组织文化视角下的亚洲开发银行研究

学术界对亚洲开发银行已经进行了一定程度的研究,但是从组织文化视角的研究并不多见。从组织文化视角对亚洲开发银行进行研究在学理上和个案贡献上都具有重要价值。通过对亚洲开发银行组织文化的分析,我们可以对亚行的价值理念、行为规范、决策机制等有更深的了解,而通过对上述问题研究的介绍,我们也可以找到亚行研究的新路径,开拓亚行研究的学术空间。     

近十年国外助推理论研究述评及进展

助推是行为经济学、社会心理学、政治哲学、公共政策学等多领域社会科学的新兴热点交叉议题,自2008年提出后,备受国外学界关注。公众选择不免会落入认知误区,助推以自由父爱主义为精神内核,利用不同选择架构工具推进助推目标,既为公众自由选择提供了选项,又增加了做出“更好的选择”的几率。但不可否认,助推也在伦理道德上饱受质疑。     

批评的界限:语文分野中的文化选择--关于"汉语批评"的相关思考

批评是理论的实践方式。批评的特点在于表达言说者的态度、观点乃至情感和立场。人类的言说 ,包括了授、受两方 ,并根基于特定的语文约定。在这种约定下 ,言说双方便结成了内外有别的语言共同体 :在内 ,词语相通 ,言说分享 ;及外 ,则筑起语言的分野乃至文化的边界。以这样的观点来看 ,所谓“汉语批评”不过是人类古往今来的多种文化边界之一。     

From Sarmiento to Borges: The Construction of an Intellectual Lineage in the Magazine Punto de vista under the Argentine Dictatorship

This article analyses the revision of the Argentine intellectual tradition demonstrated in the magazine Punto de vista throughout its first nineteen issues, published during the last Argentine dictatorship (1976–1983). From Sarmiento and the generation of 1837 to Borges and the Sur generation, the reassessment of Argentine intellectuals' legacies set out by editors of Punto de vista was an explicit attempt to insert the magazine into a recognised intellectual lineage. At the same time, it responded to a search for identity prompted by the critical and repressive context in which the magazine was first published.     

日本殖民侵略的自供、掩饰和美化——日据后期在台日本作家长篇小说析论

西川满的<台湾纵贯铁道>、滨田隼雄的<南方移民村>和庄司总一的<陈夫人>被视为日据末期在台日人作家的长篇小说代表作.<纵贯铁>宣扬北白川宫率军征服台的"功绩",史载台湾军民的殊死抵抗被写成"土匪"式骚扰,而日军的屠城式大规模烧杀行径则被淡化或合理化.<移民村>宣扬日本人的毅力、信念、真诚品行和科学精神,赋予日本对台湾的"移民"(殖民)以正当性.<陈夫人>具有人性的深度开掘和对台湾庶民生活细节的细腻描写,甚至写出了现代性、本土性和殖民性的复杂纠葛,但仍带有殖民文学的明显印痕对中国(台湾)文化的"误读"以及宣扬日本人带给台湾"现代化"的理念.它们不同程度地都是日本对台殖民侵略的自供、掩饰和美化.     

Modern education and literary traditions: a comparative view on the development of modern Uyghur and Tibetan literature

ABSTRACT

In 1949, illiteracy among both Uyghurs and Tibetans was similar to that throughout China and estimated as higher than 90%. Since then, the rate of illiteracy in Xinjiang has shrunk considerably, while in Tibet it has remained the highest in China. This gap can explain the difference between the small volume of literature published annually in Tibet and the extensive literature that appears yearly in Xinjiang. A major reason for the high literacy rate and the emergence of a thriving modern literature in Xinjiang is the system of modern education that developed in the region at the start of the twentieth century. In contrast, in Tibet, the religious conservatism of the Buddhist elite prevented the introduction of modern education in order to retain local cultures. The comparison of the influences of modern education on the creation of literary traditions allows us to examine the continuity of Uyghur and Tibetan cultures in the context of contemporary China.     

Women,writing and politics in Sonallah Ibrahim's That Smell and Notes from Prison

In That Smell and Notes from Prison, Sonallah Ibrahim engages literary and feminist discourses in his political narrative against the Nasserist regime and the culture of commitment (iltizam) of the 1960s. Ibrahim's antihero is a newly released writer who is faced with the challenges of overcoming his failure to connect with women and society, and find a motivation to write. He realizes that most readers, writers and critics are not in favour of his literature of exposé, which refuses to depict or treat the ugly reality as a beautiful one. In foreshadowing the 1967 defeat and the impotence of Arabs, That Smell and Notes from Prison warns of a prolonged cultural and literary decay should political corruption override basic human and women's rights in the Arab world.     

Family Historiography in The White Earth

In recent years, family history research has become a popular activity for many Australians. This imperative to connect with our ancestors extends into the field of literary production. In this essay, we examine one prominent novel that reflects this movement, Andrew McGahan’s The White Earth (2004). Looking through a lens of family history and historiography, the novel asks questions about postcolonial belonging, inheritance, and the violent foundations of the nation. McGahan’s young protagonist, William, stands to inherit a vast but crumbling property on the Darling Downs in Queensland. As William discovers more about the land, he comes into contact with both his own white pastoralist ancestors, and the powerful Indigenous spirits who inhabit secret and sacred spaces in the landscape. We argue that William’s encounter with secret family histories produces the hysteria at the climax of the novel, when the repressed violence of the past returns to haunt the present. Confronted with hidden knowledge, William—and, by proxy, the reader—is called to reconsider inherited histories in light of contemporary historiographies. The move towards knowledge of the family’s origins is a realisation of the complexity of the white Australian relationship to the land and its first inhabitants.     

“Time to Speak Out”: The 1980s Australian Gay Press and Personal Accounts of Living with HIV

This article considers the significance of gay men’s personal accounts of living with HIV or AIDS that were published in the gay press across the 1980s. Editors utilised individuals’ accounts of living with the illness to challenge mainstream media representations of gay men’s physical and emotional demise in the “final stages” of the debilitating illness. Such accounts conveyed the message that it was possible to resume one’s life after receiving a positive diagnosis. Gay men’s personal accounts of living with HIV or AIDS evolved from anonymous anecdotes to articles accompanied by the narrator’s full name and photograph by the end of the decade. This shift is attributed to Australia’s Third National AIDS Conference in 1988, whereby people with HIV and AIDS publicly disclosed their positive statuses. This article locates gay men’s personal accounts of living with HIV in a broader transnational shift towards the visibility of people with HIV and AIDS that was underway at that time.     

逆反与复归自然的“拱形结构”：“世纪末”文学思想探析

“世纪末”主要由两种审美风格构成,一种是以“逆反自然”为价值取向的颓废主义,它崇尚人工美而贬低自然美,表现萎缩的生命力和矫揉造作的人性;另一种是以“复归自然”为价值取向的原始主义,它崇尚自然美而贬低人工,表现蓬勃的生命强力和未经修饰的原始意识和内心情绪。两种审美风格看似完全对立,实则共同扮演现代文明批判者的角色。逆反自然和复归自然构成了“世纪末”文学的内在矛盾,这个矛盾统一于“意志”,围绕“意志”形成“世纪末”思想的拱形结构,发散出20世纪现代派文学的诸多元素。