立法含混的法教义学弥补：以刑法第289条为分析样本

由于现行刑法第289条规定的模糊含混,导致该条文适用过程中歧义丛生,增加了司法适用的难度。通过梳理该条的历史变迁与法益变化,从法教义学角度客观把握＂聚众‘打砸抢’＂的内涵与地位,同时运用＂拟制规定＂与＂注意规定＂分析方法来厘定刑法第289条条文性质并作出合理解释乃消除实践分歧之可行路径。     

欲望的伪装——架空历史小说欲望叙事

作为白日梦类的文学,架空历史小说以塑造的时空人物境象为显露内容,用伪装的形式掩盖了小说的深层动机——欲望。这些经过伪装的欲望在小说中主要包括情色、物质、权力三大类,它们曲折隐晦地折射着现代人深受欲望困扰的心理现实。     

Inevitable Answers: The Joke and its Relation to Social Equilibrium in the Novels of Ivy Compton-Burnett

The majority of existing studies of Ivy Compton-Burnett’s comedy class her as either a ‘camp’ novelist, or a social satirist in whose novels jokes are used for either oppression or subversion. The present essay proposes a new reading of the social uses of jokes in Compton-Burnett’s novels. In these domestic fictions, family life is characterized by constant strife, most commonly of a verbal nature. As part of their daily struggle for power and position, her characters use aggressive jokes to keep each other in check. This process does not distinguish primarily between oppressors and oppressed, but between successful and unsuccessful egotists. As an ideal result, a social equilibrium emerges that is at least vaguely habitable to all. This way, Compton-Burnett’s comedy is essentially conservative; the ultimate function of the jokes employed by her characters is not to permanently transform social structures, but to maintain the delicate balance of power within the family.     

The New Miss India: Popular Fiction in Contemporary India

Miss New India is the title of a 2011 novel by Indian-born (now American-based) Bharati Mukherjee, which tells the story of a young woman who leaves her small-town home and family to find work in a call centre in the information technology city of Bangalore. The call centre is emblematic of a ‘new India’, in which educated young people seize the possibilities of a global labour market. This is a generation for whom colonialism is ancient history, a generation who have grown up in the aftermath of economic liberalization in India. Chetan Bhagat refers to this generation as ‘Young India’ and has written a series of best-selling novels that feature ambitious young men in the ‘new India’. There is, however, an emerging genre of similar narratives written by women and addressed to a female readership. This article discusses a range of contemporary Indian women’s popular novels and argues that, while Bhagat and his male heroes may embrace globalization and the market, the narratives written by women are more nuanced in their celebration of economic liberalization. The novels dramatize the tensions between tradition and modernity, family and independence, and suggest that these are particularly fraught for young Indian women. These texts pick up on the discourses of contemporary journalism about ‘Young India’, within the generic form of the romance, but their resolutions are repeatedly uneasy and suggest that the ‘new India’ is not an entirely comfortable space for the new Miss India.     

论刑法分则中的法定拟制

在我国刑法分则中，有一部分属于拟制条款。本文对刑法之所以规定拟制条款的原因、拟制条款蕴涵的消极因素以及如何规范和使用拟制条款等问题进行了相应的分析和论证。     

对郁达夫小说中感伤情绪与颓废色彩的重新思考

任何艺术都不可能离开具体的社会环境和时代要求而发生,对于郁达夫小说创作中浓重的感伤情绪与颓废色彩,不能简单化地用革命作家和现实主义的标准去横加指责,而应该用历史的、社会的和艺术的眼光去看待它.正是由于郁达夫小说中的大胆与坦诚,以及那独特的、别具一格的创作风格,使得他的小说在中国现代文学史上占有不可忽视的地位.     

拟制犯罪和拟制刑事责任 法人犯罪否定论之回归

在表面扩张的背后，法人刑事责任始终无法摆脱其内在的矛盾与危机，随着团体责任不良后果的充分显现，美国近年来的法人犯罪执法策略明显向传统的个人责任回归。法人犯罪事实上是自然人个人犯罪，法人的本质只是一种法律拟制，法人犯罪和法人刑事责任的实质是自然人个人犯罪和个人刑事责任对法人的归属，是一种拟制犯罪和拟制刑事责任。法人刑事责任应坚持传统的个人责任主义原则，拟制主体实定化的倾向是法人刑事责任赖以存在的现实基础。     

Habermas and the Holy Grail of reason: The Philosophical Discourse of Modernity between theatre and theory

A critical discourse analysis of The Philosophical Discourse of Modernity demonstrates that Habermas's discourse on modernity is theoretische Fiktion (a term Freud used to describe a given theory for which no evidence can be found and no arguments validated). Theatrical narrative strategies from drama are identified that not only organise the logic of the text, but also position readers. The choice of mise en scene—the Oedipal cross‐roads where older and younger protagonists meet in conflict—is seen to position readers as mere spectators. The choice of the narrative trope of the romance of lost opportunity (the road open but not taken) is not merely illustrative, but necessary for the claim that Habermas has redeemed the enlightenment project.

The paper critiques Habermas's theorising on discourse ethics because it distinguishes categories of discourse into scientific/analytical, moral/interpretive and aesthetic/expressive, which operate in three different spheres of value. In particular, it challenges the notion of an “inner logics” for what, in Habermas's stable of discourses, he labels the scientific/analytical. Readers of The Philosophical Discourse of Modernity, the paper demonstrates, are not so much pulled along by the force of the better argument, but seduced by that unbridled beast: the aesthetic/expressive.     

保险诈骗罪共犯法条性质分析——以注意规定和法律拟制为视角

保险诈骗罪属于身份犯,刑法分则第198条第4款关于保险诈骗犯罪共犯的规定属于注意规定而非法律拟制,旨在提醒司法人员对诸如保险事故的鉴定人、证明人、财产评估人等非身份主体为骗保人提供虚假证明文件等帮助行为的人与保险诈骗犯罪主体成立该罪的共犯。本款不是关于片面共犯的特别规定,保险诈骗罪共犯的成立需要满足刑法总则关于共犯成立的条件,保险事故的鉴定人、证明人、财产评估人单方故意提供虚假证明文件为他人骗保提供条件的,构成犯罪的应以提供虚假证明文件罪论。     

The Entropy of Built Things: Postapartheid Anxiety and the Production of Space in Henrietta Rose-Innes’ Nineveh and Lauren Beukes’ Zoo City

Two recent novels reveal two interrelated clusters of postapartheid anxiety in twenty-first-century South Africa: one type is a dread of invasion, contamination, infestation, and other encroachments of the new, alien, and other. A second set of preoccupations involves subterranean spaces—basements, mines, tunnels—and a distrust of the solidity of built environments. Both Nineveh and Zoo City strip away the surface layers of Cape Town and Johannesburg and show us the layers of infrastructure, mechanization, and human labor that constitute or produce the city itself. But the two novels show us different understandings of the urban “underneath”: Beukes’ imagined Johannesburg is one in which spatial inequalities that seem chaotic, in fact structure the city and allow for social regimentation, while Rose-Innes shows us a Cape Town where spatial structures and entrenched inequality appear to be designed to ward off the intrinsic “entropy of built things.”