论新兴权利的一般理论

新兴权利不同于新型权利。它是法定权利的对称,是法定权利之外的、实存的社会权利,但与此同时,它是与法定权利息息相关的权利。新兴权利的生成根据,既可能出于法律遗漏,也可能是出自法律排斥,更可能出自社会关系和社会事实变迁。新兴权利的保护方式,既可能通过权利推定,也可能通过民间规范,还可能通过纠纷解决。     

The Study on Richard Shusterman's Philosophy of Art

Shusterman's philosophy of art based on the pragmatism philosophy and the reconstruction of aesthetic experience, and with “inclusively disjunctive stance” as its theoretical method reinterpreted the issues such as “the end of art” and the definition of art and the popular art and so on. His philosophy of art focused on strengthening the understanding and experience of art. It also emphasized the continuity between art and life, so it reflected the vivid and pragmatic color.     

Australia’s Army Nurse: Locating a Woman as the Heart of Sacrifice in the Hall of Memory

This article contests the misconception that the Hall of Memory of the Australian War Memorial, Canberra, represents an irreligious space. While accommodating the expectations of a post-secular society, this belief fails to recognise the influence of Christianity upon the generation that experienced World War I and developed the memorial practices that arose in response to it. Veteran-artist M. Napier Waller embedded complex religious symbolism in the scheme of three windows he designed and executed for the hall. Drawing on his individual experience of battle, personal philosophy of art and the medieval customs of his forebears, Waller told the story of Australia’s experience of the war and aligned a nation’s sacrifice with that of Christ: His Crucifixion, Resurrection and Ascension are symbolised in the south, west and east windows, respectively. The inclusion of a nurse was central to Waller’s plans and required he manipulate the men creating the memorial to achieve his goal. In doing so, he neutralised the greatest threat to his vision: its founder, Charles Bean, and located a woman of many identities—a Martial Madonna—as the heart of national sacrifice in Australia’s premier war memorial.     

Countervisions of Modernity: David Roberts,The Total Work of Art in European Modernism

David Roberts's The Total Work of Art in European Modernism extends and deepens the analysis of the counter-paradigm of redemptively inspired art to modernism's own pre-occupation with secularization. It addresses the imbalance in social and critical theory whereby progressive secular rationalization has been elevated to the sole logic of modernity, and the romantic redemptive tradition has been reduced to a marginal counter-enlightenment. The total work of art paradigm allows Roberts to demonstrate how the programme of modernity has been constituted by internal tensions and antinomies from the very beginning.     

论群体性事件处置中的说服艺术

群体性事件基本上属于人民内部矛盾.因此,公安机关在处置过程中.应最大限度地运用解决人民内部矛盾的方法和手段.群体性事件处置中说服的条件是事件态势处于相对控制之下,说服的原则主要有平等性原则、针对性原则、可信性原则和感染性原则.说服方法有标签效应法、"自己人"效应法、亲情效应法和威信效应法等.     

扎根泥土服务民众——浅谈井陉“拉花”的音乐特点

“拉花”是石家庄井陉地区的一种民间歌舞,已有几百年的历史。它的音乐刚柔相济,给人以淳朴坚毅之美感,极具独特风格。传统音乐是我们今天音乐发展的一个坚实的基础,值得我们今天特别去宣传和推广,并借非物质文化遗产保护的东风,让井陉“拉花”在建设和谐社会的进程中,充分发挥它娱乐和教育大众的社会功用。     

Cultural histories of kumiss: tuberculosis,heritage and national health in post-Soviet Kazakhstan

In the nineteenth century, European doctors began to credit kumiss (fermented mare’s milk) for the apparent absence of tuberculosis among the nomads of the Eurasian steppe. As European and American medical journals published articles on the ‘kumiss cure’ and Russian doctors opened kumiss sanatoria, praise for the drink’s curative powers was wound together with romanticized images of the nomadic pastoralists whose creation it was. In Soviet and now in post-Soviet Kazakhstan, kumiss came to hold the double status of medicine and of national heritage. Yet if in the nineteenth century, the steppe was notable for the absence of tuberculosis, in the late twentieth century, it is notable for its presence: Kazakhstan, like many post-Soviet countries, is currently the site of an epidemic of drug-resistant tuberculosis. Discussions of the epidemic now tangle together concerns over the physical health of the population with concern over the cultural health of the body politic.     

乡土文学的“大题目“:略论20年代乡土文学对鲁迅的继承

２０年代乡土小说主流地位的确立和基本特征的形成,一个重要的原因在于它紧紧抓住了改造国民性文化批判的大题目。这个大题目的抓取和展开是在鲁迅的影响下进行的,具体表现于题材和主题的转换,文化视界的拓展,国民心态的揭示,民俗文化的批判等四个方面。     

Camera,Colony, Künstlerroman: Photography in Three Australian Novels

This article traces the practices of photography that have been portrayed in three Australian artists’ novels: Patrick White’s The Vivisector, David Malouf’s Harland’s Half Acre, and Gail Jones’s Sixty Lights. Photography’s shifting status in relation to art, modes of knowledge, modes of production, and methods of relating to space suggest a growing discomfort in the nation’s literary imagination towards colonial art’s mobilisation of the imagination to authorise “sacred” settler belonging.     

"意境"表现与"意象"召唤--古典园林与少数民族村寨的审美文化比较

中国古典私家园林和少数民族的村寨是两种不同类型而风格迥异的建筑文化.前者讲究"意境"的表现,后者意在"意象"的召唤.每种文化内部最核心和最高的哲学理念都可能通过建筑表征出来.古典园林的意境是古代文人士大夫胸臆中天道体会的投射.侗族村寨的环境安排和建筑营建亦体现了该民族悠远的文化记忆和该民族的宇宙论.侗族村寨的风水、鼓楼、风雨桥、民居的整体奇妙地隐喻和象征着龙的意象.总之,作为一种最物质性的建筑其内在理念却是该文化中最核心的精神.