危害食品安全犯罪之罪名体系考

危害食品安全的行为不仅包括生产、销售问题食品的行为,而且还包括非法生产、销售违禁原料的行为、假冒注册商标的行为、非法广告的行为以及相关监管主体的渎职行为。针对这些行为,我国《刑法》规定了相应的罪名,形成了危害食品安全犯罪的罪名体系。但是,学界目前对这一体系的研究还不够深入。有鉴于此,有必要全面梳理我国《刑法》中与危害食品犯罪相关的罪名,分析这些罪名之间的关系,以期有助于司法实践中对危害食品安全犯罪之罪名体系的理解与适用。     

“法律”概念是怎样被使用的——在中西近代日常话语实践的交流中比较考察

在特定的近代中西交往时期里,参与交往的主体的“法律”概念的使用,不可避免地是“策略”性、“目的”性的,而非“一般语言化”的。在这一特定时期里,交往中的“法律”概念的涵义表达是具体语境化的、而非“中西对立”化的。在区分“法律”概念的“感性使用”和“探讨使用”的条件下,这一时期的“法律”概念使用,从某种角度暗示着从近代演化而来的现代及当代法律话语实践本身的相对自主的发展道路,在和近现代政治经济相互纠缠的过程中,甚至在融入近现代政治经济的过程中,中国近现代法律实践反而在一些基本方面依然可以是“独立”的。于是,发现一个认识历史的“法律行动者”的视角是必要的。     

Imaginary Turns in Critical Theory: Imagining Subjects in Tension

Abstract

The aim of this paper is to examine two turns towards the idea of the creative imagination in contemporary critical theory in the works of Axel Honneth and Cornelius Castoriadis. Honneth's work subsumes the idea of the creative imagination under the paradigm of mutual recognition. Castoriadis constructs the idea of the creative imagination from an ontological perspective. However, Castoriadis' idea of the primary autism of the creative imagination can be thrown into relief by Hegel's Jena Lectures. Hegel's and Castoriadis' work opens onto a subjectivity in tension, that is, a subjectivity that is forged out of a combination of subjective interiority, as well as the patterns of interaction that are multidimensional in their scope and create social spaces that force the subject beyond an initial closure.     

遏制非法收集证据的良策--试述非法证据排除规则

非法收集证据在我国刑事司法过程中尚未绝迹,法律规定上的缺陷使得非法收集的证据在法庭上得以使用和确认。因此,必须确立诉讼程序中非法证据排除规则。     

The Homeopathic Image,or, Trauma,Intimacy and Poetry

Abstract

The concept of trauma has recently expanded its reach to include what otherwise might be understood as intimate experience. This overextension represents a threat to our ability to conceptualize intimate experiences, hence to use concepts to engage in intimate communication. An analysis of Wallace Stevens' poem "The Auroras of Autumn", demonstrates how poetry provides a supplemental vehicle for the communication of intimate experiences. Poetry is therefore characterized as an essential element in ethical life.     

文化想象与多元认同:当代文化研究的新思路

从理论思维的基础来看,中国的文化研究存在一个比较突出的局限就是理论模式的限制。经典意义上的理论模式,都具有一种追求规律性或普适性的冲动。这种冲动在造就理论自身的自洽性和完美性的同时,却可能忽略了文化现实的复杂性、特殊性和多元性,并由此形成理论上的满足感对现实的遮蔽。当代文化与传统社会之间从社会关系角度而言最大的差异就是文化群落的分化。忽视了这种现实存在的群落差异和多元认同,就遮蔽了当代文化现实最重要的社会特征。     

相声艺术的群落认同及文化想象

传统相声艺术作为民间文化中笑的艺术,其快乐的本质是一种伦理幸福,也是中国传统文化对相声进行渗透、提升的结果。面对新生意识形态的文化认同构成解放后＂舞台＂新相声的基本艺术冲动,＂家-国想象＂是舞台时代相声艺术实现成功认同的核心机制。进入上世纪90年代,相声在＂回归剧场＂中开始重建多元认同。当前,电视情景喜剧不仅实现了相声在消费时代的＂日常认同再生产＂,更重要的是为相声艺术的产业发展提供了驱动性的媒介经济新框架。     

Levi’s Auschwitz and Dante’s Hell

On reading Primo Levi’s Holocaust memoir If This is a Man, one is immediately struck by its literary quality, and especially its generous use of Dante’s Inferno, both of which point to the more general problem of Holocaust witnessing. This paper focuses on Levi’s reasons for using Dante’s poem in particular to communicate his experience. Levi’s choice of Inferno is pointed, not only because of the obvious trope of existence in Hell, but also because Levi conceived of Auschwitz as an experiment designed to destroy the “human,” created in part, at least in the West, by Dante’s poem. What I will be suggesting is that Levi emphasizes the distinctions between his and Dante’s experiences by including in his conversation with Dante’s Inferno (paradoxically) his rejection of that conversation. There may or may not be something “human” which persists after Auschwitz, and the only way to ask this question, without preconceiving an answer, is to dramatize silence. The resultant ambiguity urges readers to, as Levi puts it, “participate in” the events described and/or dramatized.

审美判断的“政治的”解读

康德把判断看成一种理智的天赋，审美判断作为一种鉴赏力具有普遍可传达性。为了沟通思考与行动，阿伦特却对审美判断作了“政治的”解读。她认为判断是一种“扩展的精神”。凭着“想象力”我们设身处地从他人立场来思考。“共通感”保证了我们的判断能够普遍有效并且隐含了政治存在的条件。     

Illumination,Imagination, Creativity: Rājaśekhara,Kuntaka, and Jagannātha on <Emphasis Type="Italic">Pratibhā</Emphasis>

Sanskrit poeticians make the visionary faculty of pratibhā a necessary part of the professional poet’s make-up. The term has a pre-history in Bhartṛhari’s linguistic metaphysics, where it is used to explain the unitary perception of meaning. This essay examines the relation between pratibhā and possible theories of the imagination, with a focus on three unusual theoreticians—Rājaśekhara, Kuntaka, and Jagannātha Paṇḍita. Rājaśekhara offers an analysis of pratibhā that is heavily interactive, requiring the discerning presence of the bhāvaka listener or critic; he also positions pratibhā in relation to Bildung (vyutpatti) and practice. For Kuntaka, pratibhā, never an ex nihilo creation by a poet, serves as the basis for the peculiar forms of intensified insight and experience that constitute poetry; these may also involve the creative scrambling and re-articulation of the object in terms of its systemic composition. At times, Kuntaka’s pratibhā comes close to a strong notion of imaginative process. But the full-fledged thematization of the imagination, and of pratibhā as its support and mechanism, is best seen in the seventeenth-century debates preserved for us by Jagannātha. A link is suggested between the discourse of poetic imagination in Jagannātha and similar themes that turn up in Indo-Persian poets such as Bedil.