The aesthetics of “everyday” violence: narratives of violence and Hindu right-wing women

“Right-wing” movements see significant participation by women who espouse their exclusionary and violent politics while at the same time often contest their patriarchal spaces. Women also serve as discursive and symbolic markers that regularly form the basis of the rhetoric, ideology, actions and policies of the right-wing. However, even as women’s roles and politics within the right-wing remain diverse and important, dominant feminist scholarship has had uneasy encounters with right-wing women, labelling them as monolithic pawns/victims/subjects of patriarchy with limited or no agency. This article aims to question this notion by examining the aesthetics and visual and oral imagery appropriated, (re)constructed, transformed and mediated by right-wing women. Based on ethnographic and visual research conducted in 2013–2014 with women in the cultural nationalist Hindu right-wing project in India, I argue that right-wing women use a variety of visual and oral narratives (from images to storytelling) to negotiate with spatialities and carve out independent “feminine” discourses within the larger language of the right-wing. I also argue that these narratives are “ritualised” and performed in various spaces and styles and remain crucial to the “everyday” politics and violence of right-wing women. The “everyday” politics of right-wing women often contest, subvert and bargain with the patriarchal goals of the larger projects, rendering narratives as sites of examining agency. Using specific examples of visual and oral narratives from the aforementioned movement, this article articulates how everyday violence is shaped by the aesthetics of the nation and the body, and how these aesthetics shape everyday violence.     

关于长三角区域的国际科技合作发展的研究

长三角区域是中国国际科技合作最为成功的地区之一。该文首先介绍长三角区域的国际科技合作现状,然后探讨长三角区域在国际科技合作过程中遇到的一些问题,最后提出促进长三角区域国际科技合作的意见和应对措施。     

The Contingent Public Value of ‘Good Design’: Regulating the Aesthetics of the Australian Urban Built Environment

The proposition that the urban built environment can, and indeed should, be made more visually attractive is a long‐standing feature of the governance of Australian cities. In this vein, this paper examines how ‘good design’ in terms of visual aesthetics is currently pursued including through the development assessment process and the work of government architects. The paper begins by tracing the background of contemporary regulatory practice from long‐standing ideas around beauty and its value through to the urban design movement of today. Next, it considers in more detail various rationales for aesthetic governance and what might be better forms of regulatory practice. In short, it will be argued that while there can be scope for regulation to deliver superior outcomes, this practice must be sensitive to a high degree of contingency in what the public values and that deliberate empirical inquiry into the latter is desirable.     

关于美学教学与实践方式的若干思考

美学课的教学过程,应注重充分调动学生作为审美主体参与各种审美活动的主动性,系统引导学生获得丰富的美感体验。通过探索多种有效的教学与实践方式,来改变传统美学教学的刻板抽象模式,使学生在尽情享受审美愉悦之同时,能获得比抽象说教更深刻的感悟,从而在潜移默化中不断提升审视美的境界。     

重读上海都市“新感觉”：从技术地理学到技术感性学的视角

技术的更迭不断地改造着人类社会的空间形态,也重构着在空间中生存之人的生命体验和审美感知。现代都市作为技术性空间,构成了上海新感觉派的感知环境,也是其重要的表征对象。上海都市现代性首先表现为一种传播和移植的“技术现代性”,是西方现代军事、运输和通信等技术的直接地理后果;而其在地生产,包括了都市空间的营造和城/乡空间关系的重构。新感觉派作家对现代技术事物的感觉之“新”,是在作为技术性空间的都市中,与“技术”效应之间产生的剧烈感应与共鸣。新感觉派技法的电影化,则是一种感性表征的现代技术媒介机制。从“技术地理学”到“技术感性学”的交汇视域来重读新感觉派,彰显了现代都市中“人/技术/空间”的辩证关系,在当代语境中具有普遍的参照意义。     

Geographic and technological R&;D spillovers within the triad: micro evidence from US patents

This paper aims at assessing the magnitude of R&D spillover effects on large international R&D companies’ productivity growth. In particular, we investigate the extent to which R&D spillover effects are intensified by both geographic and technological proximities between spillover generating and receiving firms. We also control for the firm’s ability to identify, assimilate and absorb the external knowledge stock. The results estimated by means of panel data econometric methods (system GMM) indicate a positive and significant impact of both types of R&D spillovers and of absorptive capacity on productivity performance.

意识美学与身体美学的对立之消解

早期现代美学是"意识美学",它高扬精神性,排除了身体性,从而为精英文化和高雅艺术的独尊地位提供了论证。后期现代美学在后现代主义背景下转向"身体美学",它肯定意识与身体的同一,同时也偏重于身体性,从而为大众文化和通俗艺术跃居主流提供了理论依据。意识美学与身体美学各有其合理性和局限性。应该超越意识美学与身体美学的对立,既承认审美的精神主导性,也承认审美的身体性,从而成为身心一体的现代美学。     

技术权力、技术生命周期与大国的技术政策选择

大国技术竞争是指国家行为体综合运用各类政策手段争夺技术权力的过程。技术权力可分为强制性权力、网络性权力和制度性权力。技术竞争往往是一个长时段的互动过程,可能涵盖一个或多个技术生命周期。各类技术权力在一个技术生命周期内出现的时间有所不同,技术权力的积累在两个技术生命周期的交替期也可能呈现延续或中断的不同走向。这意味着在技术发展的不同阶段,竞争主体的政策选择将依据技术权力的变化而相应发生改变。美、俄、中、欧在全球卫星导航领域的博弈以及美、欧、日、中在移动通信领域的竞争,均鲜明体现了驱动国际政治行为体开展技术竞争的意愿因素(获取权力)以及它们在技术发展相应阶段的政策选择。前者仅涉及单个技术生命周期,后者则包含多个时间上紧密衔接的技术生命周期。中国是当前大国技术竞争的主要参与者。为了在竞争中立于不败之地,应注意把握技术发展的阶段性特征,因时制宜,选择与技术发展阶段匹配的技术政策,并针对下一阶段技术发展的重点方面提前进行布局,以坚持自主创新和扩大对外开放为基本原则,通过科技创新掌握技术权力,推进构建新发展格局。     

英伽登：艺术作品的结构和质素研究

英伽登的美学理论对世界现代文艺美学思想影响深远。他对文学作品结构的层次划分和动态分析富于创见 ,对具体的文艺创作实践具有较强的解释力。     

The arc and the zip: Deleuze and lyotard on art

Lyotard and Deleuze made extensive use of modern art to mount a critique of representation as part of their attack on the enlightenment subject. Art breaks out of received rules, conventions, forms, and cliches and is an instance of ethical if not revolutionary activity. Lyotard first developed these ideas through the concept of the Figure, which Deleuze later adopted. Figure is the desire or force that transgresses and deforms the good form of mimetic representation. Using Cezanne and Francis Bacon as paradigmatic examples, they argue that art creates new feelings and desires (Lyotard) or intensities and sensations (Deleuze). For Deleuze this is the model of ethical behavior -- the creation of new, productive forms of life free from the negativity of judgment. While Lyotard and Deleuze started from a common point, Lyotard changed his position in his later work on the sublime. Rather than positing a subject of purely affirmative desire and ideally free of the limitations of judgment, he posited a subject seized by and limited by the law. The subject is by nature divided: always already seized by and hostage to an Other, an unrepresentable excess or remainder. He is under an obligation to recollect and respond to the Other by bearing witness to it. The sublime experience of seizure by the law is exemplified in the paintings of Barnett Newman. While Deleuze would have done with judgment, Lyotard can never have done with it.