析发现,该作对"陈三五娘"故事做出3处改动,从中可见,第一、佐藤春夫的中国趣味仅仅是他的亚洲意识的载体;第二、东西二元对立的思维方式成为他的中国观的认知基础;第三、他依据达尔文的进化论这一西方近代主义的认知模式评价中国、判断价值优劣。由此可见,"中国"在近代日本历史上被严重地符号化乃至意识形态化,成为近代日本知识人试图对抗西方文明入侵,实现自我认同的手段和工具。     

日语中“风流”一词的语义溯源——以佐藤春夫的《“风流”论》为中心

日本近代文人佐藤春夫随着人生阅历、艺术体验的加深，他对个体生命的颓废性越挖越深，将目光转向日本传统美学“风流”一词的内涵阐释。他站在日本古典文学的高度，在东方人特有的美学观照下，将唯关的趣味与颓废的情绪结合起来，创造性地总结出日本人的“风流”观。本文试图就佐藤春夫的《“风流”论》进行阐述，并结合他的论述具体解析“风流”一词在日本文学、美学传统中的语义流变。     

Heroes, Villains and Women: Representations of Latin America in The Voyage by Fernando Solanas

This article provides a close study of Solanas's most ambitious film, The Voyage ( El viaje ). It examines the director's attempts to create a model of Latin American cinema in opposition to Hollywood aesthetics. The paper discusses the extent to which Solanas is successful in this project, and examines the ways in which he has been faithful to his political views. In addition, the paper challenges the film's representations of women, arguing that in this respect The Voyage fails in its attempts at radical filmmaking; the hero's quest is seen in patriarchal terms and the female characters are marginalized.     

Contemporary art on the current refugee crisis: the problematic of aesthetics versus ethics

ABSTRACT

This article focuses on contemporary artworks outlining the current refugee flow from the Middle East to the West, namely to European countries together with the US and Canada. Drawing primarily on Jacques Rancière’s conceptualization of ethical art versus aesthetics, I explore how various journeys of refugees in its many forms have been represented in the contemporary art scene. My aim is to concretize the theoretical debate surrounding the ‘political’ engagement of critical art on the issue of refugee representation through various prominent artworks and art practices starting with the well-known image of Alan Kurdi’s and Ai Weiwei’s replication of this image in his artwork. I will analyse when and in which configurations aesthetics and ethics can be found in contemporary art on the issue of the ‘refugee crisis’. I argue that art on refugees can be grouped into two primary categories that I define as ‘human condition assessment’ and ‘agency empowerment’. As such, I demonstrate in practice how contemporary art on the current refugee crisis both employs and moves beyond the ethical subject matters by challenging abject victimhood as well as the ideal of egalitarian art for the underrepresented and thus assumingly voiceless, depoliticized refugees.     

Forming “affective communities” and narrative forms of affection: Damon Galgut’s Arctic Summer

This article examines Arctic Summer (2014) by Damon Galgut, a biographical novel focused on a period in the life of British author E.M. Forster. My inquiry is concerned with narrative form and aesthetics that limn affiliations between the two authors’ creative and sexual sensibilities and struggles, and how forms of affective affiliations are forged through narration and narrative stylistics. I discuss critical responses to Galgut’s oeuvre and trends in South African literary production post-1994, to introduce ideas about his non-conformist creative impulses. I reflect on hybrid narrative form, generic ambiguities, and aesthetics to consider how affective affiliations are fashioned in Arctic Summer and beyond the boundaries of the text when compared to Galgut’s In a Strange Room (2010). Leela Gandhi’s thoughts on “affective communities” inform my argument that the representation of sexuality and bonds of affection in Arctic Summer enables formal and nonconformist affinities across temporal and spatial registers.     

韩国文化认同和国家品牌

韩国政府在制定国家品牌形象战略的过程中,缺乏对国家品牌哲学和韩国文化美学的真诚反省。本文将探讨通过确立文化认同建立韩国国家品牌这一课题。为此,笔者将从三方面进行论述:第一,考察传统文化和国家认同的相互关系;第二,讨论关于对传统文化的再认识和将传统文化的哲学和美学符号化的方案;第三,讨论关于通过传统文化和韩流的融合提升国家品牌的方案。     

Another Textual Frontier: Contemporary Fiction on the Northern Mexican Border

This article approaches fiction writing from the northern Mexican frontier from the perspective of the border. It perceives the border between Mexico and the United States as a multispace that permeates fictional texts from the area. In clear contrast with most Chicano and Border Studies perspectives, the border is viewed here as a physical rather that metaphorical space whose dynamics formulates textual discourses and aesthetics. The fiction works of Luis Humberto Crosthwaite and Jesús Gardea are analysed from this perspective.     

Revisiting Colonial Dismemberment in South Africa: On Cultural Text and the Mandela Nuclear Family

Abstract

For many years, Nelson Rolihlahla Mandela—in a number of his public statements and writings—frankly expressed his regrets regarding the strain that his anti-apartheid activism put on his immediate and nuclear family. From his marriage to Evelyn Mase, and later to his second marriage to Nomzamo “Winnie” Madikizela, one central thread that permeates both is the impact of colonial-apartheid dismemberment on the Mandela nuclear family. Thus, the focus of this article is on the critical analysis of a cultural text that was authored by the late former statesman to reflect on various aspects of his life. Relying on his autobiography, Long Walk to Freedom, the objective of the article is to understand how such a cultural text registers the idea of colonial-apartheid dismemberment as lived by the Mandela nuclear family under colonial-apartheid oppression. Besides the 27 years spent at Robben Island prison, much of Mandela's life was characterised by his neglect of family responsibilities, as a result of the lived realities of his activism against colonial-apartheid South Africa. Thus, using the case of Mandela's nuclear family structure, the article critically analyses the role of cultural texts such as autobiographies in registering colonial-apartheid dismemberment in South Africa.     

Neopopulism and its limits in Collor's Brazil

The election of Fernando Collor de Mello as President of Brazil in 1989 was regarded as part of a new wave of neopopulist leaders in contemporary Latin America. The article explores the conditions of emergence of Collor's neopopulist project, the nature of his appeal and the causes of his downfall. The article argues that the emergence of Collor's neopopulist challenge was the result of a crisis of representation in Brazil's edging democratic order. The article concludes that Collor's demise from power in 1992 had to do with the precarious nature of his appeal and his failure to ground his project in a new set of political institutions.