朱熹和孟子解读舜之“怨慕”的不同逻辑

对于舜之“怨慕”,朱熹作出了不同于孟子的解读。这是基于心学、理学内在逻辑的不同。孟子作为私学之儒,和孔子一样,是主张士君子的阳刚人格的,并且从性向善的人性论出发,协调义与利、公与私的关系,而以君臣父子关系都属对待关系;依此,将舜之“怨慕”解读为舜对父母的既怨又慕。朱熹则作为官学之儒,以所谓“气质之性”协调理学先驱荀子的性向恶论,以二歧化思维把天地之性、天理绝对化,以公去私,视君臣父子关系则为下对上的绝对服从关系;依此解读,舜之“怨”只能是自怨。     

Racial classification in criminology: The reproduction of racialized crime

The (re)production of knowledge about crime is cultural in terms of the questions asked, the comparisons made, and the hypotheses selected to explain crime causation. Since criminologists do not operate in a vacuum, any prejudgments, biases, and beliefs acquired before their professional socialization may well persist and affect their approach to research over the course of their academic careers. Because American criminologists live in a society that racializes a number of problem behaviors, including crime, it is conceivable that widely held beliefs about race that predate graduate training will find their way into assumptions about the relationship between race and crime. Such preprofessional beliefs are transformed into facts when they meet with widespread agreement from other criminologists and thus come to be taken for granted in the objective pursuit of knowledge. Crime is racialized, for example, when the criminal behaviors of individual black offenders are understood in terms of racial traits, racial motives, or racial experiences. When traits, motives, or experiences are classified as the property of whole races or racial communities, these conceptions of race assume causal significance in explaining criminal behavior. Because these traits, motives, and experiences are supposedly shared by entire races or race-class categories, the predisposition to criminality becomes generalized beyond individual Black criminals to whole races or racial communities of noncriminal Blacks. When crime is thus racialized, whole communities or whole categories of phenotypically similar individuals are rendered precriminal and morally suspect. In addition, such racializations in academic criminology can be used to justify increased control of individual black criminals in the larger society; these controls can also legitimately be extended to encompass whole communities and whole categories of phenotypically similar persons who are not involved in crime. This paper will address the role that racializing assumptions play in traditional criminological theories.     

网络怨恨的价值位移——基于舍勒现象学的分析

当前网络表达中到处弥漫的怨恨情绪,使技术理性的价值产生位移或曰颠覆,正价值如正义、公平、为承认而斗争等,在怨恨的情绪及其网络表达中导向负价值:网络暴政、人的主体性的消解,使人陷入"单向度的人"的危险。当下网络表达的无序和失序,正是怨恨的现象学呈现。因而,透过现象学观察的怨恨及其网络表达,或许可为我们反思批判当下和建构新的网络伦理提供一个新的思路。     

怨恨论——从尼采到舍勒

尼采提出＂基督教的爱理念＂为最精巧的＂怨恨之花＂的断言,舍勒承接并驳斥该断言,提出现代仁爱才是真正的奴隶道德的起义。分析并比较两位哲人的怨恨论,他们对怨恨情感造成价值位移这一看法是一致的,该问题上的分歧在于对怨恨所颠覆的对象作出不同判断,这一分歧源于他们各自对于生命及生命价值的不同理解。     

新生代农民工社会情绪的危害与对策

新生代农民工是我国产业工人群体的重要组成部分,由于体制和制度等原因,新生代农民工不满情绪压抑在内心深处,形成怨恨。造成新生代农民工怨恨感的原因是多方面的：从社会分层理论看,新生代农民工属于社会下层;从社会身份理论看,新生代农民工属于“边缘人”;从社会交往理论看,新生代农民工仍是初级交往为主;从受教育程度看,新生代农民工文化水平普遍较低。怨恨感的压抑会带来一系列的社会危害：伤害农民工自我心灵,阻碍社会进步;引起农民工思想混乱,导致群体性事件的发生;降低政府公信力,削弱社会的整合能力和动员能力。在此提出化解农民工怨恨感的对策建议：提升农民工的社会政治地位,加强对新生代农民工的人文关怀;进一步提高农民工的工资待遇,切实保障其合法权益;完善农民工就业培训,增强其社会竞争力。     

集体行动发生的三种解释路径及其简评

运用比较法,对集体行动发生的原因从三个方面进行了探讨：一是社会心理学解释,强调集体心理、怨恨和剥夺感等心理因素;二是社会结构解释,重视阶级结构、社会变迁和国家控制能力等因素;三是理性选择解释,认为行动者的理性判断、制度和组织对集体行动的影响。     

屈原骚怨心境剖析

屈原骚怨心境的生成源于"信而见疑,忠而被谤"的处境,其"骚(忧)"有二:得不到国君信任之"忧",找不到志同道合者之"忧";其"怨"亦有二:楚王昏聩之"怨",群小谗陷之"怨"。诗人以神话思维方式,运用多种艺术手段抒写内心的骚怨情怀,这种思维方式的运用与诗人所生活的楚地盛行巫风、巫文化有关。骚怨心境驱使诗人进行审美创造活动,诗人的骚怨心境在审美创造活动中得以宣泄。     

No Human Resource is an Island: Gendered,Racialized Access to Work as a Performer

This article explores the reproduction of gendered, racialized conceptions of age and appearance in structuring access to performing work. Analysis of this issue leads to discussion of a key supposition: that central work experiences of women performers are manifestations of their position as formal and informal proxies for women's experiences in wider society. Women performers are formal proxies in that they are employed to ‘be women’; to represent women for consumption in the circuit of culture. They are informal proxies in that they are allocated to highly segmented labour markets based on wider patterns of gendered, racialized social relations.     

曹丕"清怨"诗风的源与流

本文从文本形态、社会风尚、诗歌美学等角度分析了曹丕诗歌的“清”“怨”诗风,并对汉魏之际“清”“怨”诗风的形成进行了论述,理顺了“清怨”诗风的渊源和发展。     

Reclaiming the aesthetic of women: de-colonizing land ownership

ABSTRACT

This paper engages with the study of the aesthetic as an embodied form and offers a critique of the study of value and commodification that emerges in the global spatial imagination. I explore the neglected interrelationship between cultural-spatial reconstruction and land ownership as a sign of livelihood by way of a critique of development and through an investigation of the multiple traces of colonialism in Indonesia in contemporary times, after the massacres. First, land is taken from communities to be used for state and corporate industrialization, and then aesthetic acts of resistance and remembrance by members of these communities, via artistic productions and protest, are commoditized as touristic attractions by the state as a form of nationalism and fetishism of the indigenous, and by corporations as a form of corporate cultural responsibility. This new method of capitalist inclusion of the survivor in a globalized project of aestheticizing space is a neoliberal tactic in which the commoditized reappearance of the aesthetic creations of the marginalized is not, in fact, a sign of inclusion but rather of further displacement. My study follows the focus of this special issue to analyse cultural production within the complexity of multiple and converging colonial forms in historical and contemporary contexts considering the relationality, contradictions and incommensurabilities generated within converging structures of colonial and racialized violence. I locate the ways in which artistic projects within this schema may be used as acts of resistance but also possibly co-optation/ domination. Aesthetic creations intended as means of archiving may also bring insurrections into the paradigm of globalization and to its attention. This paper is an attempt to look at how the creative urge negates and also creates the possibility of resistance, inviting us to urgently rethink aesthetic projects and their representation through a genealogy of global participation.