The Ethiopian root of Thomas More’s Utopia

The classical utopian novels of early-modern Europe, such as Utopia, Christianopolis and City of the sun, are widely understood in mainstream academics as products of the writers’ inventive imaginations of better social organisations. Suggestions regarding the possibility that places with the social and administrative features depicted in the novels might actually have existed in medieval times, are often dismissed by Western scholars who argue that the role of non-European civilisations in the early-modern proliferation of utopian novels did not go beyond helping to inspire the writers’ creative mix of narrations. A disregard for the fact that medieval utopian novels could be modified and/or de-identified versions of earlier reports about 12^th- and 13^th-century Ethiopians (‘the Land of Prester John’) has severely distorted the mainstream understanding of utopianism and renaissance by African scholars. This article specifically focuses on More’s Utopia, to assert its Ethiopian root using historical and religious evidence.     

The Room and the Street: Gwen John’s and Jean Rhys’s Insider/Outsider Modernism

The modernist city is commonly thought of as a city of exteriors; we envision the ‘spaces of modernity’ as sites of industry or leisure, and apply the very notion of the ‘urban’—urban planning, urban studies—to the way we approach public spaces. But by reading together the paintings of Gwen John (1876–1939) and the writings of Jean Rhys (1890–1979), we discern a different modernist story than we are used to hearing—one that collapses divisions between the room and the street, the private and the public. By focusing on tropes of rooms in their works, the author seeks to nuance our understanding of John’s and Rhys’s relationship to community from within the supposed safety or isolation of their interior rooms, and argues more broadly for a women’s modernism of the city that collapses divisions between the room and the street, the private and the public. These two figures, who are usually read as ‘outsiders’ to mainstream modernist culture, produce a distinct ‘insider/outsider’ aesthetic which reveals them to be working not outside, but at the very heart of modernist experimentation.     

The sacred may not be the same as the religious: Angela Carter's ‘Impressions: The Wrightsman Magdalene’ and ‘Black Venus’

John Everett Millais's painting The Bridesmaid (1851) depicts a young woman, on the evening of a wedding, attempting to conjure up a vision of her own future husband. This work has been linked to a number of others by Millais dealing with marriage, and has been seen as an articulation of 'matrimonial ideology'. Brown sets the picture in the context of the widespread, though clandestine, practice of fortune-telling, through which women in particular attempted to foreknow, and thus control, the central event of their lives. One of the most frequent questions asked of fortune-tellers was 'whom shall I marry?', the question the girl in the painting has herself asked. However, drawing on recent critical work on 'proposal composition' pictures, Bown argues that men, too, faced great uncertainty on the brink of marriage, and that artists repeatedly explored this uncertainty through attempts to represent a complex female subjectivity in their works. In The Bridesmaid Millais (who was thinking about marriage in the early 1850s) depicts a woman telling her fortune, but he also seeks to represent her as full of thoughts and feelings. The artist, and the viewer of the painting, then, engages in an act of divination in which he tries to discover the mysterious secrets of female subjectivity.     

Cohen vs. Rawls on justice and equality

G.A. Cohen criticizes Rawls’s account of justice because his difference principle permits inequalities that reflect the relative scarcity of different skills and natural abilities. Instead of viewing the ‘basic structure’ as the primary subject of justice, Cohen argues that individual citizens should cultivate an egalitarian ethos, which would enable a just society to dispense with the use of incentive payments to induce individuals to use their talents in socially ideal ways. This study examines Cohen’s critique, including his rejection of ‘incentives,’ and vindicates Rawls’s approach. Ultimately, Cohen’s argument fails to grapple with the moral pluralism that characterizes modern, democratic societies, whereas Rawls’s theory is constructed to accommodate such pluralism.     

洛克自然权利理论的法治诠释简

自然权利理论作为洛克政治法律思想的逻辑推演起点在洛克的政治大厦中占据重要位置.通过厘清“自然状态—自然权利—法律权利—法治”这样一条脉络,可以清晰而逻辑地回答洛克自然权利理论对于当代中国法治实践的理论关怀.同时,洛克的财产权理论是洛克自然权利的第一要素.从自然状态到自然权利表征了人类社会权利理念的勃兴,而从自然权利尤其是财产权到法律权利的进化则为法治秩序弥散机制的生成提供了理论基础.通过现代法治理论诠释洛克的自然权利概念并厘清洛克的自然权利言说,能够为国家法治治理开辟一条更坚实的道路.     

John Locke,the state of nature and terrorism

This paper examines John Locke's political theory in order to see if it can offer any important insights into how to deal with international terrorism. The paper begins by outlining the central aspects of Locke's social contract theory and the way that Locke thinks that it is mirrored in international relations. A general definition of ‘state of nature’ and ‘legitimate common authority’ is offered that is then applied to both civil conflict and international terrorism. The situation that nation-states find themselves in with respect to international terrorist organisations is then analysed in terms of these concepts. The United Nations and the European Union are then examined in order to see if they fulfil the criteria of legitimate common authority necessary to deal with international terrorism in a just and unbiased manner.     

The Freedom of Expression in Global Perspective

This paper presents recent events including the Danish cartoon crisis occasion—a re-examination of John Stuart Mill’s argument for freedom of expression. Despite the appeal of liberalism, Mill’s philosophy had from the start been subject to intense criticism. The rise of political Islam opens a new phase in the debate; the difficulties pointed out by Mill’s critics are indicative of the obstacles that liberalism still faces.

Tilting at Windmills? Truth and Illusion in ‘The Political Constitution’

This article examines the constitutional scholarship of John Griffith. Centring on Griffith's seminal article 'The Political Constitution', the analysis reveals a more complex and pessimistic thinker than the standard image of Benthamite radical would allow. The article then examines the cogency of Griffith's vision – particularly his thesis that rights discourse 'corrupts' law and politics – against recent developments. It concludes by reflecting on Griffith's radical debunking style.     

Cabinet Government in the Twentieth Century

This paper examines the main features of the cabinet system as it had emerged during the twentieth century, and which Jennings did so much to crystallize in his pioneering study on Cabinet Government. It then assesses the main changes that have occurred over successive administrations since the late 1970s, and concludes that even if cabinet government seemed to return in 1990 and 2003, it was without the cabinet system that had underpinned and made it effective in the past.