约翰·费斯克研究概述

费斯克的大众文化理论对学界产生了重要影响。中西方学者对其理论众说纷纭,莫衷一是。清理费斯克的主要思想并介绍中西方学者对其做出的一些主要评价,有助于更好地认识其理论。     

消费社会、流行文化与媒介影响力分析

时尚杂志背后是消费社会这个庞大的社会背景,对消费文化中时尚期刊的研究表明了媒介与消费社会、流行文化的关系。时尚期刊的媒介影响力在矛盾中不断扩张并在全球化背景下形成时尚传播链。     

被修饰的梦境：明清通俗小说中的“入赘”

在明清通俗小说中,入赘是商贾融入异乡生活的一种有效手段,也代表了士人改换门庭的人生理想．但基于入赘所附着的种种社会属性,对于男性来说,它并不是一种令人愉悦的婚姻方式,不管是婚仪、改姓还是夺休,赘婿享受不到其他男性在婚姻中那种支配一切、掌控一切的快感,他们甚至都无法保持最基本的权利,不仅被人耻笑,而且可以招之即来．挥之即走。但小说作者往往会运用多种手法掩盖或是化解小说人物在入赘中所受到的屈辱和难堪,通过一系列手段的掩盖或是化解,小说作者在营造一个入赘的梦境的同时,也对这个梦境做了必要的修饰：入赘从损害男性自尊、让他们受尽歧视和冷遇,到变成一种男性可以从中寻找到足够的体面和尊严,至少看起来和其他的婚俗没有什么严重差异的婚姻方式。     

论云南少数民族音乐与流行音乐结合的传承方式

本文试图论证云南少数民族音乐与流行音乐结合的可能性、结合的形式及相互间的影响,为民族音乐的传承找到新的路径,从而繁荣云南少数民族音乐。研究云南少数民族音乐与流行音乐结合的传承方式,有利于传承我省丰富的少数民族音乐文化,有利于弘扬和发展我省少数民族音乐文化,从而传承和发展我省丰富多彩的民族文化,使之在中华民族文化大花园中绽放出一朵更加艳丽的奇葩。     

大众文化与主流文化：两种文化维度的差异、联系与融合

大众文化与主流文化是当今多元文化时代最为显著、也是对社会影响最为深刻的两种文化维度,这两种文化不仅代表了社会在发展中文明的变迁,同时也表现出了社会在发展过程中所展示出的文化冲突。本文以大众文化和主流文化的差异与联系为出发点,论述了大众文化与主流文化融合的可能性以及融合的途径。     

高等教育发展的形势与大学生管理改革

中国高等教育发展的形势,总体上是积极的,趋势是进步的,而且发展速度很快。高等教育面临着大众化、现代化、市场化、国际化的发展趋势,这对大学生管理提出了许多新的要求、新的问题,需要解决。面对来自社会、学校体制、大学生管理干部自身和学生的挑战,大学生管理工作必须在理念、工作方式等方面改革创新。     

Who are the active and central actors in the ‘rising civil society’ in Mexico?

The debate about the rise of civil society in Mexico suggests that the processes of political and economic liberalization are multiple and uneven and, thus, have different and contradictory effects on different social groups. This study takes such arguments into account and examines the nature of collective identities and social networks that are more likely to be mobilized in the rising civil society. Who, with what types of social networks and identities, are the active actors in this rising civil society in Mexico? This study also attempts to identify the central actors who take an active part in multi-sector coalitions. As such a broad coalition often leaves profound effects on politics and society, it is vital to ask which actors are likely to take an important step toward multi-sector coalition making. Using a catalog of 1797 protest campaigns collected from three Mexican newspapers between 1964 and 2000, event frequency analysis is employed to find active actors and social network analysis – blockmodel method and degree centrality measure – is applied to uncover central actors. The analyses reveal that while workers, peasants, or students continue to be very active, the centrality of these actors in contentious networks and coalitions has not increased. New central actors in the rising civil society turn out to be civic associations and NGOs formed around single issues, such as environment, retirement, and human rights. When a multi-sector coalition occurs in contemporary Mexico, NGOs and civic associations are likely to play a crucial role in it.     

Women’s Movements in Portugal and Spain: Democratic Processes and Policy Outcomes

Portugal and Spain underwent dramatic transformations between 1974 and the early 1980s, transitioning from dictatorships to democracies. In this article I explore why Portugal was faster than Spain in adopting key gender-rights policies (e.g., divorce, equal pay, state feminism) during the period in question. Bridging insights from the democratization, social movement, and women’s studies literatures, I argue that Portugal’s accelerated policy path on women’s rights can be explained by three complex factors: (1) the nature of the revolutionary transition, which structured options for women’s movements and for institutional actors; (2) the configuration of movement-party alliances; and (3) supranational pressures to reorganize the state-civil society relationship. The study contributes to the engendering of democratization processes in Iberia by paying close attention to the interconnected agency of women’s movements with other political actors at a time of regime transformation.     

Wang Ming-hui and Blacklist Production: the Third World/Asia turn of Taiwan’s new music production

ABSTRACT

The paper discusses the music group ‘Blacklist Production’ (also known as Blacklist Studio) that was established in the late 1980s when the Martial Law was lifted in Taiwan, and the group’s original works of music. It investigates the music composition and thinking process of Wang Ming-hui, the founder of Blacklist Production, and analyses two albums produced by the music studio, Songs of Madness (1989) and Lullaby (1996), as a way of reconsidering and reflecting the feeling process and limitations of the nativist ideology from 1989 to 1996 that took shape in Taiwan’s society. In addition, the paper also explores Wang’s musical practices through which he has tried to answer the question of ‘how to express thoughts with music’. Through the historical analysis of musical works and interviews with Wang Ming-hui, the paper suggests that ‘Taiwan’s New Music Production’ brought up and practiced by Wang and Blacklist Production is embedded with the possibility for Taiwan’s culture and imagination of modernity to ‘turn’ the referent point to the Third World/Asia.     

论WTO《SPS协定》“适用地区”条款及我国的对策

WTO《实施卫生与植物卫生措施协定》(Agreement on the Application of Sanitary and Phytosani-tary Measures,简称SPS协定)第六条"适应地区条件"将地区划分为"疫病非疫区"和"低度流行区",由于该条在解释上留有一定的弹性并且国际社会缺乏统一的规范文件,致使适用时出现了许多问题。该条规定的价值取向是既要保护本国或地区内的人员或动植物免受其他地区病虫害之威胁,又要促进成员方国际贸易的发展。要同时实现这两种目标,建立病虫害非疫区并赋予成员方根据其适当保护水平之需要确定合适的贸易地区之权利不失为一种可行的办法。我国应以SPS委员会的各项相关制度为根据,加强与相关国际组织的联系,积极研究我国主要农产品进出口成员之卫生和植物卫生状况和适当保护水平,在此基础上完善对病虫害非疫区或低度流行区承认的法律制度,促进我国对外贸易的发展。