民间传播者与中国对外文化交流——以李子柒视频为例

随着世界多极化、经济全球化、社会信息化以及文化多样化的纵深推进,各国之间的联系和依存关系日渐加深。其中对外文化交流的重要性日渐凸显,成为各国塑造良好的国家形象、展示文化底蕴的最佳平台。民间传播者作为对外文化交流的重要主体之一,具有自带亲民立场、促进民心相通相融、为中国文化传播打开新空间等优势。文章以李子柒视频为例对其内容特色进行深度分析,深层次展示民间传播者在对外文化交流中发挥的作用,进而提出民间传播者如何加强对外文化交流的对策。     

秩序之外的秩序——乔健的底边阶级与底边社会的思想探析

乔健提出的"底边阶级"与"底边社会"理论是中国学界讨论边缘群体研究的先声,并影响了一批学者展开相关的经验性研究。这个理论因未曾被系统性的集中阐释,其他学者所做的个案研究也未把这套理论作系统性的总结,因此,其所受到的关注与讨论不多。论文通过对"底边阶级"概念进行整体性的脉络梳理与分析,不仅展现乔健如何通过十三年的时间,不断地修正、完备此概念的思考过程。同时也认为,乔健从下而上考察传统中国文化流动的研究视角,补充过去研究只以由上而下来看中国社会文化流向的不足,对现今人类学与汉学研究具有十分重要的启示意义。     

Negotiating Violence and Creative Agency in Commissioned Mexican Narco Rap

This article explores agency as an ability to act and exert power creatively when failure implies literal death. It draws on interviews with an ex‐narco and rappers who willingly accept narco‐commissions in 2010s Tamaulipas, Mexico, a context where precarity and necropolitical logics prevail. It asserts that many rappers exert power creatively, despite the risks. Rappers shape narco‐aesthetics by determining the lyrical and sonic elements of songs; draw on experiences of narco‐life to contribute to narco‐ethics; and mould narco‐masculinities by encouraging listeners to stay firm. It proposes that prevalent discursive Us–Them dichotomies facilitate Othering and stigmatisation of actors in the narco‐world, and serve to accentuate narco‐power.     

Recreating traditional music in postwar Japan: a prehistory of enka

This article examines how enka evolved from the earlier genre of kayōkyoku, looking at the musical markers of Japaneseness and considering issues of authenticity and originality in those earlier genres. The careers of composers Koga Masao and Hattori Ryōichi and singers Misora Hibari and Kasagi Shizuko show the development of a hybrid style of popular song both before and after the Pacific War, which would by the 1960s evolve into enka. As its core audience has aged, enka has become increasingly rigid and concerned with nostalgia for a ‘pure’ Japanese past, even though the music itself is quite distant from traditional musical forms. Analysis of three movie musicals from the late 1940s and early 1950s, Ginza kankan girl, Carmen comes home and Janken girls, also demonstrates the performance practices of popular music at the time, and the complex relationship between popular music and national identity.     

Pragmatized Aesthetics: The Impact of Legitimacy Pressures in Symphony Orchestras

This article explores the balancing exercise between opposing value regimes in symphony orchestras. This complex environment in which art organizations move while producing art will be mapped out in a model called a “biotope.” In recent years, orchestras have been struck hard by declines in the cultural sector. As a result of opposing legitimacy pressures in today’s symphony orchestras, standardized canonical repertoire now serves as a pragmatized aesthetic compromise. This article suggests that although this compromise grants short-term legitimacy to the art organization, it simultaneously brings its biotope out of balance, reinforcing the legitimacy crisis it was meant to avert.     

"出嫁女"土地权益保护的困境与出路——从民间法角度切入

村委会以村规民约等方式限制、剥夺"出嫁女"的土地权益,而这种以村规民约等形式表现的民间法以单系继替偏重的社会继替规律以及"男婚女嫁"的习俗为其存在的社会基础。因此,要实现对"出嫁女"土地权益的有效保护,必须通过发展农村经济、贯彻国家计划生育政策、开展法治宣传、完善农村社会保障制度,动、消除这种民间法存在的基础,实现国家法在农村的有效推进。     

清末民初民俗习惯的社会角色及法律地位

清末民初商品经济的发展、民间家族势力的拓展以及国家政权的更替,使得民俗习惯成为社会生活与法律调整中不可或缺的组成部分;其间,国家机构开展了两次全国性的民商事习惯调查运动,反映了统治者对民商事习惯的立法和司法价值的基本认同;民初的司法机关积极援用民俗习惯进行审判活动,为后世留下了诸多有益的历史经验;社会生活中形成了广泛关注风俗民情,尊重本土资源的文化氛围。不过,相对于政治国家强势的权力构造及＂法律形式主义＂体制,民俗习惯在政治与社会生活中,总体还处于比较弱势的地位。     

互联网时代民间融资法律规制的新问题

互联网在改变我们生活方式的同时,也改变着经济活动的方式.民间资金与互联网结合形成一个既不同于正规金融市场,也不同于民间融资市场的新型金融市场,生成一个配置民间金融资源的新型市场体系,改变了传统民间融资市场的信息约束条件,克服了传统民间融资法律监管中的信息不对称困境,使民间融资法律监管成为可能.同时,互联网金融实现了销售渠道和方式的创新,改变了金融市场的主体、价格、交易工具等要素.面对互联网时代民间融资市场的新发展,既不能简单地强调严厉监管,完全适用正规金融监管制度,也不能完全适用规制传统民间融资的法律制度,应当在现行民间融资法律制度基础上,构建适用于传统民间融资和互联网民间融资的二元民间融资法律制度,采用非审慎的重点监管原则,纳入宏观监管的框架,以消费者保护、合规监管、竞争监管为重点,建立适合互联网时代民间融资特点的法律制度,促进互联网金融的健康发展.     

Doing (things with) sounds: introduction to the special issue

This special issue aims at analyzing music as a site of social semiosis, i.e., at investigating the manifold ways in which music is constituted as a socially shared event. The papers collected here follow three main threads, considered as central aspects of music making: studying the kind of coordination and participation required to make music together; looking at the semiotic resources employed by musicians to construct their roles in interaction; examining the relationship between language and music. A variety of perspectives is adopted, ranging from social semiotics to conversation analysis, anthropology, multimodal analysis, and critical discourse analysis. Such a variety is also reflected in the musical traditions – Western art music, jazz, gospel, church hymns, pop music – and in the settings under examination, which comprise instructional activities like musical classes and rehearsals, as well as ordinary conversations and written accounts of musicians' biographies. Issues of epistemicity and authority, intersubjectivity, correction of musical action, solidarity, and ideology are thereby addressed. The issue thus aims at exploring the richness and complexity of music making as a social practice, and documents how the integration of different disciplinary perspectives can offer fruitful insights on music as a domain of sociality which lies at the intersection of aurality and writing, norm and creativity, individuality and collectiveness.     

小微企业民间融资的国际比较及借鉴

当前,民间融资已经成为小微企业融资的新渠道,但是,小微企业民间融资还面临着立法、体制和监管多方面的问题,境地尴尬。我国要解决小微企业融资难问题,结合我国国情,考察和学习美国、日本、德国等发达国家的先进经验不失为一种可取方法,尽管其模式各有特色,并无优劣之分,但也存在诸多的共同点。在政府定位、健全立法、加快小微企业民间融资信用担保体系建设、大力发展民间中小金融机构、畅通民间融资与小微企业间的融资渠道等多个方面值得我国借鉴。