后结构主义与超文本理念

后结构主义与电子超文本技术相互应和, 推动了20世纪下半叶文本形态与文本观念的变革。德里达的解构主义,罗兰巴特关于“引人写作之文”的论述, 福柯关于知识考古学、权力网络和全景敞视主义等观点,都和超文本理论息息相通。深入考察后结构主义和超文本理念的关系,有助于认清社会思潮和信息科技之间的相互作用。     

《红字》中珠儿心理的后结构主义精神分析解读

珠儿是美国作家霍桑小说《红字》中的主要人物之一。她的心理发展过程印证了拉康的后结构主义精神分析理论中著名的“镜像阶段”(themirrorstage)说。她经历了对自身形象的认同———对自己的菲勒斯缺失的认同———接受符号的阉割,最终认同了父亲的权威和大的他者(Other)的权威,完成了镜像阶段的整个过程。这一过程在人物的社会心理上是从儿童到成人的经历,珠儿开始的无知和狂妄最终被对法权的承认所取代。     

‘Arab Jews’ after structuralism: Zionist discourse and the (de)formation of an ethnic identity

We revisit the term ‘Arab Jews’, which has been widely used in the past to depict Jews living in Arab countries, but was extirpated from the political lexicon upon their arrival in Israel in the 1950s and 1960s. We follow first the demise of this discourse and then its political reawakening in the 1990s, which was carried out mostly by second-generation Mizrahi intellectuals and activists. We review this surge of the 1990s, distinguishing between structural and post-structural interpretations of the concept, although we also show that they are often interwoven. According to the structural interpretation, the term ‘Arab Jew’ was founded on a binary logic wherein Jews and Arabs are posed as cultural and political antagonisms. The post-structural interpretation rejects the bifurcated form in lieu of a hybrid epistemology, which tolerates and enables a dynamic movement between the two facets of ‘Arabs’ and ‘Jews’. We spell out the differences between these two heuristic modes of interpretation and speculate about their relevance to the political conditions in the Middle East today.     

继承与颠覆:论结构主义与后结构主义的关系

结构主义与后结构主义之间是一种继承与颠覆的关系 ,前者主要表现在语言论、形式研究等方面 ,后者则主要表现在后结构主义对结构主义的核心逻各斯中心主义的解构上 ,通过对“逻各斯中心论”支柱“语音中心论”和“在场形而上学”的解构 ,彻底颠覆了结构主义二元对立的传统 ,使我们能以一个全新的视角来审视一切。     

. . .and why there is no simple solution, but reasons for optimism

This article has three objectives. First, to apply the debate concerning deliberative or discursive democracy to the subject of social policy in order to renew and update the long-standing attempt to go beyond the paradigm of welfare-state capitalism. The 'crisis of universalism' is outlined and this is then explained in terms of the traditional welfare state's 'democratic deficit'. Second, to suggest that applying these debates reveals two paradoxes that bear implications not only for social policy but also for the entire project of discursive democracy. The first paradox refers to the need to combine proceduralist and pluralist theories of deliberative democracy, despite the ultimate irreconcilability of these philosophies. The second refers to the problem of social transition and the fact that democratisation and social equalisation require one other. The third objective is therefore to suggest that welfare traditionalists have nothing to fear from what are here called 'post-universalist' critiques.     

“法国理论”在中国

学术界所说的"法国理论",主要是指从20世纪60年代结构主义开始的告别传统文学理论、走向先锋批评的一段特定经历,大体以2004年德里达去世和2007年波德里亚去世为这个特定历史时期结束的标志。反观"法国理论"在中国的接受过程,一方面是以80年代改革开放为契机,可以上溯到萨特的存在主义;一方面又是"法国理论"在美国接受过程的一个翻版,其流行中国的过程,大体也见证了后现代主义的中国历程。但是理论可以同时尚一样新进,也应当可以和时尚一样普及。就此而言,"法国理论"的热潮和热情过去之后,理论当引导我们回归文化,一样被及我们的日常生活。     

Thinking of age: Personal reflections on critical gerontology

This essay is a reflection on how personal experience has inspired and shaped my ideas about critical gerontology. It is a writing from the inside about the outside world of intellectual discovery, apart from the typical narratives about career and research. I take this opportunity to explore the life of thought through my own life, and conclude that our ideas about aging are bred in those places where humor, tragedy, conflict, passion and sympathy make it imperative that we ask the questions we do as critical thinkers.     

论后结构主义对知性文化的解构

后结构主义对知性文化的解构,主要集中在对知性结构的解构上。无论是人之死,还是世界之死,都是对传统知性结构的深入解构。“人之死”解构了传统知性结构中的主体,而“世界之死”则解构了传统知性结构中的客体,如此一来,支撑知性文化的传统知性结构就彻底消解了。     

"声音"与"愤怒"——班吉的后结构主义解读

以后结构主义视野阅读福克纳《喧哗与骚动》(The Sound and the Fury),班吉是一个反对西方传统文化的语音中心主义、逻辑中心主义和西方种族中心主义的象征。在他的"声音"(the sound)与"愤怒"(the fury)中,语音与意义是分离的;意识流的无序时空实际是能指与所指的断裂而游弋的表现;他的"嘟嘟哝哝"只是能指意蕴庞大的符号而无沟通意义。这个人物的主体性根本无法建立,最终只能"可怜巴巴地干嚎着",发出"世界上所有无言的痛苦中最最严肃、最最绝望的声音了"。