社会主义公民社会在当代中国的印象

社会主义公民社会这一概念是脱形于＂公民社会＂这一大范畴之下的理论模式,源于西方的历史经验及知识传统,其形态随着现代社会主义理论的产生而逐步显现出来,对于社会主义国家而言具有一定的普适性。因此,从这一概念入手,可以探析社会主义公民社会在当代中国的印象。     

主题变奏:中国法学在路上——以法理学为视角的观察

文章从不同的视角观察审视了我国法理学的发展,从其主题变奏的十五个方面,比较全面地勾勒了当代中国法学发展的基本面貌.     

实践之外的探索——程小青的侦探小说理论

研究中国的侦探小说,无法绕开程小青及其对侦探小说理论的探讨。程小青为我们理清了侦探小说的历史。他积极探寻侦探小说的文学地位,极力开掘侦探小说的文学价值,注重对侦探小说叙事艺术的探讨。此外,他还重视侦探小说的取材、命名艺术,强调侦探小说的“功利观”。     

Hermes: God of Thieves. Plagiarism in Twentieth Century Literature

The question of imitation moves from an open and obvious phase, the phase of Classicism, during which the models from antiquity were imitated with pride and with a conscious desire to set fixed and codified models for compositions, following norms for distinction in well-defined genres, to the period of Romanticism, during which the concept of the work's uniqueness predominated, and the work was seen as the link between God and the world. During the twentieth century the attitude towards plagiarism changed again: in our century the question of artistic originality becomes anxiety-provoking and the relationship with tradition becomes competitive. The heavy weight of tradition creates in the writer a desire to exorcise in some way the fear of the death of creative originality and gives rise to the playful, demystifying re-presentation of previous works, in an attempt to desecrate genres and precursors, re-creating them overtly and covertly at the same time. Thus plagiarism transforms itself into a new creative force, in which tradition is no longer imitated in a subservient, nor a reverential fashion, nor in the sense of the subdivision of pre-established genres. Plagiarism becomes instead a challenge on the same grounds of the canonical authors, demonstrating in this manner a strong capacity to capture the essence of the author's own language (a link to the new emphasis on the act of reading). This revised version was published online in July 2006 with corrections to the Cover Date.     

全面建设小康社会语境中的当代青年发展

全面建设小康社会为当代青年发展提供了更为广阔的空间。与此同时,全面建设小康社会又是当代青年的历史使命和社会责任。在全面建设小康社会的进程中,理应正视当代青年的地位与作用。在全面建设小康社会语境中,当代青年发展存在着许多不容忽视的问题,必须引起重视并加以克服,引导他们选择适合自我发展的成长道路。     

体育犯罪样态演化研究

人类体育犯罪史经历了原始体育犯罪样态、古代体育犯罪样态、近代体育犯罪样态和现代体育犯罪样态。在犯罪学视域下,原始体育犯罪主要有体育暴力犯罪;古代体育犯罪新增了体育赌博犯罪、体育欺诈犯罪、操纵体育比赛犯罪等新类型;近代体育犯罪又增加体育中的歧视犯罪和使用兴奋剂犯罪类型;现代体育犯罪形态则呈现向广度和纵深发展的新趋势。     

Chinese Contemporary Artists(8) Ji Dachun:Imagine It,Paint It

正"There is nothing that can’t be painted;if I can imagine it,I can paint it,and I can imagine a lot."WHEN I think of Ji Dachun,I can imagine him sitting down with Rene Magritte over tea and discussing theories on painting or playing chess with Marcel Duchamp and Man Ray.Dachun is a true surrealist and there are simply not that many contemporary Chinese surrealist painters.He is as unique as the subjects of his paintings that,for all their diversity,are consistently whimsical,irreverent,absurd,and always minimal like the workspace in which they are created.     

Letters

正Dear Readers,Forum is a column that provides a space for varying perspectives on contemporary Chinese society.We invite you to submit personal viewpoints on past and current topics(in either English or Chinese).     

Chinese Contemporary Artists(4) He Sen: “Engagement” with Painting

正"Contemporary Chinese art has become too much about contemporary Chinese life.Why should we deal only with what we see on the surface?In traditional Chinese art,meaning is not always on the surface;it involves the imagination and ideas."LIKE most followers of contemporary Chinese artists who have come to prominence over the past 10 to 15 years,I have identified certain ones by subject or style     

Four women,for women: Caribbean diaspora artists reimag(in)ing the fine art canon

ABSTRACT

This article examines changing representations of women of colour within the realm of the visual arts and considers the aesthetic qualities, historical significance and cultural impacts of a diverse body of image-making spanning several centuries. The research focuses on selected works from the portfolios of the following four, early to midcareer artists of Caribbean heritage, whose nuanced depictions of black and brown womanhood in the twenty-first century have achieved international acclaim: American interdisciplinary artist Aisha Tandiwe Bell; American collagist Andrea Chung; French figurative painter Elizabeth Colomba; Danish photographer, video artist and performance installationist Jeannette Ehlers. The complex diasporic identities and imagery reflected in the oeuvres of these four contemporary artists are contrasted with fine art from earlier eras. The compositional, technical and social modalities of a number of notable works are assessed to determine why some have become celebrated images within the international canon and others have been deemed problematic.