中国古典法律解释的三种样式——官方的、民间的和司法的

与形态各异的历代法律制度形态相对应,中国古典法律解释方法亦呈现出多种样式。官方解释在古典中国的法律解释体系中发挥着无可替代的主导作用,但这种事实并不影响民间解释和司法解释在历代法律实践中所发挥的重要作用。本文分别从三个方面剖析中国古典法律解释的三种样式。     

超越“传统与现代”：法律多线现代化

相关研究或明或暗地将“传统与现代”作为民间法与国家法的重要区别。然而,民间法与国家法都是各自以一种进化的方式发展起来的,都有自己的历史和现实,并都在内外因素作用下不断变迁以适应现代社会,都有自己的经验、理性和正义观,都满足一定的社会需要,都有传统性和自己的现代性,都有自身的现代化进程。而且,国家法与民间法从来都是相互影响并由此在一定程度上相互转化和承认,“你中有我,”“我中有你,”交错混杂。将国家法和民间法作现代与传统的区分缺乏事实和理论依据。在法律多元的社会中,法律现代化是民间法与国家法各自在内外因素作用下的多线现代化。我们应当引导民间法的现代化,确保民间法现代化与国家法现代化的协调,确保正义的弘扬和社会的和谐。     

民间法研究之于中国法学：意义与方法启示

现时的中国法学正行进在多元路向上。民间法作为法律的社会化阐释方式,一方面作为法律多元之一而有利于法律的多元本质阐释,另方面作为媒介法律与社会的方式而助益于解决法律内部的逻辑困境和实现法治。民间法要以法源等方式和途径在制定法中凸现自身的存在和价值,才能助益于法治的实现。民间法研究不仅以条分缕析的问题意识、疑难思维突破和弥补系统论法律思维方法的局限性,而且在其中渐进的、点滴的展现和型塑着作为法的目的与价值素材的时代精神及其自身,因而从思维方法和目的与价值两方面不断型塑和提升着中国法学的科学性。     

试论中国人的无讼意识及其影响——一个个案的法社会学分析

自中国启动法制现代化事业以来,中国人的权利观念主体意识得到了极大的增强,但无讼意识仍然存在于人们的脑海里,挥之不去,与法制现代化事业形成了一种张力.一方面无讼意识阻碍了法制现代化事业的推进.另一方面,当国家制定法与民间习惯法发生冲突而无法调和时,人们规避制定法转而诉诸自己所熟悉的乡规民约来解决身边的纷争.这时,无讼意识实际上起到了一个促进民间法向国家制定法融合和转变的作用.     

Todos juntos: hippies,rock music,and the Popular Unity era

Scholars traditionally have characterized the 1960s and early 1970s as an era of political polarization in Chile stemming from an intensifying rift between those who supported the leftist Popular Unity government (1970–1973) and those who opposed it. While there is little question that this division was the fundamental political axis in Chilean society at that time, it was not the only one. This article traces the development of rock music and culture among Chile’s youth to assert that while Chilean society polarized over the Popular Unity government, an additional segment of society emerged as an additional socio-political pole. During the Popular Unity era, a significant number of Chile’s youth rejected both the political right and left by assertively refraining from taking stances in regards to party platforms or candidates, rejecting those sounds, images, and traditions tied to the right and to the left in favor of an alternative political and cultural orientation tied to rock music and hippie counterculture.     

The intersubjective space–time of a Zulu choir/HIV support group in global perspective

This article draws from anthropology, conversation analysis, ethnomusicology, semiotics, and phenomenology, using the concept of intersubjectivity to model how the micro-organization of musical communication can be integral in social processes of support, identity maintenance, and activism amid structural inequality. This is based on ethnographic fieldwork in Durban, South Africa, with a Zulu gospel choir that functioned as a support group, activist organization, and performance troupe. Three distinct aspects (or levels) of intersubjectivity are discussed. The organization of these levels in music making is outlined through fine-grained discussion of how people with HIV coordinate bodies and voices in space as they make music together for each other and for international audiences. This article contributes to the further development of a musical semiotics, discussing how overlapping conceptualizations of intersubjectivity in multiple disciplines may be synthesized to analyze the performance of coordinated sonic action.     

仡佬族民间文学的区域性特征

仡佬族民间文学传统历史悠久,内容丰富,现就已出版的部分仡佬族民间诗歌、传说、故事,来分析仡佬族民间文学中体现出的区域性特征———生存环境、图腾信仰、思维方式及其表现形式,并在历史变迁中体察仡佬族传统文化精神的宽容开放、博大善良的民族精神。     

比较法视阈下民间文学艺术的知识产权保护重构

用法律手段保护民间文学艺术是知识产权保护“国际化”进程的需要,也是保护传统文化、增强文化自信、提升我国文化软实力的迫切要求.民间文学艺术的法律保护问题首先是由发展中国家提出来的,发达国家中对民间文学艺术保护相对较弱.比较法视阈下,民间文学艺术的知识产权保护尽可能既要与现行国内国际立法实现有效对接,又要坚持立法重构,以有效保护民间文学艺术传承、记录、整理和汇编者的合法权益.     

论从民俗文化视角研究莫言小说的意义

莫言小说创作深受民俗文化的影响。民俗文化既是莫言小说创作的素材,又是莫言小说创作的源泉。因此,从民俗文化角度研究莫言小说创作具有非常重要的意义:从民俗文化的视角探讨莫言小说的创作,可以拓宽莫言小说研究的视野;通过揭示民俗文化对莫言的影响,探索莫言小说创作的源泉;莫言清醒的民俗学意识影响和制约着他的小说理论和创作思维,决定着小说的民俗化倾向;通过分析民俗文化在莫言小说中的影响、表现及其作用,探讨莫言小说中的意象所蕴涵的象征意蕴。     

Nazlı's photographic games: Said and art history in a contrapuntal mode

ABSTRACT

Through a focus on photographic portraits commissioned in the late nineteenth century by the Ottoman-Egyptian Princess Nazl? Han?m, Roberts analyses the ways they tested Ottoman and western conventions. An examination of Nazl?'s strategic engagement with photography in this period positions her within the often-separated domains of Egyptian nationalism, Ottoman political reform, western Orientalist art and a proto-feminist moment of Egyptian women's history. One of the striking things about the Nazl? portraits is their transgressive inventiveness. This is transgression as Edward Said defines it, with an emphasis on crossing boundaries, testing and challenging limits, and cutting across expectations. Nazl?'s inventiveness is apparent through her canny experimentation with the codes of portrait photography and the ways she deploys her portraits as tokens of exchange within her culture and with her European interlocutors. Roberts argues that Nazl? Han?m's use of photography operates in a contrapuntal mode in the Saidean sense of a simultaneity of voices that sound against, as well as with, each other. Over the last three decades Said's writings have provided a crucial methodological framework for the critique of western Orientalist visual culture. Recently art historians have repositioned this corpus of western imagery in relation to art by practitioners from the region and addressed cultural exchanges. Said's seminal text Orientalism has been pivotal within these debates. Yet it is not so much this landmark book, but rather Said's writings on music, in which we can find an alternative approach to cross-cultural exchange. By transposing this model into the domain of art history, Roberts engages with his notion of reading contrapuntally. Said was interested in the broader applicability of this term, although its potential as an interpretive model for the visual arts remains unexamined. Through this case study of Nazl? Han?m's photographs, Roberts reassesses the value of Said's writings on music for understanding nineteenth-century visual culture.