国际法视野下的单边人道主义干涉

只有在联合国的批准或授权下,或经被干涉国的邀请,国际社会才能对发生于一国的人道主义灾难实施人道主义干涉。而西方大国越来越倾向于擅自以人道主义的名义武力介入他国。这种单边的人道主义干涉多是某些国家实现一己私利的工具,从未成为国际习惯,也违反《联合国宪章》,因此是违反国际法的。而联合国现行的体制无法有效发挥在制止人道主义灾难方面应有的作用,使大国有了擅行干涉的口实。为此,应完善联合国的人道主义干涉体制。     

从尼采的悲剧学说解读盖茨比的悲剧性

本文运用尼采的悲剧学说对菲茨杰拉德的小说《了不起的盖茨比》中的主人公盖茨进行分析,旨在阐明盖茨比集日神精神和酒神精神于一体,是理智和激情的混合体,在社会悲剧大背景中注定他的个人遭遇是无法避免的,由此为人们理解其悲剧性提供一个新的途径。     

深海安全治理:问题缘起、国际合作与中国策略

深海区域是重要的全球公域,其丰富的资源储备和巨大的军事战略价值成为吸引世界各国深度参与深海开发的重要诱因。近年来,各国深海力量投送的不断加强,也在国际深海领域造成了如生态安全、军事安全、经济与资源安全以及人身安全等各种传统及非传统安全问题。国际深海安全问题的出现,会对深海开发的良性发展产生严重的影响。因此,重视和加强对国际深海安全问题的治理迫在眉睫。现阶段,国际社会在相关国际法和国际机制的基础上,已经初步形成了以国际海底管理局等国际组织和主权国家共同参与的总体治理架构。但是,现阶段的国际深海安全治理还存在着治理主体层次不够多元、军事等传统安全领域的治理相对乏力等亟须解决的问题。近年来,中国在和平利用国际深海资源方面,发展迅猛。进一步关注国际深海安全问题、有效参与国际深海安全治理,对于中国而言意义重大。在此背景下,中国可以在进一步有效感知深海安全问题、夯实参与国际深海安全治理的实力基础以及打造深海“人类命运共同体”等方面进一步着力。     

Autonomy,Reflexivity, Tragedy: Notions of Democracy in Camus and Castoriadis

Abstract

This paper looks at two 20th century theories of tragedy: those of Cornelius Castoriadis and Albert Camus. The theories that each proffer of this ancient cultural form are striking. Against more standard views, both theorists stress that tragedy is a cultural form that has only arisen historically in cultures whose forms of religious thought have been laid open to question. In this way, both argue that tragedy is an important democratic cultural form, which stages the confrontation between a no longer unquestionable divine order, and human autonomy. The intent of the paper, from the start, is a political one. It wants to place Camus alongside Castoriadis as a ‘post-Marxist’ thinker, who belongs meaningfully to what Dick Howard has called ‘the Marxian legacy’. More than this, it aims to do this by staging Camus' theorisation of tragedy, with Castoriadis', as a powerful riposte to the conservative criticism of democracy as a modern political form, that is, that it cannot muster sacral cultural forms forceful enough to meaningfully unite people beneath its banner.     

The Presence of Tragedy

Abstract

This paper argues that modernity can only be properly understood when tragedy is viewed as one of the conditions internal to it. Modernity and tragedy are not mutually exclusive, as Hegel and Schlegel, for example both argue, but mutually inclusive. Each is determined by the other—as tragic modernity and as modern tragedy.     

Imagination and Tragic Democracy

Abstract

Cornelius Castoriadis is one of the very few social and political philosophers - modern and ancient - for whom a concept of imagination is truly central. In his work, however, the role of imagination is so overarching that it becomes difficult to grasp its workings and consequences in detail, in particular in its relation to democracy as the political form in which autonomy is the core imaginary signification. This article will proceed by first suggesting some clarifications about Castoriadis's employment of the concept. This preparatory exploration will allow us in a second step to discuss why the idea of democracy is closely linked to tragedy, and why this linkage in turn is dependent on the centrality of imagination for human action. In a third conceptual step, finally, we suggest that any concept of imagination will need to take into account the plurality and diversity of the outcomes of the power of imagination. Thus, the question of the nature of the novelty that imagination creates needs to be addressed as well as the one of the agon in the face of different imagined innovations in a given democratic political setting. As a consequence of this shift in emphasis, to be elaborated further, one will be able to say more about one question of which Castoriadis was well aware, which he never addressed himself in detail, though: the decline and end of polities and political forms, the question of political mortality.     

论苏曼殊小说的悲剧意识及其形成原因

苏曼殊小说所描写的都是爱情悲剧,带有明显的主观抒情色彩和自传性质,充满着强烈的悲剧意识。这种悲剧意识既出于佛教观念和情爱追求的矛盾纠缠,更是根源于作家对现实世界的失望而认定人生本苦的生命意识。     

王国维美学与20世纪中国美学

王国维美学对20世纪中国美学有重要的影响和启示.在社会变革的历史关头,主流美学占据主导地位,不等于非主流美学没有自己的一定地位,它们都在发生影响,只是影响的范围、程度有别.把20世纪中国美学的开山大师与其后的美学家比照,我们就会发现美学在中国发展中的起伏轨迹,尤其是非主流美学家命运的悲剧性,这种悲剧性是学科本身的必然的悲剧性.     

性格与环境的错位——论《骆驼祥子》的悲剧意蕴

带着鲜明农民气质的祥子因农村经济的破产来到北平这个城市,梦想着靠自己壮实的身体在城市“作一个独立劳动者”,这愿望本身就显示出与环境的不和谐;指导祥子要强奋斗的是小生产者的价值观念及行为方式,这就使他的质朴、要强反而在城市文化背景下显得那么愚蠢、呆笨,不那么“合辙”。性格与环境的错位一定程度上导致了祥子最后的悲剧。唯其如此,《骆驼祥子》便不仅是揭露与批判,而呈现出丰富的悲剧意蕴。     

公众共用物开发利用法律规制的困境与破解

公众共用物是人类社会得以持续发展的物质源泉和基本资源。环境资源等公众共用物可被不特定多数人非排他性使用,但自由主义导致的个人利益至上,价值观缺陷导致的狭隘利益至上,使得公众因共用引发个体私人利益与公众公共利益之间的冲突,产生公众共用物的"公用悲剧"。针对公用缺陷,经典解决方案侧重通过产权化将具有非排他性的共用物转变为具有排他性的物权客体。由于对公众共用物过度或不当产权化,因此经典解决方案偏离了最初的设想,异化为公众共用物"私用悲剧"。公众共用物公用缺陷和私用缺陷是一个硬币的两面,为统筹解决这两种问题,对公众共用物的开发利用进行规制,需要明确公众共用物的法律地位,确认其共用权利性质,更新理念并明确公众共用物开发利用的原则,明晰公众共用物产权,明确并完善公众共用物调整方式。