From nation-state to global society: the changing paradigm of contemporary sociology

This paper discusses the strong criticism by Elias against the nation-state paradigm in sociology. Elias pointed his attention on sociologists of the twentieth century but particularly criticizes the analytical model of Parsons (AGIL), which seems to him an abstract combinatory of variables (pattern variables) without any references in social contexts. The sociology in the twentieth century is an apologetic of nation-state and, in Parsons, of the hegemonic role of the United States in the world. In fact, during the twentieth century many authors (historians and sociologists) tried to overcome the nation-state paradigm in the social sciences. The author of the paper analyses the contribution of Toynbee, Braudel, C. Schmitt, Huntington, Wallerstein and Hard–Negri. These attempts are based on different unit analysis: the civilization and its clash in the case of Toynbee and Huntington, the world economy in the case of Braudel and Wallerstein, and power in the case of C. Schmitt and Negri–Hardt. The author appreciates these attempts but his conclusion is that the concept of global society can better serve as unit analysis for a construction of a new paradigm in the social sciences.     

两种革命的错位——论赵树理小说创作的时代意识

赵树理既是时代的积极追求者,又是一个落伍者。赵树理小说叙事中的民本主义思想、现实主义精神以及农民式的经验历史观与主流话语的革命浪漫化、史诗化的叙事要求矛盾,由此导致赵树理在言说革命时与政治权威话语的错位。     

自我大我整体精神--中国现代浪漫主义诗歌理论三阶段

浪漫主义传统贯穿了中国新诗的历史。浪漫主义的理论侧重点随中国现代社会的历史时期而变化,有着一些微妙的理论转换:从小我到大我的理论转换,再由大我到整体精神的转换。     

吉登斯晚期现代性理论述评

吉登斯晚期现代性理论中关于时空分离、脱域、信任、焦虑与自我认同、现代性制度、全球化等问题的探讨,展现出其作为后现代社会学理论代表人物,试图超脱主客二元对立,在主体与客体、主观与客观的统一中把握经验性和整体性社会的思维方式和理论风格.但在探讨这些问题的过程中,吉登斯对科技这一给社会及社会学研究带来日益深刻影响的重要因素,缺乏更深入、更系统的思考.     

从雨果看浪漫主义作家的世界观和人物创造--兼议马克思恩格斯对浪漫主义的论述

现实主义作家和浪漫主义作家都有巨大成就,不可扬此抑彼.二者所用的创作方法不同,目的却是一样,殊途同归,异曲同工.不能用现实主义关于典型的标尺作为权衡浪漫主义或其他创作方法创造典型人物的共同尺度.雨果经历复杂,世界观产生了许多前后矛盾的痕迹,但他始终是一个资产阶级民主主义者和小资产阶级人道主义者.雨果也塑造了许多具有理想化特征的不平凡的人物.这些人物与现实主义作家所写的典型人物不同,属于浪漫主义典型人物.马克思恩格斯对浪漫主义作家批评甚多,从政治观点来看,无疑是正确的.诚然这些作家有其弱点,但包括雨果在内的浪漫主义作家在文艺创作中有很多地方值得赞扬,故不应对其大加贬抑.     

Maintenance work: Interrogating the sociology of art

The following article explores the different ways art sociologists investigate art that is based in the participatory arts. The aim is to shift the empirical focus to the art practice, which speaks for itself, and to place the work of the artist and all who cooperate or collaborate in the making of the artwork at the center of sociological analysis. By allowing the artist to speak fully about their work, art sociologists can uncover new social and cultural phenomena and better understand the different motivations underlying art-making. The following literature highlights the recent tendencies in the sociology of art, explores the “social turn” in art and presents different sociologists who focus on the art practice and the art’s voice. For further development of the field, I suggest the sociology of art needs to catch-up with the recent tendencies in art by placing the empirical focus on participatory art practices that will not only give us a better understanding about the intricate actions taking place in the art making, but it will also illuminate new layers of social life that are hidden. To conclude, I suggest that sociologists engage with participatory-based artists to enhance sociology through a public sociology of art.     

浅谈体育与美学的关系

阐述了体育对增进人体美,增进社会物质文明和精神文明有重要意义,人们通过体育运动充分领略艺术美。美学对体育和培养全面发展人才有着指导意义。     

布迪厄社会学理论对女权主义理论的启示

布迪厄的社会学理论为女权主义理论的发展提供了重要的理论支持与有益启示：他超越二元对立的理论主旨,为女权主义理论提供了思维方式的启示;他的社会学理论的＂反思性＂特征,为女权主义理论质疑并挑战传统社会科学提供了强大的思想武器;他倡导的理论与经验研究相结合及方法论的多元化,对女权主义方法论的探索提供了重要启示;他的符号权力理论为女权主义提供了很好的解释工具。     

夜莺之歌

济慈诗歌的走向恰似一个矛盾的组合,就像一枚钱币的两面,一面是直觉与想象的迷狂,另一面是理智的顿悟和伸张。所以,他总是处在半醉半醒的状态。他善于制造各种对立而不作解答,给读者留下巨大的审美和想象的空间,这在《夜莺颂》和《忧郁颂》中尤为明显。在这两首诗中,济慈一反闲适、平和与宁静的常态,以其强烈的移情向我们展示了他迅疾狂迷的另一面。     

为无名氏正名

无名氏并不是传统文学评论家所认为的“性爱作家”、“反动文人”,而是一位为人类而艺术的作家,虽然他在多难的20世纪40年代仍醉心于描写浪漫奇艳的爱情故事,但是,无名氏在作品中还对人类命运和文化的“圆全”进行探究。浪漫、神秘、传奇的风格,使无名氏作品艺术的纯美与深邃的哲学探寻得到了和谐的契合,并给中国读者们带来新鲜、独特的阅读感受。浪漫主义、现实主义和现代主义的大融合,是无名氏作品写作手法的特点,也为中国当代文学的发展起到了先验性的作用。