LETTERS

正Now in my 60s,I am starting to think seriously about where I’m going to spend my later years.I do not personally oppose living in a nursing home when I’m too old to take care of myself.My children treat me very well and I enjoy the time we spend together.But they have lives of their own,while I have a life of my own.I don’t have the heart to expect them to look after me,as they are already occupied with     

论独立监管机构的经济法主体地位——以马克思主义社会权力机构学说为视角

早在19世纪中叶,马克思、恩格斯就已经预见到社会权力机构的兴起,这一预见已被中西方主要国家独立监管机构的产生与发展实践所证明。作为日益重要的经济管理主体,独立监管机构的公益代表性与权力合一性完全契合经济法主体特征的基本要求,亟需在经济法主体理论上对此作出回应。纳入独立监管机构考量后的经济法主体理论更加完善,可以明晰国家与政府在经济法主体类型上的差别,解释政府作为经济法主体和行政法主体在性质上的不同,并在一定程度上回答了社会中间层的经济法主体地位问题。基于独立监管机构的发展现状与趋势,经济法主体将呈现出"政府——独立监管机构——市场主体"互动模式。     

知识契合与学科整合——以刑事学科一体化为视角的犯罪学解释

刑事一体化是科学知识整合的必然结果。在由学科分化走向学科整合的过程中,学科的界域并不是绝对固定和清晰的。专业槽的构筑体现了本学科的内在规定性,但它不应当成为学科整合的障碍。借助于贝卡利亚的思路,我们可以了解犯罪学的诞生与新刑法的问世所依据的整合机制。贝卡利亚的《论犯罪与刑罚》不是刑法学自身发展的产物,而是人文主义和启蒙主义的产物,同时也是知识整合的产物。     

论现代科技对侦查的影响

现代科技对侦查的影响是全面而深刻的。对侦查的对象——刑事犯罪的影响体现为：在手段方面进行科技化改造,在领域方面促使其进一步增大;对侦查能力的影响体现为对侦查技术的进一步提升及对侦查理念的进一步拓展;对侦查法治的影响体现为侦查法治的文明化程度不断提升与现代科技为侦查法治带来了一些争议性问题;对侦查学的影响体现在侦查学和刑事技术学的融合和分化的发展过程。在现代科技的语境下,刑事侦查要辩证地对待现代科技的影响,促进侦查能力、侦查法治和侦查学的发展。     

试论中国传统服装美学与西方服装美学的差异

服饰是透射一个民族艺术哲学理念的重要窗口。中国传统服装美学一方面受到儒家礼教规范及伦理道德的影响,注重＂美＂与＂善＂的相似性,缺乏对人体之美的正视与研究,把服装审美创作看作传播教化、塑造人格、维护礼制的形象表征,遮蔽人体曲线,宽衣博带;另一方面在道家思想统摄式思维观照下,追求衣饰与人体在整体审美上的和谐,淡化人体特征而凸显精神气韵。西方服装美学注重＂美＂与＂真＂的共同点,求真务实地强调人体曲线,以探求表现人体的本质美为审美理想。如何承袭中国传统美学智慧,又借鉴西方服装美学求真精神,创造出中国服装独有的时代语言,是中国当代服装设计师们面临的一个意味深长的课题。     

“审美关照”的实践语境与社会管理创新

审美关照可以强化人们在市场经济活动中的适宜感和审美感受,是一种在功利活动中非功利的、指向更深层的、精神上的情感体验,表达对人的"终极关怀"。中国特色社会主义建设进程中的审美关照,有一个基本着眼点,就是关照普通人的生命际遇,维护和促进其生命历程的健康、美满。对人们生存样态的整体关照,既维护了广大人民群众的安全利益,又强化了社会管理的职能,促使少数社会治安高危人员避免走上危害社会的道路,对这些人成为自食其力的劳动者能够起到重要的匡正作用。从提高办事效率的视角进行审美关照,为每个人的全面发展创造条件,群众满意率则会不断攀升。     

Imaginary Turns in Critical Theory: Imagining Subjects in Tension

Abstract

The aim of this paper is to examine two turns towards the idea of the creative imagination in contemporary critical theory in the works of Axel Honneth and Cornelius Castoriadis. Honneth's work subsumes the idea of the creative imagination under the paradigm of mutual recognition. Castoriadis constructs the idea of the creative imagination from an ontological perspective. However, Castoriadis' idea of the primary autism of the creative imagination can be thrown into relief by Hegel's Jena Lectures. Hegel's and Castoriadis' work opens onto a subjectivity in tension, that is, a subjectivity that is forged out of a combination of subjective interiority, as well as the patterns of interaction that are multidimensional in their scope and create social spaces that force the subject beyond an initial closure.     

Walter Benjamin’s Variations of Imagelessness

Abstract

Strongly positive uses of terms that designate an absence, a cognitive or ontological impossibility or a sensory privation are among the persistent conceptual figures of Benjamin’s thought. This article analyses the moves by which Benjamin gave his concept of ‘the expressionless’ (das Ausdruckslose) its intriguing semantic meaning and moral value. Drawing on the poetics and philosophy of the sublime from Greek antiquity through modern times, the article reveals key historical reference points of Benjamin’s concept and, furthermore, his strategy of advocating a novel theory of the sublime as an antithesis to, or an interruption of, the beautiful by selectively integrating older traditions (such as the topos of god’s “imagelessness”) with theorems previously unrelated to these traditions (such as phenomenological reflections on body perception and colour and the twentieth-century discourse on “decision”).     

Undignified Thoughts After Nature: Adorno's Aesthetic Theory

Abstract

This paper seeks to redress the marginalization of Adorno in environmental philosophical discourse. Kate Soper describes two opposing ways of conceiving nature. There is the redemptive "nature-endorsing" paradigm that lays claim to the intrinsic value or "otherness" of nature. Conversely, the "nature-sceptical" approach denies that we can access originary, untouched nature. This paper argues that the significance of Adorno's treatment of natural beauty lies in how he brings these approaches together. In writings that resonate with the dual connotations of Sebald's phrase "after nature", Adorno both affirms the skeptical point that we cannot transcend a human history alienated from nature as well as retaining redemptive hope wherein art "after" nature seeks creative possibilities from out of the very ruins of history marked by nature's destruction.