Hedonism and Ethical Crisis:A Study on Edward Albee‘s Everything in the Garden

Edward Albee’s Everything in the Garden is an ethical tragedy caused by hedonism. Both the hero and heroine lost their rationality for the sake of pursuing the satisfaction of desire, who finally committed the fearful ethical crime, murder, under the control of animal factor. Through the play, the playwright deliberately emphasizes the process of how a happy family moves towards abyss step by step due to the domination of material desire. The destruction of the family means that the “fun morality”, which represents the irrational will, finally defeats the “goodness morality”, which represents the rational will. This paper uses ethical literary criticism as the study method, through analyzing the ethical issues in the play, such as characters’ rational loss, moral turpitude, and lack of ethics, intending to seek the ethical prospect of Albee: by writing characters’ pursuit of extreme “fun morality” and the serious result brought by it, Albee attempts to arouse people’s yearning for “goodness morality”.     

"中国民间故事类型索引"研究的批评与反思

梳理20世纪中国民间故事类型索引编纂和研究的脉络,对四位影响较大的学者和三部类型索引著作的贡献与不足进行重点评述,其目的是期望21世纪将要编纂的第四部中国民间故事类型索引成为一部分类合理,资料甄别准确,学术用语科学化、规范化,既有民族特色又与国际接轨的索引体系著作。     

Contemporary art and unconditionality: ‘the genus of art’ in the art criticism of Chiba Shigeo

This article examines art criticism of the 1980s that sought to address the context and continuity of postwar Japanese avant-garde art. The emphasis is placed on the notion of ‘the genus of art [rui to shite no bijutsu]’, which the art critic Chiba Shigeo discussed in his Gendai bijutsu itsudatsushi (1986). Chiba argued for an autonomous current of postwar Japanese art separate from Western art history but the argument has been largely overshadowed by his ostensible nihonjinron. The term ‘the genus of art’, therefore, has not yet received an adequate critical treatment. The article rephrases this notion as a call for a more inclusive definition of art designed to challenge the conditions that regulate non-Western art. Rather than simply being a nationalist polemic against Western art history from a marginalized place, Japan, ‘the genus of art’ was intended to revitalize and redefine the aims of the avant-garde within the context of ‘contemporary art’. By fleshing out the textual details of ‘the genus of art’ and situating the notion within a larger discourse that interrogated the semiotic role of ‘Japan’ in a global exhibition context, the study repositions Chiba's writing as a potential argument for unconditional acceptance, or unconditionality, as one important ethical contribution of contemporary art.     

西方国家的多元文化教育及其批判

西方国家自 2 0世纪 6 0年代以来兴起的多元文化教育旨在解决西方多民族多文化社会中的教育问题。经过近半个世纪的发展 ,多元文化教育取得了举世瞩目的成绩 ,但与此同时 ,在多元文化教育的推进中也出现了一些问题 ,因此在西方理论界出现了对多元文化教育的左倾和右倾的批评。如何对待这些批评将对多元文化教育的发展有着十分重要的意义。     

论党员监督权

党员享有监督权是党员进行党内民主监督的前提。党员监督权包括批评权、检举权和要求罢免权。党员监督权具有工具性、综合性、重合性等特征,具有评价、免疫、善事、防变等功能。保障党员有效行使监督权,对于反腐防变具有重要意义。     

Security,subjectivity and space in postcolonial Europe: Muslims in the diaspora

Abstract

In this article, we call into question the assumptions that undergird conceptions of boundary, territory, community and ethno-cultural belonging in the constitution of European security. Both the term ‘human security’ as defined by development and human rights scholars and ‘securitisation’ as conceptualised by critical security studies concern the socio-psychological aspects of security. Yet, few attempts have been made to seriously discuss the psychological effects of securitisation on subjectivity and space. There is, as we will argue, a tendency in much literature to use concepts of ‘existential security’, ‘fear’, ‘needs’ and the ‘politics of belonging’ – obviously connected to the human mind and individual emotionality – without much space being devoted to the investigation of these concepts in terms of socio-psychological processes. We intend to fill this gap by discussing security and securitisation in terms of the psychology of subjectivity and space among young Muslims in Europe. Our principal argument is that through openness to the political psychology of subjectivity and space, and the (de)securitisation of both, we are able to develop more adequate maps of the European experience of danger and opportunity.     

Spectacles of Dystopia: Lauren Beukes and the Geopolitics of Digital Space

Lauren Beukes’ latest novels—The Shining Girls (2013) and Broken Monsters (2014)—present forays into new generic and geopolitical spaces, shifting from the Joburg and Cape Town-based “allegorical apartheids” of the science-fictional texts Moxyland (2008) and Zoo City (2010) to supernatural crime novels set in dystopian American cities. This paper explores the productive tension between the global and the local in her body of work, framed within the concepts of “developing world” science fiction and the figure of the hybrid. I argue that the esthetics and generic conventions of “cyberpunk” often associated with Beukes animate a seemingly ubiquitous dystopian space. Her writing explores the dissemination of commercial icons, visual fads, and digital pop-objects around and within global bodies: networked, linked electronically, and sometimes physically in what I suggest comes to form the illusion of a digital, dystopian everywhere, relentlessly performing transcendence of locality.     

The Ethics of Waste in Zoë Wicomb’s You Can’t Get Lost in Cape Town

Zoë Wicomb’s You Can’t Get Lost in Cape Town (1987) uses bodily and material waste to figure larger social processes of marginalization, dispossession, and racial abjection during the apartheid era. As the apartheid regime sought to devalue the lives of those categorized as “Black” and “Coloured,” while simultaneously profiting from their land and labor, it pushed non-white South Africans into dangerous proximity to hazardous and unseemly waste. Waste, in You Can’t Get Lost in Cape Town, becomes both metonymy and metaphor. Wicomb not only uses it to index the historical and material processes of abjection that obtained in twentieth-century South Africa; she also takes up garbage, feces, vomit, and other refuse as an ethical lens for the consideration of how individual and collective subjectivities are formed by what is thrown away. In its relationship to waste of all kinds, the individual body becomes a site in which social processes of acceptance and disavowal play out.     

《论语》杂志的政治批评与公共领域之建构

《论语》杂志的思想资源有很大一部分来自平社和《语丝》,该刊承载了自由主义知识分子对政治现象的观察与思考,具有明显的政治维度。《论语》坚守知识分子的独立身份和政治上的中间立场,将政治批评和幽默话语结合起来,获得了较大的自由批评空间。同时,它充分发挥自身作为公共论坛在汇聚意见、形成舆论上的优势,鼓动公众对各种政治问题展开讨论。《论语》在政治批评上的诸种努力,促进了二十世纪三四十年代公共领域的建构。     

Postcolonial Interventions: Gayatri Spivak,Three Wise Men and the Native Informant

Abstract

This article responds to Terry Eagleton's claim that Spivak's latest book, A Critique of Postcolonial Reason, works against the intent of postcolonial criticism. Reading the work as a search for a just representational strategy, we explore the implications of Spivak's engagement with philosophy - Kant, Hegel, and Marx. As a disciplinary machine, philosophy produces Western subjects who are engendered by simultaneously including and excluding the other. Working through this production of the double location of the ‘other’ we suggest that systematic thought is inhabited by an absence that is present within, a disturbing otherness that ultimately questions authority and stability, and opens up the question of politics and representation. Drawing Spivak into the representational problematic opened up by Lyotard, we suggest that a responsible postcolonial intervention can be performed in the difficult exergue between representability and unrepresentability. In this account, representation is open to invention, to finding new idioms for articulating otherness.