Empty schools and Silencios: pedagogical openings for memory-making in Colombia

This paper draws from Silencios – a photography series by the Colombian artist Juan Manuel Echavarría. Silencios comprises more than 120 portrayals of abandoned schools due to armed conflict in Los Montes de María, Colombia. Sharing Echeverría’s belief that ‘these chalkboards have lessons to tell us about war’, the author of this paper advocates for the pedagogical use of Silencios to promote and support memory works in Colombia. The present analysis acknowledges that hegemonic memories and narratives have a negative impact on conflict-affected societies due to their authoritarian and oppressive character.

Therefore, the pedagogical use of Silencios seeks to ignite multiple narratives and counterhegemonic memories that might emerge as the public interacts with the photography. The visuals, in this sense, become an educational opportunity to stimulate reflection and resistance against the monopoly of the past in a country that is currently emerging from conflict. In this paper, the abandoned schools are considered as memory sites, and as renewed learning spaces to stimulate reflections and debates upon the armed conflict. Silencios can contribute to peacebuilding efforts by bringing up the possibility to reconsider essentialist conceptions of peace, memory, and pedagogy, that might hinder potential venues for enduring peace in Colombia.     

数码照相在刑事技术中的应用

数码照相机有其自身的特点、成像原理和程序。在公安实际中 ,数码照相在刑事技术中的应用主要体现为记录刑事犯罪现场、拍照痕迹物证、保存现场照片、拍照辨认照相、运用红外、紫外成像及制作公安教学或宣传软件等等。     

Documenting Diaspora,Diasporising Memory: Memory and Mediation among Chilean and Uruguayan Hijxs del exilio

Addressing the absence of second-generation exiles from Southern Cone post-dictatorship memory scholarship, this paper compares two documentaries: Hora Chilena, about the British-Chilean community and Tus padres volverán, depicting Uruguayan exiles across Europe – both made by and/or about the no retornadxs (those who did not return to their countries of origin after dictatorship). The paper deploys documentary to offer a nuanced depiction of the hijxs del exilio (children of exile), finding them to be distinct to both the protagonist generation and their second-generation peers in the Southern Cone. By incorporating neglected voices and reframing post-dictatorship memory in Europe, the paper challenges memory narratives about second-generation exile.     

辨认笔录证据能力问题研究——以新《刑事诉讼法》为视角

辨认笔录作为新型的证据种类为新《刑事诉讼法》所确认,在辨认程序缺乏立法规制的情况下,如何对其可靠性和合法性进行审查判断成为实践中的难题。"两院三部"联合制定的《死刑案件证据规定》初步确立了辨认结果的审查判断规则,为法庭审查和采信辨认证据提供了一定的根据。但是,在辨认录像制度、见证人在场制度以及警察出庭作证制度尚未有效确立的情况下,对具有"传闻证据"性质的辨认笔录采用书面审查的方法仍具有相当大的局限性,不但难以发现辨认过程中存在的程序瑕疵和程序违法问题,而且无法完成对辨认结果可靠性的实质审查任务。本文针对我国侦查实践中常用的列队辨认和照片辨认程序,提出了具体的审查内容和方法,对"暗示性辨认"提出了具有可操作性的判断规则。对于辨认结果证据能力的认定,可以借鉴美国的"总体情况规则",采用"可靠性"判断标准,对于违反辨认规则获得的辨认结果,并不当然否定其证据能力,当该结果获得了"真实性的情况保障"时,可以作为定案根据。     

利用笔迹检验技术鉴定人形漫画

笔迹检验技术作为文件检验技术的重要组成部分,被列为传统的办案手段之一。广义上,笔迹也包括绘画,绘画是一种特殊类型的笔迹,人形漫画是绘画艺术的一个分支。3名文检员通过大量模拟实验训练,利用笔迹检验技术,成功鉴定两起涉及人形漫画的案件,并总结出鉴定此类案件的规律和应注意的相关问题。     

Black geographies of struggle and pleasure in Nona Faustine’s White Shoes

In Nona Faustine’s photo series of self-portraits, White Shoes, the artist’s body becomes the agent in exposing the instability of racialized historical geography. Faustine revisits New York City’s landmarks to address what is missing or made invisible: a slave ship, a fugitive woman’s rebirth, or African burial grounds. Making herself visible where she is supposed to remain invisible, she highlights the unacknowledged connection between national wealth, nationalism, geography, and black labor. She discloses the topography of her travels as a changeable terrain, where one slips from the national iconic to ambiguous and finally, to the sacred. I suggest that Faustine doesn’t seek to democratize the extant historical maps, but to shift the terms of reading the city’s geography. She lifts the boundaries between the polarized pathways of knowing – the secularized and the sacred, the living and the dead, the verifiable and the missing. This shift is also made possible by the medium of photography and a feminist turn towards pleasures in one’s body. As Faustine comes to terms with the psychic and cultural inheritance of the diaspora, she moves from the collective body of pain towards black women’s pleasure in their own bodies without purging the history of sexual trauma.     

The Day I Will Never Forget: an interview with Kim Longinotto

The documentary filmmaker Kim Longinotto talks to Catherine Fowler about her latest film The Day I Will Never Forget (2003) about female genital mutilation (FGM) in Africa. Longinotto’s films have consistently interrogated our understanding of womens’ place in the world, and her latest film is no exception. She discusses how she found her subjects: Fardohsa, a midwife who has been campaigning against FGM, a group of girls who have (successfully) taken their parents to court in order to prevent FGM being practised, and Fouzia, a girl of nine who reads a poem that she wrote the day after she was circumcised, asking her mother to explain why she put her daughter through such a painful experience. Longinotto also discusses the ethical issues raised by her filming of a circumcision of two sisters, and the wider issues that her film engages: the powerless position of women in African societies, the confusion of religion and culture in discussions of FGM, and the impact of saying ‘no’ to this practice.     

《唐人街》:海外华人世界的成功展现

进入新千年,凤凰卫视制作播出了大型电视纪录片<唐人街>,首次以纪录片形式透视了海外华人的生存境况,在艺术与市场上都取得了巨大成功.本文对<唐人街>独具特色的制作理念、信息内容、表现方式、传播途径作了全面分析.     

影视信息不同接受心理分析

电视与电影共用一种符码系统--图像,但由于接受环境、接受方式的不同,形成了影视信息不同的接受心理,电影营造的全息幻觉使受众进入梦境,而电视的受众在电视展示生活原貌的同时,始终是在"清醒"地感受纪实空间.     

再论跟单信用证条件下的提单担保物权性质

本文从质押合同成立及生效条件、银行对信用证条件下提单具有质押权的质疑、银行对提单留置权的取得与实行 ,及我国现行法律体制能否有效地保护银行的提单质押权等方面论述了提单在跟单信用证条件下的担保物权性质。