权力行使类型理论的延伸性思考——在传统与现代之间

权力行使类型之间的逻辑关系体现为一对基本类型和依不同标准而划分的三对"子类型"的结构。"本质的、功能的、深层的、活动的研究"方法,叙事与论理相结合的方法,是权力行使类型理论得以构建的前提,也是具有普遍启发意义的方法。纵向权力的"不定数"特性和不同的人性论预设,构成了权力行使类型理论有效性的内在根据;中国传统文化熏染的官吏群体和稳定、成熟的制度环境,是权力行使类型理论有效性的外在条件。近代以来中国的文化危机和制度变迁,深刻改变了权力行使类型理论发生作用的条件,然而传统文化是活的文化,正在走向复兴的现代中国,有条件积极利用权力行使类型理论这一珍贵的传统资源,营造讲究为官之道的现代"官文化",促进和谐行政,提高行政效率。     

价值、道德与财富——谈公务员必备的心理素质

公务员队伍的廉政建设是一个热门话题。我们党倡导廉洁,反对腐败,很大程度上就是要净化公务员队伍,使之具有正确的价值观、道德观、财富观。在工作中,履行职责,清正廉洁,公道正派,做到情为民所系,权为民所用,利为民所谋。     

对国际法上“自卫权”的探讨——兼评美国发动伊拉克战争的“自卫”理由

自卫权属于国家的基本权利———自保权的重要内容之一。一般而言 ,自卫权的行使应针对实际已发生的外来武装攻击行为。但是 ,在实践中各国学者对自卫权实施的“时机”和“适度性”、自卫权行使之必要性的判断权归属、“集体自卫权”行使的条件等一系列问题存在着一些分歧和争议 ,尤其是对所谓“先发制人”的“预防性自卫权”的行使存在着很大的争议。多数学者认为 ,“预防性自卫权”的行使必须十分谨慎 ,最好由一定国际机构 (比如联合国安理会 )来判断其行使的必要性。本文认为 ,从多数学者认同的观点看 ,美国对伊拉克所实施的“先发制人”的自卫行动似乎缺乏合理的依据。     

论民间表演艺术表演者集体权主体

民间表演艺术表演者集体权是表演者权但有其特殊性。民间表演艺术表演者集体权主体显示出群体性、空间性、一定的传承性。理论界对民间表演艺术表演者集体权主体类型的界定存在诸多争议,其中"群体说"体现了民间表演艺术的民间根基、权利主体法定性、创作主体群体性。考量国际立法原则、行为要素、物理要素,民间表演艺术表演者集体权主体包括国家、民族、种群、种族、传承人、表演者特定群体。外国立法及国际公约有相应规定,我国无明文立法。     

THE POTENTIAL DEMISE OF ANOTHER NATURAL MONOPOLY: NEW TECHNOLOGIES AND THE ADMINISTRATION OF PERFORMING RIGHTS

This is a second in a series of two articles in which I challengethe collective administration of performing rights. In the firstarticle, published in a recent issue of this journal, I questionedthe natural monopoly paradigm that dominates the analysis ofcollective administration of performing rights. In this articleI demonstrate how, by lowering many of the transaction costswhich previously purported to justify the practice, new digitaltechnologies further undermine the justification for collectiveadministration. I also discuss whether market forces alone wouldtransform the market into a competitive one, consider possiblecontinuing roles for existing performing rights organizations,and compare the Canadian and the U.S. regulatory approachesto determine how conducive they are to such change.     

Can Twitter Add to Performance Evaluation in the Area of Performing Arts? Reflections from La Scala Opera House

ABSTRACT

Social media are continuously diffusing in performing arts organizations. Yet little is known on how social media data can contribute to the performing arts evaluation process. This article addresses this issue by investigating if and how Twitter data can add a valuable source of information to the performance evaluation process. A literature review with an empirical application on the evaluation of the performance Aida at Teatro Alla Scala provides evidence about the type of indicators that can be derived from Twitter and support a discussion about potentialities and pitfalls connected to their adoption for the evaluation of performing arts.     

Public Opinion and the Helms Amendment

This article questions existing performing arts market segmentation practices in the United States, probing for examples of unintended exclusion and discrimination. The author critiques specific performing arts marketing scholarship and the segmentation practices that stem from it. Future growth of the performing arts industry's audiences may rest on the ability to define their composition more broadly, to be more inclusive rather than exclusive. At the same time, marketing theory, research, and practice may need to be specifically developed to meet the needs of both the performing arts industries and their audiences.     

“私代履行人”的理论定位及规范建议

虽然《行政强制法》规定行政强制措施权不得委托给私人,但是在代履行中,却存在着"私代履行人"参与公法任务的空间。"私代履行人"理应被定位为行政助手。然而,作为公私协力的模式之一,行政助手理论制度存在一系列争议,需要对委托机关与"私代履行人"的法律关系性质、"私代履行人"的代理权行使及其侵权的行政救济等问题消除歧见。在此基础上,对"私代履行人"的条件、职责、权利义务、诉讼途径及法律责任等进行规范建议。     

Artists in an Iron Cage? Artists’ Work in Performing Arts Institutions

This article discusses artists’ work in performing arts institutions in Norway. Many scholars describe Nordic performing arts institutions as slow-moving and heavy “art factories,” where artistic creativity is almost suffocated within bureaucratic “prisons.” The general problem that we raise in the article is whether this pessimistic picture of the relation between state control, market influence, and artistic work is relevant for studying the performing arts today. The study is primarily based upon twenty-seven qualitative interviews with informants in an institutional theatre and a symphony orchestra. We conclude that the actors in the Theatre are trapped—not so much within “a bureaucratic iron cage”—but rather within “an iron cage of charismatic leadership,” while the musicians in the Orchestra enjoy the relative freedom and democratic power of a rather soft bureaucratic organization.     

试论立功制度的五重根基

道义、理论、哲学、实践、政策是支撑立功制度的五重根基,“善有善报,恶有恶报”的道义根据为其抹上了厚重、鲜明的正义色彩.辩证唯物主义关于物质是运动的及内外因辩证关系原理是其哲学基石.同时,立功契合了“为最大多数人谋取最大幸福”的功利主义学说,“立功折罪,立大功受奖”的政策及我国运用立功同犯罪作斗争的具体经验及实际情况为立功制度的发展及壮大提供了丰富的养分.     

区别而论的责任体系：《鹿特丹规则》履约方制度的引入——兼论《中华人民共和国海商法》的选择

联合国大会2008年12月通过的《鹿特丹规则》引入了全新的主体制度,即履约方制度。在面对困扰中国海事司法实践已久的港口经营人法律地位问题时,有学者认为履约方制度恰能解决该问题;在当前修改《中华人民共和国海商法》（简称《海商法》）的背景下,海商法学界也出现了呼吁将履约方制度引入《海商法》的观点。但是,履约方制度并不能解决港口经营人的全部问题,解决《海商法》现有问题也并非只能依赖履约方制度的引入。     

Public Higher Education Institutions' Investment in Performing Arts Centers

Although commonplace in academic settings, performing arts centers are multifaceted and remain unexplored. Framed by resource dependency theory, this research sheds light on the motivations of higher education institutions in a resource-scarce environment. Specifically, why do these institutions—with limited resources—prioritize the co-curricular arts? This study employs process research to understand the origination, funding sources, and purposes of performing arts centers at higher education institutions in Virginia. Evidence suggests that these institutions invest in the co-curricular arts to not only fulfill their public service missions, but also to capitalize on and acquire resources.     

《鹿特丹规则》对港口经营人的影响

对目前中国港口经营人法律地位的三种不同认识进行归纳,介绍《鹿特丹规则》下＂海运履约方＂的概念,认为在一定条件下港口经营人属于《鹿特丹规则》下的＂海运履约方＂;并对《鹿特丹规则》＂海运履约方＂制度对港口经营人的利弊影响进行分析。     

《鹿特丹规则》下非承运方委托时港口经营人责任限制分析

通过对中国港口经营人责任限制的分析以及对《鹿特丹规则》下海运履约方制度的解读，探讨非承运人委托作业时港口经营人责任界定。得出中国可以借鉴《鹿特丹规则》，通过完善《中华人民共和国海商法》实际承运入制度，使实际承运人适用于港口经营人，可以享有责任限制权，但仅限于消极抗辩权。     

Comparison of the Performance of Two Methods for Height Estimation

Abstract: In the case study, two methods of performing body height measurements in images are compared based on projective geometry and 3D modeling of the crime scene. Accuracy and stability of height estimations are tested using reconstruction images of test persons of known height. Given unchanged camera settings, predictions of both methods are accurate. However, as the camera had been moved in the case, new vanishing points and camera matches had to be created for the reconstruction images. 3D modeling still yielded accurate and stable estimations. Projective geometry produced incorrect predictions for test persons and unstable intervals for questioned persons. The latter is probably caused by the straight lines in the field of view being hard to discern. With the quality of material presented, which is representative for our case practice, using vanishing points may thus yield unstable results. The results underline the importance of performing validation experiments in casework.     

Performing Arts Entrepreneurship: Toward a Research Agenda

Starting from the position that performing arts entrepreneurship (PAE) deserves its own theoretical treatment in the literature, this article addresses fundamental questions within that subfield. The first step is to define PAE, necessarily incorporating the related concepts of “The Performing Arts Event Cycle” and the “Performing Arts Value Chain.” The question of why PAE takes place explores the motivations of performing arts entrepreneurs, looking beyond the traditional profit motive. Where PAE occurs is the next question, taking into account audiences, financial resources, available performance venues, and artistic inputs. The final two questions have to do with the timing of PAE, as well as who engages in this activity. Relevance to existing and future research is discussed, as are implications for practice.     

Nonprofit Entrepreneurship: The Astoria Motion Picture and Television Center

The author investigates social change in Vietnam in the late 1980s-2000s, a transition from a subsidized economy to a market-oriented economy. The author discusses the influences of socioeconomic changes on the operation of the performing arts sector through analyzing changes in cultural policies, opportunities, and challenges confronted by performing arts organizations. The new cultural policy allows arts organizations, arts managers, and artists more opportunities to develop a greater degree of autonomy and more freedom in performing, programming and other artistic activities. The author believes that open policies will motivate Vietnam to develop its own national identity and to participate in cultural exchange with other parts of the world. However, under the impact of global culture, global economics, cuts in state funding, and rapid technological development, the performing arts sector has faced challenges in terms of financial viability, audience development, and balance between commercialization and artistic creativity. The author suggests that privatization should be implemented depending on the art form. Consideration should be given by the Vietnamese government to implementing appropriate funding policies and schemes, as state funding still forms a significant part of public companies' incomes.     

海运货物实际承运人制度探究

1978年《汉堡规则》在世界范围内第一次确立了海运实际承运人制度。在借鉴该公约实际承运人制度的基础上,1992年中国《海商法》也确立了海上货物运输实际承运人制度。但由于当时的局限性,该制度在实际操作中仍存在着一些较为混乱的情况或者说还有诸多不完善之处,因而需要在立法上作进一步的修改以适应国际海上货物运输发展的客观需求。     

Teaching forensic medicine after the reorganization of higher medical education

It is stressed that the Departments of legal medicine in medical institutes can make a valuable contribution to the advancement of physician training in the condition of perestroika in high medical education in our country. The list and method of performing practical studies on legal medicine are presented.     

Evaluating partnerships for community health improvement: tracking the footprints

Private-public partnerships are increasingly seen as an important mechanism for improving community health. Despite their popularity, traditional evaluations of these efforts have produced negative or mixed results. This is often attributed to weak interventions or an insufficient period of time to observe an impact. This study examines two additional possibilities--the need for a well-articulated shared vision and the governance and management capabilities of the partnership itself. We conducted a midstream process evaluation of twenty-five community partnerships associated with the Community Care Network (CCN) Demonstration Program. We examined how the roles of a common shared vision, strong governance, and effective management influence a partnership's ability to achieve its objectives. The findings, based on both qualitative and quantitative analyses, underscore the importance of membership organizations' perceived benefits and costs of participation and management capabilities to the partnership's progress toward a vision. Based on the qualitative data, six key governance and management characteristics are identified that separate the top performing partnerships from the lowest performing ones. We explore the implications of this research for future evaluations of public-private community health partnerships.