论作为文学文化学的“西安学”

＂西安学＂从理论上说是一个学科集群。但中外城市学研究经验及成果表明,城市学主要是一种文学文化学,目标在于构建城市精神镜像。作为文学文化学的西安学应以城市的精神体验为主要方式构建城市镜像知识。其方法有直观体验城市和通过文学体验城市两种。本雅明对19世纪巴黎的研究及李欧梵对20世纪三四十年代上海的研究为文学体验提供了范例,西安学应以此为借鉴拓展其研究视界。     

Commodity price stabilization models: A review and appraisal

This paper is designed to bring into focus the numerous modeling attempts to analyze commodity price stabilization that have recently appeared. The studies examined begin with the Waugh-Oi-Massell framework and advance to econometric commodity modeling. Such a critique is considered necessary: None of the studies examined has overcome the myriad of problems that analysts have pointed out as essential for assessing the welfare outcomes of price stabilization schemes. As a consequence, stabilization analyses for similar commodities have produced conflicting results regarding predicted welfare outcome. The present appraisal attempts to provide a unity of direction to this work by (1) comparing recieved studies of a theoretical, empirical, and econometric modeling nature, and (2) suggesting possibilities for improving modeling analyses.     

在绝望处寻找希望--论瓦尔特·本雅明的艺术发展观

瓦尔特·本雅明指出,由史诗分裂形成的三种文体———故事、小说、新闻消息等随着时代变迁,在艺术场的位置发生相应的变化。传统艺术灵韵消失,机械复制时代的电影等新艺术形式展示了全新的艺术功能。在《小说的危机》《讲故事的人》和《机械复制时代的艺术》等篇章中,本雅明深入探讨了从故事、小说到新闻、电影的艺术链条上展示出来的艺术形式演变以及艺术和技术的关系,进而提出了他的艺术发展观,即一时代必然有一时代之艺术。他强调,技术进步影响并改变了各种艺术形式、接受方式及其功能,现代技术在艺术变革中的潜能因而是绝对不可忽视的。     

摄影之外 历史之中——对本雅明《摄影小史》的一种解读

<摄影小史>是本雅明对摄影艺术的论述;但更为重要的是,它又是本雅明艺术哲学与历史哲学的重要文本之一,有着深广的理论内容与历史意义.<摄影小史>区区万字,却凝聚着本雅明对摄影这一社会文化形式的全面深刻认识,对社会现实的思索与关心.以文本细读为基础,本论文力求突出本氏此文强烈的社会责任感与历史意识,以及强有力的历史视角.他的态度与方法无疑有助于我们对摄影与影像艺术进行历史哲学式的思考与批判,也为自己的理论建构与实际行动提供具有社会历史方向的契机与可能.     

Citing history

ABSTRACT

Although rarely considered within the existing scholarship on social movements, even a cursory analysis of protest activity suggests that movements regularly invoke historical citations (whether consciously or not) while working to clarify aims and mobilize constituencies. In order to make sense of this process, and to account for the variations that arise among the different citation modalities favored by movements on opposite ends of the political spectrum, I draw upon the theoretical contributions of Marxist cultural critic Walter Benjamin and, in particular, on his exploration of ‘wish images’ and ‘dialectical images,’ their attributes, and their interrelationship. According to Benjamin, such images summoned the past either to project visions of future happiness (as with the wish image) or to deposit the witness before a moment of decisive, present-tense reckoning. After outlining the role of historical citation in social movements and in the broader cultural field through which these movements find expression, I analyze two recent protest events – the ‘Unite the Right’ rally in Charlottesville, VA, in which wish images were actively deployed, and the 2017 Women’s Strike in New York City, where a dialectical image arose from the constellated nodes of the march’s route – to consider the relationship between citation modality and protest outcome. Following from this analysis, and in keeping with the unapologetically partisan nature of my investigation, I conclude by advancing some strategic recommendations for movements seeking – as Benjamin once enjoined – to ‘improve our position in the struggle against Fascism.’     

不抛弃，不放弃——用读者反应理论看瓦尔特·莫瑞尔和印家厚的不同人生

读者反应理论强调以读者为中心,认为读者是文本意义的生产者,这样对文本的解读就会因人而异。利用读者反应理论的观点探讨小说《儿子与情人》和《烦恼人生》中两位男主人公——瓦尔特·莫瑞尔和印家厚所经历的人生的酸甜苦辣、喜怒哀乐,试图说明相似时代背景下演绎出的不同人生：放弃与坚持。     

罗尔斯的秘密及其后果

罗尔斯政治哲学在德国古典哲学、英美分析哲学、社会契约论、功利主义政治学、当代经济学等众多领域有不同的思想来源,呈现出从洛克、休谟、卢梭、康德、黑格尔（斯退士）、马克思到维特根斯坦（马尔柯姆）、伯林、哈特的多重来源。在斯退士的直接影响下,摆脱基督教成为罗尔斯思考社会正义问题的逻辑起点,黑格尔哲学为罗尔斯构思正义理论提供了体系框架,分析哲学为他论证正义理论中的诸多原则和概念提供了精细的方法指导,当代经济学为罗尔斯解决正义问题提供了可操作的实践路径。由于罗尔斯本人有意隐瞒其中的某些思想来源,尤其是隐瞒了他同黑格尔和斯退士的关系,形成了所谓“罗尔斯的秘密”,导致中国学者误读了罗尔斯两个正义原则,进而误读了罗尔斯的政治哲学。     

从译者的主体性看麦都思的《尚书》译本翻译策略

＂文化转向＂视野下的翻译理论充分彰显了译者的主体性,译者从忠实的＂仆人＂提升为具有创造性的＂主人＂,译者的主体性决定了翻译文本的选择与翻译策略的取舍。在译者主体性关照下探讨英国新教传教士、汉学家麦都思《尚书》译本的翻译策略的选择,分析麦都思的译者身份在翻译策略中的体现,以期能够为促进今日之中国典籍西译、中国文化走向世界,为提升我们国家的软实力提供可资参照的历史经验,并为今日世界翻译的理论建构以及中国译学理论建设提供丰富的范例。     

REGARDING IRELAND IN A POST-COLONIAL FRAME

This essay considers the applicability of postcolonial theory to Irish culture and history. It develops the concept of multiple rhythms or temporalities of social struggle for which only that of nationalism is determined punctually by the struggle for the state. The domination of Irish historiography by state-oriented narratives occludes the histories and the formal or organizational aspects of other forms of social movement, such that the postcolonial project is directed simultaneously towards the mapping of such alternative movements and to the critique of statist historiographies, whether imperialist, nationalist or ‘revisionist’. Where postcolonial theory has tended to emphasize the ‘hybrid’ nature of colonial cultures, this essay prefers to focus on the productive interface between the incommensurable social and cultural formations of colonial modernity and colonized non-modernity. At this interface emerge continually both new subaltern social formations and practices, which cannot be understood as ‘traditional’ and new forms of colonial state institution that are summoned into being by anti-colonial practices, for which the model of an advanced state coming to bear on a backward population is clearly inadequate. The essay draws from the history of agrarian movements in Ireland and banditry in the Philippines and from contemporary techniques of state surveillance and resistance to it in Northern Ireland.     

Closet and Cabinet: Clutter as Cosmology

ABSTRACT

In Central Slovakia, homes “grow” and get cluttered with age. Cabinets and closets are used to house this profusion of possessions. However, their very role as containers for precious and meaningful objects—such as expensive cut glass or family heirlooms—gives them a poetic and symbolic weight that belies their modest appearance. Based on anthropological fieldwork, this article investigates how practices of collection, storage, and display of particular genres of domestic objects create spaces of intimacy in the home that work to perpetuate a sense of family history amongst middle-aged Slovaks in and around the provincial town of Banská Bystrica. Inspired by the historiography of Walter Benjamin, as well as his biographical writings, the focus of the study lies on the relation between memory and material culture in the home. Rather than relying on narratives of consumption and aesthetic choice recently popular amongst anthropologists studying domestic decor, it forms an attempt to reengage with literature that looks to the home as a site for the poetic imagination in order to grasp sentiments that are rarely verbalized.