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Table of Content

    15 September 2009, Volume 16 Issue 5
    Articles
    "China Dream": Imaging and Constructing New Identities
    ——A ReThinking of the Chinese Film in the Past 60 Years
    2009, 16(5):  5-17. 
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    New China has been established for 60 years, during which, together with this country, the Chinese film undergoes a great change and transition. Of course, film is a form of amusement and leisure. But it is also a kind of symbolic imagination, and an important pattern of culture belonging to a nationstate. Today, when China' s 60th anniversary is coming, a retrospection of the Chinese film in the past 60 years, no doubt, constructs a part of reflection or discussion of the "big history" from the second half of the 20th century to the 21st century, and, at the same time, an important part of recognition of China identity. This essay, while having a brief retrospection of the Chinese film in the past 60 years from the perspective of citizenship construction, tries to provide a new theoretical viewpoint and space, and, by analysis of the 60 years track of the Chinese film, discovers and considers the track of the "China dream". The author points out that the Chinese film, the development of which is a part of the development of China, always plays an important role in constructing China identity. While the Chinese film directly participates in the construction of the "new China" identity, it also directly involves in the process of reform and openingup.  The interrelated and interdependent relationship between the development of China and the development of the Chinese film is closely relative to the process of the "China dream" deployment. In fact, there is a thematic line running through the process of the Chinese film in the past 60 years. That is the process of the construction and transformation of the Chinese citizenship, and also the process of setting up the identity of the "citizen" and "customer" or of the "hero" and "mortal", and also the process of the "China dream" deployment.

    Benjamin' s Contribution and Limitation
    to the Modern Theory of Film Arts
    ——A Reflection on Going Beyond Benjamin' s Theory
    2009, 16(5):  18-29. 
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    A study of recent citations or references to Benjamin' s theory by such researchers as Miriam Hansen, Leo Oufan Lee, Yingjin Zhang and Zhen Zhang can find the fact that Benjamin' s arguments on film have a strong penetration to the modern theory of film arts. While his arguments perform a current significance to this theory, for which our research is still far from enough, they display the limitation both of his own and his times. It is helpful to have an investigation of his contribution and make an analysis of his contradictory discourse. In this way, we can, by the context of current situation, give a reflection on how to go beyond Benjamin' s theory, so as to provide a reference for expanding our horizons of research. From an academic perspective, Benjamin emphasizes the commerciality of film and probes into this question in terms of ontological level of film, thus challenging the classic film theories of André Bazin and Siegfried Kracauer. And his "ruins" argument focused on postmodern image text foresees the modern culture and film theory. Although he claims the commerciality of film, he opposes the capital control of film, and, therefore, recommends the film experience of the former Soviet Union against the commerciality of film, which produces the paradox in his argument for film commercialization. Since film is considered as a commodity, it cannot avoid controlling by capital. But, however, in view that the creation of film is different from the production of general commodity, that is to say, being a complicated labor participated by scriptwriters, directors, cameramen, actors and so on, capital cannot control every initiative filmproducer, thus supplying with many possibilities his breakthrough of capital and his challenge of the awareness of commodity fetishism. Therefore, by virtue of progressive filmproducers, the political function of film can be performed within the commercial mechanism of film. What' s more, the inherent requirement of the intellectual elite identity inevitably makes his discourse display such cultural anxieties as digestion, fragmentation and planarization although he is convinced of the inevitability of popular culture such as film in the modern society, which reflects Benjamin' s vacillated attitude toward popular culture. Under the context of globalization and diversification, Benjamin' s dilemma between such severe conflictions as the elite and mass, and the elegance and popularity, has basically been gone beyond. And the rise of oriental culture has produced a way to get out of this dilemma. Also the Zhuang and Zen philosophies in the Chinese culture can provide a reference for the cultural problem that seems to be hardly resolved by Benjamin, even by so many theorists in the Western countries.

    Two Extremes as Commercial and Classic
    ——The "Same Goal by Different Routes" of Jiang
    Wen' s Highbrow and Feng XiaoGang' s Lowbrow
    2009, 16(5):  30-47. 
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     Both Feng Xiaogang' s works and Jiang Wen' s works are representatives of the ChinesFe film at the turn of the century. While the former, through grassroots mentality and carnival discourse, displays a kind of rare temperament in citizens, the latter, by way of the almost "paranoid" spirit of art, seeks for the "classic" and "immortal" in the industrialized wave, and becomes the most dedicated "inquirer of soul" of the Chinese humanities film since Yellow Earth. Indeed, Jiang holds such a "classic" viewpoint of film arts that he thinks that the ideological, artistic levels in films gradually "grow" out of shooting process, in which, accidents, sufferings and pains determine all final forms excepting for the standard products on the assembly line. But Feng' s expression of selfdeconstruction, which has a kind of propitiatory imagination and ridiculous tone, makes his films turn from the suspected spirit to the reverse of criticism and subversion, showing a life attitude towards nihilism and modern cynicism. Although both Feng' s manipulation of commercial factors and Jiang' s effort to regard artistry as the highest goal can not be faultless, their works carry out a noticeable "extremes" exploration, thus supplying the Chinese film in dilemma with a way to indigenization, which gets out of the "Hollywood effect".

    A Summary of the Symposium on the Creation and
    Acceptance of Nanjing! Nanjing!
    2009, 16(5):  40-47. 
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    At the symposium on the creation and acceptance of Nanjing! Nanjing! organized by Center of Criticism and Creation for FilmTelevision and Literature, Shanghai University, a number of professors from Shanghai University, together with Lu Chuan, director of this film, from the multiple viewpoints of social culture as well as the film history, have an extensive exchange and discussion about why there is so big gap between its creation and acceptance. Professor Shi Chuan, Professor Chen Xihe and Professor Ge Hongbing hold that the narrative of multiple viewpoints used by this film, while having a breakthrough in the traditional narrative modes of the Chinese antiJapanese war films, brings about the dilemma in watchingfilm, thus producing the embarrassment and controversy between creation and acceptance. Professor Qu Chunjing points out that the reason why there is misplacement between creation and acceptance is mainly to have missed an "antifascist" link, because the establishment of antifascist dimensions is a prerequisite for reflections on war. Professor Jin Danyuan, Professor Cheng Bo, Associate Professor Ge Ying, Chen Xiaoda and postgraduates from this school, from the perspectives of the narrative position of this film and the watchingfilm mentality, probe into the reason for this phenomenon. What' s more, Professor Ge Hongbing, Deputy Director of this center, and Liu Haibo as well as Associate Professor Nie Wei, speak of the commitment and goingbeyond of the film director Lu Chuan, considering that this film goes beyond former similar films in China. For the questions mentioned above, Lu Chuan has a director' s interpretation. He holds that the fact of "small probability of the Japanese" being concatenated by "universal significance of the Chinese", shows "unfair to creation". And the socalled "Japanese remorse" is a misreading.

    The Nobel Prize in Natural Science and the Interdisciplinary Research
    2009, 16(5):  48-62. 
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    As the most authoritative, and also the most prestigious science awards, the Nobel prizes in natural science attract more and more attentions. Scholars both at home and abroad, from different viewpoints of humanities and social sciences, such as philosophy, science history and science sociology, make a research and achieve a number of results. This essay, from the perspective of science philosophy, or, to be exact, from the perspective of the scientific knowledge and methodology, and, by a close combination of the detailed information provided by Nobel prizes in natural science, makes an interpretation of the essential concept of the "interdisciplinary". On the one hand, the author traces a brief history of the establishment of this concept, pointing out that the interdisciplinary research, in essence, can be regarded as the breakthrough of the limits between different subjects, or the crossing of the borders between different "modes", or the conversion of different "modes"; and on the other hand, by a statistical analysis of the interdisciplinary research results from the exciting Nobel prizes in natural science, he highlights the development trend of the interdisciplinary natural sciences since the beginning of the 20th century, showing that the significant discoveries and inventions in modern science and technology are mostly resulted in interdisciplinary subjects, and that both major breakthroughs in science and technology and the emergence of new growth points and new subjects are often not be separated from each other' s crossing and infiltration of different subjects, thus underlining the significance of the interdisciplinary research. At the same time, through the examination of the knowledge backgrounds of the Nobel prize winners in natural science, he finds that, since most of winners have a wide range of interests and hobbies, not only being deep but also being profound in scientific knowledge, the interdisciplinary knowledge background can be considered as one of the main factors that stimulate scientists' rich imaginations, break their habits of thinking and obtain original results. What' s more, he has a statistical analysis of the proportion of the cooperative items and winner numbers in different periods, not only displaying the increasing cooperative trend of the research for the Nobel prizes in natural science, but also showing that the wellknown principle of Marx' s economics——"productivity resulted in collaboration——can also be applied to the research for the Nobel prizes in natural science. In a word, the interdisciplinary research not only demands researchers' knowledge background of understanding multidisciplinary crossing, but also relies on scientists' collaboration in various studies.

    The Modern Society and the Trend of Religious Development
    2009, 16(5):  63-75. 
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    The modernization in China has entered into the fast lane. Since the process of realizing modernization is the process of completing transition of society, the reform in such fields as economy, politics and society, as well as the vitality brought to the Chinese society, also makes people, under the unfamiliar environment, face greater opportunity, challenge and risk. While the establishment of market economic system and the introduction of competition mechanism greatly improve people' s quality of life, they feel than ever before a greater pressure of survive and psychology. But what modernization brings about is not only in material life, but also in spiritual life. It is the general trend for human beings to pursue the spiritual life suitable for their own, exploring the value and meaning of life, and concerning about the ultimate existence and surpassing self. Compared with the beginning of reform and openingup, China' s current social environments change so greatly that China' s modernization achievements, while changing people' s material mode of life, produce the pursuit of spiritual life and diversified believes. Under the context of culture and society mention above, it is urgent for theoretical circles to reflect on the relation between the modern society and religion. The global religious revival since 1970s is a reaction to the rapid change of society, also a rebound to the modernity, or, to be exact, a result of the selfreform and selfregulation of the world' s religions with the speeding of the globalization in economy, politics and culture. And, of course, the rapid development of the Chinese religion also brings about the insufficiencies in religious research and education, for example, wavering discipline position, relatively backward education, the religious policies of the Party and the government as well as the new understanding of religion by academic circles being failure to disseminate in time to the general public, many people' s understanding of religion being still in the level of 1980s. What' s more, for students in college and universities, there are many difficulties in implementation of the basic religious course taking as the core Marxist view of religion.

    Fully and Accurately Understanding Marxist Concept of Practice
    ——One of the Discussions with Mr. Dong XueWen and Mr. Chen Cheng
    2009, 16(5):  76-95. 
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    This essay is one of the discussions with Mr. Dong Xuewen and Mr. Chen Cheng, who, in their essay "An Analysis of the Ontology of Practical Existential Aesthetics and Literary Theories: Centering on the Relation between Practice and Existentialism", criticize the author' s view of Marx' s practical existence. The author first points out that their essay is so devoid of Marxist attitude and style about academic issues that they consider themselves as the Marxist "authorities", and regard their own abstract understanding as the only correct one, thus confusing the boundaries of academic and practical issues, labeling political hats to the object of criticism, and giving an outofcontext, arbitrary interpretation of Marxist classics. In view of this, the author emphasizes the necessity to expand academic contend by way of Marxist attitude and style. And then, to retort their rude laceration of the tradition from Aristotle through Kant to Marx about the concept of practice, the author gives a detailed interpretation of the concepts of practice in the history of the Western academics, especially of the viewpoints of Aristotle, Kant and Hegel. The author argues that Marx' s concept of practice does not fall from the sky, nor is separated from the traditional Western thinking, especially from the traditional German classic philosophy. If one thinks that Marx' s concept of practice comes out of nowhere, it must be in dreamland. On the contrary, Marx' s concept of practice is formed just because there is such a background of ideological tradition, and just because it absorbs and transforms the basic viewpoints of Aristotle and others so as to establish his practical materialism or the theory of historical materialism. And then, aiming at their criticism of author' s selfcontradiction of turning Marx' s concept of practice into both narrowness and broadness, the author cites the related arguments from Marx' s early works such as Introduction to Critique of Hegel' s Law Philosophy, Manuscripts in Paris, On Feuerbach and German Ideology, and, combining with Marx' s midand late works, gives a deep analysis of two points related to Marx' s concept of practice as one of the key categories in historical materialism. Firstly, Marx inherits the tradition of from Aristotle to German classic philosophy about practice and theory that work as two corresponding, antagonistic concepts. In this framework, practice is regarded as the actions of human beings who are opposed to theory (cognition) such as behaviors, conducts, activities, lives and movements, that is, the application and achievement of recognition (theory) as well as the transformation of the real world. Secondly, from the beginning, Marx broadly understands and uses the concept of practice. No doubt, Marx regards material production labor as the most fundamental meaning of the concept of practice, but he never limits it to the simple material production labor. According to him, practice also includes human' s real activities such as politics, ethics and religion, as well as the spiritual production labor such as arts, aesthetics and scientific researches. Actually, it is Mr. Dong and Mr. Chen who turn Marx's concept of practice into narrowness and broadness.

    Confucius and Ontological Poetic Theory
    ——A Discussion of Compilation of the Poems and Its Evaluation
    2009, 16(5):  96-108. 
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    As the first Chinese literary theorist, Confucius took a rather complex attitude toward Poems. For one thing, he cultivated a habit of expressing his aspiration by the poems; for another, he asserted the emotional function of the poems, which he regarded as prime importance. As a matter of fact, his cultivation of the habit indicates his conformation to the trend of the time; while his assertion of the emotional function implies his true understanding of the poems. The notion of "Xing", "Guan", "Qun" and "Yuan" he advanced marks Confucius' holistic apprehension of the genre of the poems, interpreting explicitly the nature (lyrical), the function (representing social and emotional lives) and creative psychology (outcrying against injustice) of the poems. The current poetic understanding remains within what Confucius proposed. The appearance of Confucius' poetic theory not only marks the awakening and establishment of Chinese ontological poetic theory but also have notable influences on the development of Chinese poetics.

    True or False: A Question of A Supplement to Notes from Lao Xue An
    2009, 16(5):  109-116. 
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    Because A Supplement to Notes from Lao Xue An didn't appear when Notes from Lao Xue An was published in the first year of Shaoding reign, also because its title was not included into An Explanatory Booklist from Zhi Zhai or General Verification to Literature or Song History, the book is likely to be a pseudograph, that is, written by someone passing off as Lu You after 1345. Four pieces of the book"Bai Da", "Tui Hong", "Wang Yuanzhi' s Poems" and "A Brief Recommendation of Su Xun" show evident mistakes and misses. As one kind of "Cuju" games, "Bai Da" is very popular in the Song Dynasty, but about which, the author of this book knows nothing. And "Tui Hong", related to tinct, is used by Lu You himself in his creation, which is mistaken for "pink" in the book. And the annotation of the Wang Yuanzhi' s verse "A breeze broke a few sticks of flower while orioles sang" is both stiff and shallow. What' s more, the book also mistakes "Lei Taijian" for "Liu Taijian" and has a reckless criticism of Su Shi and his son. In a word, A Supplement to Notes from Lao Xue An not only displays a lower learning level but also contradicts Lu You' s life and work, thus being nothing but a pseudograph. It is a misplay for Notes from Lao Xue An, one of the series titled "Historical Notes in the Tang and Song Dynasties" published by Chinese Press, not to distinguish between trueness and falseness.

    No "Ideological Level" in Classic Literature?
    ——A Discussion with Mr. Zhang Bao-Ming
    2009, 16(5):  116-126. 
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    In his book titled Humanities: a ReInterpretation of the Relation between the History of Literature and the History of Thoughts, Mr. Zhang Baoming puts forward an argument of the relation between the history of literature and the history of thoughts integrated with humanities, which embodies a valuable exploration and innovation. But, at the same time, some of his viewpoints seem too radical and illogical, especially about classic literature. They are as follows: (1) Confusing academic concepts, for example, about the interpretation of the "humanities" and "thought", and making a meaning choice according to his own needs. (2) No criteria about making a point, and being unable to decide which is right. For example, using the relation between the history of literature and the history of thoughts to approve modern literature, and using the link between the two to negate classic literature. (3) Ignoring the facts and thinking him always right. For example, using the socalled modern thought under the standard of the May 5th Movement to negate the ideological level of classic literature, which is neither realistic about classic literature nor consonant with the attitude of the May 4th intellectuals towards classic literature. (4) Being selfcontradictory and overextended. For example, from the perspective of universal humanity, connect the history of literature with the history of thoughts, considering that both have "universal" and "natural" link. Since the link is "universal" and "natural", why not to include classic literature? Faults such as these are everywhere. Therefore, Li Han' s essay is written so as to discuss with Mr. Zhang.

    EarlyWarning of Financial Risk:
    Indicator,Mechanism and Empirical Research 
    2009, 16(5):  127-144. 
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    The worldvalued experience shows that the earlywarning of finance risk is not only imperative but also practical. This essay, on a basis of the summary of the relevant researches on the earlywarning of finance risk, proposes an index system of financial risk that is characteristic of strong warning function. According to this index system, the earlywarning of finance risk can be graded into four ranks, that is, rank I (safe), rank II (subordinate safe), rank III (guard) and rank Ⅳ (danger). And then, by virtue of the BP manpower neural networks, the author establishes an early warning model of financial risk, carrying out the model training, model checkout and early warning of financial risk from 2003 to 2007 in China. The results are: the national comprehensive financial risk is rank Ⅳ (danger); the financial trade risk is rank III (guard); the macro economy risk is rank III (guard); and other risk (stocks risk chiefly) is rank III (guard). And the factor analysis shows: (1) From the static viewpoint, the national debt in our country is in a proper scale, having no big risk temporarily. But, from the dynamic viewpoint, our country is facing with such a big debt pressure that it can produce a dailyincreased potential risk, thus displaying a contradictory situation, that is, the relaxed environment of paying for debt being against the heavy debt burden (including hidden debt and possible debt). Therefore, we should keep something for a rainy day, trying our best to prevent financial risk. (2) In the first half of 2008, the macroeconomic risk drops to a more proper scope, the actual situation being accord with the predictive ratio, while in the second half of 2008, the impact of the global financial risk causes the macroeconomic risk rising. But, on the whole, in 2008, the national economy keeps a certain growth although the speed is lower than the past few years. And, in 2009, the macroeconomic risk is even bigger, not optimistic about it. (3) For stateowned enterprises, there are overweening debt, deficit running and great nonperforming assets. And banks, by a large increase in profession loan to such industries as real estate, steel, cement and automobile, as well as in personal loan, produce high demand for investment and high credit rating. Therefore, it is necessary to guard new nonperforming assets. (4) The risk of stock market bubble and other risks give a reflection on the excessive dilation of our securities market in the past two years. The practical running of stock market witnesses the creditability of predictive outcome. It is estimated that the risk of stock market bubble in 2009 remains the same as that in 2008.