论罗蒂对基础主义的拒绝

拒绝基础主义是罗蒂哲学的一个主要特征。罗蒂把实用主义和作为西方传统主流哲学的基础主义看作两种不同的研究范式,坚持并希望扩展实用主义的思想和观点。他认为,当代西方哲学发展和演变的趋势,是向实用主义的思想和观点靠近。这在学理上证明了基础主义是站不住的。实用主义在哲学取向上以政治问题替代认识论问题,实现了哲学研究范式的转换;它拒绝寻求基础,包含着对于社会民主政治与哲学思考之间关系的认识。罗蒂对基础主义的拒绝,也是与他的政治信念相关的。     

论舒斯特曼新实用主义的建构路径

作为实用主义家族谱系中的新成员,舒斯特曼在继承实用主义最基本的方法论原则的基础上,通过反思罗蒂的新实用主义,扬弃杜威的经典实用主义,并以"解释"和"有机统一"两个经典哲学范畴作为分析考察的出发点,对分析哲学与解构主义各执一端的矛盾进行调和、超越,最终建构起了以"执两用中"、多元包容的中道观为立场的新实用主义哲学和美学思想,从而有效推进了实用主义谱系的发展完善。     

《理查德·麦昂尼的命运》中的反衬

亨利·汉德尔·理查森在三部曲《理查德·麦昂尼的命运》中以细腻的笔触精心刻画了麦昂尼怀着发财的梦想移居澳大利亚而最终失败的移民形象。笔者认为,作者大量采用了反衬这一修辞方式,有效地刻画了麦昂尼的形象、突出了悲剧主题,并使三部曲之间具有较强的连续性和整体性。无疑,反衬是作者使用的较典型的修辞方式,使作品锦上添花。     

Youth service caseworkers: Social and legal factors affecting their recommendation to place youths in secure care facilities

This study examines the effects of social and legal variables on youth service caseworkers' recommendation to place youths in a secure care setting. While the findings of this study indicate that caseworkers' recommendation to place youths in such a facility is primarily influenced by their juvenile delinquency or legal background characteristics, the social variable “family composition” has a significant impact on the recommendation. This suggests that caseworkers view single-parent families as less capable than two-parent families of managing youths' serious delinquency problems and, therefore, are more likely to recommend youths from single-parent families for secure care placement consideration. The fact that legal variables are the strongest predictors of secure care decision outcomes indicates that objective criteria are being used to determine which youths to consider for secure care placement. Also, it is found that the more offenses that are committed the more likely that one will be a violent offense. This finding implies that the issue of serious juvenile delinquency should be examined and dealt with from a broad juvenile justice perspective directed at prevention as opposed to a limited focus on only the secure care process.     

Generation and complicity in Zoë Wicomb's Playing in the Light

Zoë Wicomb's novel Playing in the Light (2006 Wicomb, Z. 2006. Playing in the light, New York: New Press.  [Google Scholar]) continues to address a central concern in Wicomb's earlier fiction, that of conflict between generations where the racist complicity of an older generation is addressed from the point of view of their children. Generation is, in Wicomb's work, not simply a concern for individual families but deeply connected to and reflective of the political legacy of coloured identities. ‘Playing white’ gains its particular meaning within the question of complicity – the association of whiteness with superiority, and the very real privilege granted to persons classified as white under the Population Registration Act. In the aesthetic theory of the German philosopher Hans‐Georg Gadamer the concept of ‘play’ is used to address the function of the work of art. The opposition between play and seriousness is, according to Gadamer, a result of a one‐sided focus on the player rather than the play itself as subject. The metaphorical use of play in the expression ‘play‐whites’ also suggests that the game itself is what has primacy, not the players. By addressing the issue of ‘playing white’ through a depiction of conflicts between generations, Wicomb's novel approaches history in a manner that evokes Gadamer's concept of gleichzeitigkeit (contemporaneity) whereby history becomes present in its enactment through the work of art.     

(Re)circulating Foreign Bodies

This paper situates Richard Fung's auto-ethnographic video Sea in the Blood within the context of the personal illness narrative as a mode of political resistance which emerged alongside the movements of feminist health activism and global HIV/AIDS activism. I argue that as a critical illness narrative, which reads the experiences of transnational travel and migration in and through a narrative of illness, race, and sexuality, Sea in the Blood disrupts the genres of both the personal illness narrative and the imperial travel narrative while resisting the assimilative pull of what Charles L. Briggs calls the “political economy of communicability.” Specifically, I argue that Fung resists cultural and political absorption using three primary strategies: the symbolics of blood, the juxtaposition of illness and travel narratives, and the tactics of misalignment, or the self-conscious use of contradictory narratives and competing modes of representation. Through these strategies, Sea in the Blood is installed as a form of revolutionary activism which comments on the historical pathologization of foreign bodies, and exposes the ways in which the medicalization of race underwrites the medicalized history of sexuality. Accordingly, Sea in the Blood inaugurates what might be thought of as a politics of incommunicability through the sensuous and metaphorical re/circulation of foreign bodies.     

Metaphysics and professional resistance to program evaluation

One of the most common and most difficult problems confronting program evaluators is the resistance they encounter when attempting to implement evaluation efforts. The philosophical and psychological foundations of this resistance are explored. Problems in the evaluative paradigm are presented. Value differences between evaluators and practitioners are highlighted. Emotional bases for practitioner behavior are clarified and types and loci of resistance are outlined. Suggestions for coping strategies are discussed.     

超越偏狭,走向宽容——评卫礼贤对辜鸿铭的接受

卫礼贤与辜鸿铭有过交往,他对辜鸿铭的评价可以分为前后期,前期高度评价,后期颇多批评.尽管如此,他始终认同辜氏著名学者的地位,既肯定其坚守文化传统、抨击西方现代文明弊端的积极意义,也欣赏他的睿智和博学.中德文化交流史上的这段插曲值得深思.     

An interview with George Hallett

The distinguished South African photographer George Hallett speaks about his childhood, schooling, career in photography, exile in Europe and return to South Africa. Born in District Six and raised in Hout Bay, Hallett was introduced to the world of politics, literature and art by the novelist Richard Rive, who was his high school English teacher, and by the poet James Matthews and artist Peter Clarke, who became friends, as well as mentors. Hallett began his photographic career in Cape Town, but, struggling under the restrictions of life under apartheid, soon left for London. In Britain and, later, France and the Netherlands, he established himself as a leading photojournalist and fine art photographer. After brief stays in the United States and Zimbabwe, he returned to South Africa to photograph the 1994 elections for the African National Congress.