Polish martial law of 1981 in Polish post-communist films: Between romanticism and postmodernism

This essay discusses representations of Polish martial law of 1981 in Polish feature films made after communism collapsed. It considers them against the political history of Poland over the last thirty years, especially the history of Solidarity and the shift from communism to post-communism. It argues that the way martial law is portrayed changed over the years. While initially, as represented by Kutz's Death as a Slice of Bread, the aim was to commemorate the victims of martial law and condemn the authorities, in later films we observe more complex portrayals that reflect the growing erosion of the myth of Solidarity and the Church.     

自然,童心与诗:论英国19世纪浪漫主义文学中的童年意识

本着重论述了英国１９世纪浪漫主义学的自然与童心主题及其深刻的社会历史意义,认为在机器明主宰下的现代社会里,人性不可避免地趋向物化,实用主义和功利主义化,人了原本在自然状态下充分拥有的自由和善良的意志、崇高的想象力、纯真的好奇心和强烈的情感世界,使人变得封闭、迟钝和缺乏创造力,而这将导致整个人类明的匮农与衰退。因此,人类为自身的进步、发展与完善,就必须摆脱机器明的,回归浪漫主义的思想境界和     

Ideology and Anti‐Utopia

A recent film adaptation of Aldous Huxley’s novel, Brave New World, makes a number of seemingly minor changes in the novel’s characters, setting, and plot. Together, however, these changes transform the novel’s theme into its polar opposite. As a result, the dystopian novel is transmuted into an anti‐utopian film. After examining these changes in detail, I analyze the contrasting world views that lie behind the two texts and argue that they are based upon opposing views of human nature and society. I then reflect on the meaning of this transformation, arguing that it reflects a fundamental transformation in our society, one which undermines the possibility of using political action to attain social justice. Moreover, it is just this transformation which Huxley, in writing Brave New World, had hoped to warn us against.     

中国近代宪政实践的困境及其启示

中国近代宪政实践因政治浪漫主义而陷入认识困境,因工具理性而陷入宪政价值的贫困,因理想与现实的背离而陷入宪政运行的苦境。近代中国的宪政梦虽然一再破灭,但却给我们以深刻启示,并成为当今和未来中国走向宪政文明之路的基础性资源。     

Romantic guilt and identity

Abstract

There is a kind of guilt that looks archaic, but which arises at the moment of Romanticism. One way of understanding it is as a response to a plight bequeathed by Kant. Kant's account of the subject secures the subject as such, but not the particular individual. The particular individual for Kant presents a risk, the risk of turning away from the good will defined by the categorical imperative to embrace one's own, particular good. Ultimately for Kant this entails the risk of radical evil. The peculiarity of Romantic guilt is that it seems to grant one ontological assurance for one's particular individuality. This paper explores and seeks to define the phenomenon of Romantic guilt as a possible aspect of tensions in lived experience, in particular between the universalism and moral autonomy associated with the rationalist, Enlightenment strain in liberalism, and the particularism and rootedness of cultural belonging associated with Romanticism. Romantic guilt emerges as having a constitutive function in relation to the self. The paper concludes with suggestions about ways in which further research might trace Romantic guilt in a collective form in nationalism and modernity.     

三论维特根斯坦的文化观——如何看待维特根斯坦批评西方文化

维特根斯坦的文化观在对文化发展作出重大贡献的同时也产生重大失误,其失误之一就是从浪漫主义的观点出发批评和反对西方文化.浪漫主义反对科学精神和理性主义,并且以德国特殊论和德国优越论自居,因此不仅与现代性相左,而且在思想上与法西斯主义相通.分享了德国浪漫主义传统的维特根斯坦,没有认识到与西方文化精神“格格不入”的德国文化不...