文化创新与现代大学制度建设

现代大学制度建设本质上是一次系统的文化创新,它以现代大学精神确立为起点,以现代大学办学模式的形成为归宿。现代大学精神只能从大学文化传统中寻找。大学办学模式虽历经变化,但大学内在精神始终未变,它一直坚守“大学自治、学术自由、教授治校”原则。我国大学制度建设必须约束政府对大学的干预,引入社会参与大学治理加以平衡,从而重新确立大学的内外部关系模式,实现大学治理。     

Pulping the Black Atlantic: Chester Himes’ A Case of Rape and the Limits of Expatriation

Abstract

This article examines the early expatriate career of Chester Himes, and his overlooked Paris-set novella A Case of Rape (1956). Scholars have identified postwar Paris as the locus of a ‘Black Atlantic’ cosmopolitanism that allowed African American writers to transcend American racial and literary regimes, and in particular the stigma of black ‘protest’ fiction. By contrast, this article argues that Himes’ exile was paradoxical; defined by an exchange, rather than an ‘exceeding’ of American racial and literary stigmas. First, I explore the fetishistic racial politics that energized the Left Bank’s construction of black expatriates as symbols of individualist, masculine, and specifically western transgression. Second, I examine the way in which A Case of Rape, and its narrative of the false conviction of four African American expatriates for rape, dramatizes this paradox. With supreme irony, the novella sees the expatriate celebrity merge with a central symbol of the African American ‘protest’ novel: the black male rapist of white women. Finally, I argue that A Case of Rape is of particular importance for the ways in which it anticipates Himes’ move into pulp fiction. Like his later detective series, A Case of Rape captures Himes’ own disillusionment with conventional notions of authorial autonomy, and literary instrumentality. I conclude that expatriation worked to galvanize, rather than displace, Himes’ interest in the overdetermination of African American literature within dominant western racial discourses.     

“小说”源流与唐传奇的民间口说传统--以“小说”及相关概念为考察中心

唐传奇无疑是来自于前代的文体,该文体获得娱乐精神从而性质发生转变显然有深厚的原因：一是唐代特定的社会文化背景,二是前代“小说”之精神。先秦以来民间就存在着“小说”（说故事以求娱乐）传统,这类故事形成文字后就被收录在“小说”名录之下。唐传奇的产生过程,证明其确实继承了“小说”传统。正是“小说”娱乐精神融入叙事性的杂史、杂传以及宗教宣传,才改变了后者的文体性质,使得它们成为现代意义上的小说---“传奇”。     

写出中国人自己的人类学诗学之诗——我的民族诗歌创作与民族文化探索

论文以作者多年来在国内外各地,特别是国内民族地区,以民族文化为题创作的几十首诗歌为例证,说明人类学诗学在中国当下诗歌创作与民族文化研究中的双重意义,同时可以看出—些有关民族文化的思考和现代诗歌的构成样式,以期给当前和今后的有关活动和研究提供一些资料,同时也想向世界证明：中国已经有了自己的人类学诗学的创作与研究成果,虽然这项成果本身还有待发扬、总结和提高.最后,关于我国的人类学诗学建设,作者提出了若干建设性的意见.     

“小说”源流与唐传奇的民间口说传统——以“小说”及相关概念为考察中心

唐传奇无疑是来自于前代的文体,该文体获得娱乐精神从而性质发生转变显然有深厚的原因：一是唐代特定的社会文化背景,二是前代＂小说＂之精神。先秦以来民间就存在着＂小说＂（说故事以求娱乐）传统,这类故事形成文字后就被收录在＂小说＂名录之下。唐传奇的产生过程,证明其确实继承了＂小说＂传统。正是＂小说＂娱乐精神融入叙事性的杂史、杂传以及宗教宣传,才改变了后者的文体性质,使得它们成为现代意义上的小说——＂传奇＂。     

现代学徒制在高职经管类专业中的探索与实践——以广州城市职业学院市场营销专业为例

分析了经管类与理工类专业的差异,并以广州城市职业学院市场营销专业为例探讨了如何在经管类专业中试行现代学徒制人才培养模式的问题。具体从教育理念、教育目标、人才培养内容和过程以及培养制度等四个方面概括经管类专业对现代学徒制人才培养模式的探索与实践。最后总结了实践过程中高校、政府和企业三个方面存在的问题和对策建议。     

Mystification as an Artistic Strategy in Milan Kundera's Work

ABSTRACT

Using close reading of Kundera's texts, Jan ?ulík argues that many arguments in Milan Kundera's literary works are deliberate provocations. Kundera's approach is undoubtedly related to post-modernism, although he used his mystification techniques long before the arrival of postmodernism, as early as in the Stalinist 1950s when he published fake quotes from Lenin in official Stalinist publications. In Jan ?ulík's view, it is the purpose of Milan Kundera's systematic use of false facts, distortions and disrupted logic to warn his readers against against the unreliability of words and human communication. Kundera seems to argue that the world in its complexity is basically unknowable and the only thing that is left for us is, in despair, in our ignorace of what is going on around us, to carry out pranks.     

Visual Expressions of Corporate Superiority: A Review of Jacqueline Hassinck’s Photographic Art Project and Booklet ‘The Table of Power’

Arguing that institutional rationality constitutes a meta‐institution upon which the specific institutions of the capitalist social order depend, this paper explores the possibility that it might be interrogated through the imaginary worlds created by readers in their responses to literary fiction. It does so by constructing a fictive encounter between the response aesthetics of Wolfgang Iser and two novels by Ian McEwan, Saturday and Enduring love, both of which feature institutional rationality as a core element of the ‘reality’ from which they are constructed.

The conclusions are somewhat negative. The problems posed to McEwan’s personifications of institutional rationality, despite the author’s reputation for arbitrary and sometimes macabre plotlines, are nowhere such as to call into question their understandings of the events which befall them. Nor, reading the novels as explorations of that very one‐dimensionality, are readers likely to be induced into a questioning of their own understandings of the world. This is because the novels in question, like most modern literary fiction, have been produced within a tradition which reaches back to the romantic/humanist reaction to institutional rationality, and this makes it possible for readers to distance themselves from characters in which it is exemplified. Far from producing a critical Imaginary, readers who respond in this manner are likely to externalize any interrogations of institutional rationality suggested by its fictional recontextualization and produce, instead, one in which the superiority of their own understandings of the world is confirmed. Whilst this may be opposed to institutional rationality in the routinised sense of an antagonistic accommodation, nothing new is added by the reading of the novels.

Whilst some of the problem may lie in the characterization of the principle protagonists in the selected novels – which is both flat and static – it is suggested that there is also a problem with the initial expectation of a critical imaginary created by Iser’s theory. The fact is that its creation depends on an assumed response on the part of the reader that has no evidential basis. This empirical deficit cannot be made good either by Iser’s earlier construct of an ‘implied reader’, nor by his later posit of self‐aware role‐taking as a fundamental anthropological need. Whilst one cannot rule out the possibility that some readers might respond as Iser supposes – even to the novels discussed in this paper – there is no particular reason to rule it in either.     

合作化小说“个人”故事的讲述及其问题——以马烽和《韩梅梅》为例

新中国教育部在1953~1954年进行了教育整顿,国家在当时的条件下只能动员农村中小学毕业生回乡,加入到正在蓬勃开展的互助合作运动中去,这批身处变化漩涡中心的农村毕业生们出现了＂集体＂和＂个人＂彼此相遇,并引发了两者之间关系的难题。在1953年开始的严峻状况中,这一关系陷入了一种群体性的矛盾状态。出于复杂的原因,1954年马烽先生的小说《韩梅梅》,正是讲述了一个＂个人主义＂的故事,但是它却呈现了多重隐晦与纠结的意味。     

和谐与活力:建设性后现代主义的农业观及其启示

现代农业取得了重大成就,极大地改变了人类生存境遇,但人类却为此付出了惨痛的生态、环境及资源代价,现代农业遭遇困境,危机四伏。笔者认为,怀特海式的建设性后现代主义其内在深层的"和谐"、"生态"和"创造力"的思想与中国文明和哲学传统有天然的接近,怀特海与马克思都有着对人类命运及福祉的共同关切,因而建设性后现代主义的农业观或许能为中国农业的发展提供新的思路与视角,从而使中国找到具有中国特色的动力机制与平衡机制协调发展,即充满活力、和谐持续的"后现代农业"发展之路。