周代策命的礼仪背景及文体特点

周代策命是周天子策封赏赐诸侯或臣下的仪式上使用的实用文体,一般在太庙举行策命仪式时颁布,见证者为傧者,宣读者多为内史,有时是尹氏或其他史官。周代策命形成稳定的体制,通常包括封赏的原因、具体的赏赐及教导与勉励三部分。周代策命语言诚挚恳切,语气温润亲切,典雅舒缓,成为后世策命文体模仿的典范。     

儒家“礼节教育”的根本精神及其适用于东方现代社会的可能性

本论文的目的在于确立现代东方社会合理的礼节教育，我们首先回到儒教传统而探索其相关资源及其适用于现代社会的可能性。对儒教思想中的礼节根本精神及其实践德目的探讨，作为礼节的根本精神的“礼义”与具体的礼节仪式之间关系的探讨，对于我们今天重新思考现代礼节教育相对于儒教传统的“变”与“不变”，无疑具有启发意义。在此前提下，我们具体讨论了儒教的礼节教育如何适用于现代东方社会。     

信仰·仪式·神话——“产翁”与“射日”习俗解析

"产翁"即男子"坐月子",是唐至清代广泛流行于中国南方壮侗语族先民中的一类特殊习俗。与"射日"有关的神话在中国也曾广泛流行,西南地区苗瑶族群中至今流传,甚至遗有表演这一神话的"射日舞"。分析发现,二者均是古之某种仪式的遗存。其中,"产翁"之俗是人们相信男子"坐月子"可保母子平安信仰下的一种仪式,它的出现或与南方湿热气候下初生儿的存活率有关。而"射日神话",本是对"射日"仪式的解释,"射日"是人们在旱灾中登高以箭射日的一种仪式,基于人们相信如此可驱退酷热的信仰,其或与发生在距今4000年前后的气候异常有关。     

律令关系、礼刑关系与律令制法律体系演进——中华法系特征的法律渊源角度考察

古代中国的法律体系的"律令制"架构,是认识中华法系特征的关键。一般认为这一架构至唐代才正式形成。其实,这一体系特征大致萌芽于战国时代,秦汉时代已初步成形,至两晋基本确定。所谓律令制体系,其要害特征在于律令间的特定关系。律为主(正),令为辅(副);律为刑罪法,令为政导法;律为稳固少变之法,令为因时修订之法。二者间这种关系,正好体现了中华法系的礼刑关系构思,也大致体现了古代中国政法模式的一般特征。通过对古代中国历代律令关系变化历程的考察,总结了律令制法律体系演进的四个阶段及其主要阶段性特征,并就中华法系律令制架构特征及"礼乐政刑"综合为治模式特征做了进一步阐发。     

论清入关前后谒陵礼仪的演变

中国祭祀祖先山陵礼仪始于春秋战国时期的墓祭,以后相沿成习,清朝也是如此。在清代,祭祀祖陵是宫廷的重要典礼之一,是清帝“用展孝思”思想的生动体现。本文通过对清朝入关前后谒陵礼仪的演变分析．从一个独特的视角,再现了中国最后一个封建王朝的强盛与衰败。     

Remittances,rituals and reconsidering women's norms in mahallas: emigrant labour and its social effects in Ferghana Valley

This paper describes recent economic and social changes in Central Asian neighbourhood communities known as mahallas, using data from a town in Ferghana Valley. First, it examines how the increasing costs of life-cycle rituals are damaging the harmony of mahallas. Since 2007, more and more hosts have begun to outsource the provision of food and services for these rituals, using money acquired mostly through emigrant labour. This in turn lessens mahallas’ mutual aid practices, and reveals emerging economic disparities between neighbours. Secondly, the paper argues that emigration has had transformative effects on the lifestyles of Muslim women in mahallas. With the globalization of their economy, conventional local norms are becoming harder to obey, and some young and middle-aged women are choosing to live outside these norms. Dependence on emigrant labour and the associated remittances has significantly affected the lifestyles and morals of mahalla inhabitants.     

‘For you were strangers’: Jewish ritual,black musics,and commemorative politics in Tel Aviv’s Refugee Seder

ABSTRACT

Each Passover since 2009, hundreds of East African asylum seekers and Israeli activists have gathered for ‘Refugee Seder’, a public event to support Sudanese and Eritrean communities in Israel. Featuring a ceremonial seder meal, storytelling, speeches, and a dance party, Refugee Seder draws on age-old Jewish rituals and contemporary global black pop musics to symbolize Africans as members of the Israeli national collective. This article explores Refugee Seder’s modified commemorative practices, which engage dual narratives of Jewish nationalism and cultural cosmopolitanism. I show how seder rituals enable African participants to temporarily embody a Jewish spiritual identity, and how black pop musics help publicly reframe Africans’ ‘blackness’ as a cultural asset instead of a political liability. Ultimately, I argue that Refugee Seder distills larger ideologies of identity and belonging that are deeply rooted in Israeli collective consciousness, and which shape the trajectories of ‘refugee issue’ politics and policy-making.     

礼仪教育与大学生人格完善探析

礼仪教育是构建和谐社会的重要组成部分,对大学生的人格完善起着举足轻重的作用。礼仪教育可以成为道德教育的有效载体,以其特有的温馨弥补了法律的刚性和无情。探讨礼仪教育的实施途径与方法有着十分重要的现实意义。     

新世纪郭沫若研究新论

郭沫若是20世纪中国最有争议的文化名人之一。我们认为,郭沫若在中国现代历史上不可替代的位置毕竟不是作为道德家而确立的,从早期新诗创作到40年代的历史剧,互渗的思维方式和热衷于仪式的表现始终贯穿于郭沫若的精神结构之中。这既赋予了郭沫若“别有天地非人间”的天才灵感,也导致了他创造力的最终枯竭。从这个角度出发考察郭沫若的创作,有助于我们对郭沫若形成新的整体认识。     

Profit rather than politics: the production of Lenin monuments in Soviet Latvia

The archived documents on outdoor sculpture commissions in Soviet Latvia reveal that the thesis of art having been colonized by the Communist party is too simplistic. Sculptors and architects had vested business interests in monument production. Until the mid-1950s, the cream of academically-educated Latvian sculptors was sidelined by Russians who mass-produced concrete replicas of statues portraying Lenin or Stalin. The majority of the works came through the mass production of works of visual propaganda in the Māksla art factory. Also, less-talented local sculptors were able to find a role satisfying the demand for cheap, decorative sculpture. Looking for ways to access this market, the local art elite invented aesthetic and semiotic arguments in support of the original, locally-made, Lenin sculptures that would be cast in permanent materials and could serve as the spatial organizers of new communist rituals in the urban environment for which they won municipal commissions resulting in the reconstruction of central squares in Latvian towns. What this means is that artists driven by their mercantile interests and not by ideology played an active part in elaborating the aesthetics of communist ideology, and therefore provided support for the dominant discourse of power relations.