软法视角下农村民间借贷法律机制的研究

民间借贷是民间金融的一个部分，随着经济主体与经济活动的日益多元化，已融入社会金融体系中。活跃在农村地区的农村民间借贷却被国家正规金融所排斥与国家法律政策的打压，文章从农村民间借贷现实运行的状况基础上，归纳其存在的问题及成因分析，结合软法在农村生活中的规范与引导作用，提出促进农村民间借贷规范发展的法律机制的建议与对策。     

墨子“天志”、“明鬼”思想积极意义分析

"天志"、"明鬼"思想是墨子"兼爱"、"非攻"学说的重要组成部分,是墨子论证"兼爱"、"非攻"学说的重要的外在力量,是推行其学说的工具;鬼神观是道德力量中一个重要的外在约束力量;"天志"、"明鬼"思想也反映出了墨子的一种功利主义态度,认为敬鬼神既是对先人的尊重,又可以联络乡亲的情感;"天志"、"明鬼"思想反映了下层被压迫的人民的正义的要求,是"民志"的曲折表现,具有强烈的现实批判力量。     

浅析刘福安的钢琴改编曲《采茶扑蝶》

钢琴改编曲《采茶扑蝶》是高师高专钢琴专业生必弹的一首钢琴独奏曲,在此作品中,尽显作曲家刘福安对其音乐的原型——闽西地区采茶灯所具有的＂欢＂和＂舞＂的音乐风格,结合钢琴音色特点及其作曲风格,在琴键上流溢出别具特色的艺术魅力,使得这部作品久演不衰。     

中韩学前音乐教育比较研究

学前儿童音乐教育作为开发幼儿潜能的重要一环，是实施美育的主要途径，也是学前教育的有机组成部分。文章通过笔者在韩国的学习，试图通过中韩学前音乐教育的比较研究，寻找中韩音乐教育文化上的差异，汲长补短。     

乡土社会中的国家法与民间法

在我国广大乡土社会中,民间法与国家法同时存在,这已是一个基本的事实.民间法与国家法既存在矛盾冲突,但又具有可以消解和转化的条件.在社会转型的过程中,应充分注意到二者的互动与相容关系,在依法治国的大前提下,建构现代农村的法治秩序.     

Bole to Harlem via Tel Aviv: networks of Ethiopia's musical diaspora

ABSTRACT

One of the fastest growing sources of domestic labor in the Global North is Ethiopia, whose female population travels to North America, Europe, and the developed Middle East to work for remittances to send home. Once these migrants settle in cities such as London, Abu Dhabi, Tel Aviv, Rome, or Toronto, they organize themselves into cultural enclaves that navigate their positionality, namely the state, religious practice, and their bodies. While scholars are occasionally interested in the explicit security ramifications of absorbing these migrant workforces, they pay less attention to the cultural forces propelling citizenship, and to migrants' relationship with their home culture. This gap in knowledge is counterproductive, because scholars and policy-makers will have trouble assessing the Ethiopian migrant population's perspective through interview material alone. The Ethiopian values of honor and respect for authority dictate a hesitance to criticize explicitly, so the population's feelings about marginality rarely emerge in discussion about labor. This taboo curtails the effectiveness of typical ethnographic methods (e.g. interviewing). Rather, this article examines Ethiopian music as a prism through which migrant musicians navigate the complex web of religious, ethnic, national, and embodied identities in their new surroundings. In this article, I present findings based on participant-observation of Ethiopian live music in North American and Middle Eastern diaspora cities (New York, Washington, DC, Tel Aviv, and Dubai), and argue that the populations are linked through the multidirectional cultural influences of Ethiopian diasporic popular music. I will argue that Ethiopian migrants' music offers a stable, alternative form of political discussion to more overt discussions of contested identities, and that these discussions reshape cultural boundaries. By considering performance techniques such as choice of language for lyrics, and the incorporation of Ethiopian or local dance style into music videos that are distributed over the Internet, one begins to understand how the rapidly expanding transnational network of Ethiopian migrants conceptualizes itself as an emerging global source of labor in cosmopolitan urban centers.     

Editorial voices

Jack Smith is an artist on the margins of official narratives of art of the 1960s. This essay attempts to read his works as a means of questioning the challenges posed to normative readings of the work of culture, by presenting ideas about queer performance. Smith's almost hysterical identification with Maria Montez, a 1940s film siren, is privileged in my reading. Her key film, Cobra woman, turns on the image of a wound that will not heal. In this essay, I read the wound as signaling the breaches in our attempts at full communication, and compare this state of being to the idiosyncratic form of the camp effect, which functions as a kind of hieroglyph, or broken sign. Read through Maria Montez, the ‘failures’ of Smith's practice are explored in order to invogorate the seemingly exhausted discourse on camp, as well as to pose a critique of the ways in which certain bodies are failed by dominant culture.     

从功能与意义视角看民间法研究

近年兴起的民间法研究热点表明以国家法为中心的单一研究对象和规范分析方法正在受到冲击,法学研究多元化的局面正在形成之中。文章分析和比较民间法研究中存在的两种不同的研究视角:注重从功能视角探究规则的普遍性规律的自生自发秩序和强调由特殊性生活样态所构织的意义世界的地方性知识,指出了这两种不同视角之间存在的视域交融。     

历史文化的积淀——从傩戏的起源和发展探傩戏的本质

傩戏是起源于原始宗教的一种民间戏剧艺术,被称为当今戏剧的“活化石”。它的起源或形成与中国历史文化有着密不可分的渊源关系,它的发展更是有其特定的社会因素掺杂在里面。从宗教蜕变成为戏剧,显示出傩戏在历史发展过程中所具有的生命力。本文试图从历史文化的角度探讨傩戏这一特有的文化剧种的演变过程。     

‘Our Culture's Not for Sale!’: Music and the Asamblea Popular de los Pueblos de Oaxaca in Mexico

The Asamblea Popular de los Pueblos de Oaxaca (APPO), a social movement that emerged in June 2006, was a response to severe government repression of a teachers' strike in Oaxaca, Mexico. This article focuses on the movement participants' involvement with music, and the innovative ways in which songs associated with APPO were shared and circulated during the conflict. APPO's engagement with musical activities created spaces in which the political significance of regional culture was reinterpreted and re-signified. APPO, despite failing in its primary political objectives, thus generated new ways of relating to the performance, representation, politics and consumption of musical traditions.