Table of Content

15 September 2011, Volume 18 Issue 5

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Articles

An Outline of the Theory about the Generalized Virtual Economy

LIN Zuo-Ming

2011, 18(5):  1-15. 

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An Outline of the Theory about the Generalized Virtual Economy(Aviation Industry Corporation of China, Beijing 100022, China)Abstract： The Generalized Virtual Economy (GVE), based on Marx' s mode of "life objects" about human activity, is a general economic term, which is used to signify, under the dominance of the person' s psychological need, his or her satisfaction suitable for both physical need and psychological need, or only for psychological need. While virtual value (information state) consists of its source essential to produce, dualistic value accommodatedmedium state (the motion state of values evolution) constitutes its mechanism for continuous development. At this period of GVE, some traditional principles of economy are being challenged. On the one hand, with the entrance of virtual value into the field of exchange, life itself makes up a new concept of wealth; and on the other hand, the significance of wealth is given a more profound connotation of economics. Therefore, it is necessary for us to establish a belief that life is the father of wealth, accelerate the transformation of the pattern in economic development, and promote the innovation of business mode. And by building up a thinking mode of time and space rentseeking and attaching importance to human capital, various industries full of virtual value elements should be developed greatly so that we can implement an optimal and balanced management and master the GVE dominance which is concentrated as the command of culture. In a word, the GVE development has a positive social significance.
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A Comment on the Ideological Crisis of the ChineseLanguage Film

WANG Zhi-Min

2011, 18(5):  16-26. 

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〖WTBZ]Huang Jianxin, Li An, Wang Jiawei and Wang Ying are four wellknown representative directors in the Chineselanguage film. A brief study or an outline of the works directed by them can discover that, during a long period of about 30 years from the early 1980s to the first 10 years of the 21st century, the Chineselanguage film underwent a process from the rise of ideological quest to the subsequent attenuation of this quest. Up to now, it has gone so far as to display an ideological crisis. The main background of the process is the fact that the modernization of the Chinese mainland, which takes the reform and openingup as the chief principle, is continuously deepening. At the same time, the entanglement of cold war mentality in the world are difficult to continue, and the worldwide financial crisis driven by the United States as well as its national overlord behaviors demonstrate a damage for American image, which are also not able to be neglected. The film Gimme Kudos (2004) directed by Huang Jianxin can be rated as one of the most landmarked or most symbolic works. He once showed a great concern for realistic life, and had the courage to probe into the serous problems of society and culture, thus putting up a strong sense of social responsibility and possessing the great ability of innovative consciousness and quest spirit. But now, in this film, he puts forward a false question, which doesn' t need answering or thinking. With this film, other films directed by Li An, Wang Jiawei, etc. are associated. Their works awake us to a sense of how those huge political backgrounds both at home and abroad are gone forever. From that on, people have being looking forward to the transformation of the Chineselanguage film from political thinking quest to academic thinking development.

The PostTen Billion Times: Using Cultural SelfDiscipline and
 Innovation to Promote a Revival of China' s Film Industry

HUANG Shi-Xian

2011, 18(5):  27-40. 

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As a matter of fact, China' s film, with its boxoffice receipts amounted to ten billion, is facing a new challenge of culture. The outstanding problem lies in such a situation where the market is in bad disorder, losing its selfdiscipline of culture, thus producing a tendency to the gold standard in the market. While "drawing money" replaces humanistic subjectivity and artistic innovation, the market orientation with the GDP growth as the sole object results in the shortage of humanistic originality as well as the cultural anemia of blockbuster films. Faced with the present state of affaires, what we should worry about is not how much a new GDP is created, but whether or not to use cultural selfdiscipline and artistic innovation to enhance the ideological connotation and cultural quality of the film so as to complete the transformation of "modern aesthetic experience" in the sense of social tastes. As a cultural product, any film has its spiritual origin and core value, which should be taken as the first consideration. Therefore, it is necessary to shoulder consciously the mission of culture endued by the times and guide a revival of the film industry in the harmonious symbiosis of culture, striving for the grand goal of turning the film industry into the support industry of national economy.
Key words：

Five Vertical Levels of Shanghai:
A Spatial Analysis of Five ShanghaiSubject Youth Films

LIU Hai-Bei

2011, 18(5):  41-50. 

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Five Vertical Levels of Shanghai:
A Spatial Analysis of Five ShanghaiSubject Youth Films(School of FilmTelevision Art and Technology, Shanghai University, Shanghai 200072, China)Abstract： 〖WTBZ]This essay, taking five youth films about contemporary Shanghai as the study cases, gives an interpretation of five vertical levels of Shanghai' s urban space, that is, roof tops, business offices, elevated roads, stoneringed doors and underground rooms, and provides an argument of the cultural character and artistic quality of each space. On the one hand, Shanghai Park tells a story mainly happening on the roof top, showing the impracticality and selfcontainment of young generations; on the other hand, Leaving Me, Loving You, most of which is shot in the business office, displays the hypocrisy of middle classes when they are looking down upon the city. At the same time, The Longest Night in Shanghai, whose main location is on an elevated road, presents a utopian solution to the communication between two different classes. What' s more, A Beautiful New World depicts the desire and difficulty of the underclass to immigrate into the city. And Suzhou River implies the possibility and imagination of the underground space where crimes are normal. 

Retrospect, Survey and Prospect
——A Reflection of the Study of the Chinese Film Genre

ZHOU Xiao-Ling

2011, 18(5):  51-60. 

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Retrospect, Survey and Prospect
——A Reflection of the Study of the Chinese Film Genre(School of FilmTelevision Art and Technology, Shanghai University, Shanghai 200072, China)Abstract： The study of the Chinese film genre has a close relation to the development of China' s society. While the transformation of cultural context in society determines the success or failure of the study of the Chinese film genre, the diversification and diversion of the study of the Chinese film genre often reflect on the transformation of cultural context in society. In a period of about 100 years, the study of the Chinese film genre has already obtained an obvious development: (1) changing from utility or practicality to academic or specialization; (2) changing from focus on education function to stress on amusement function; (3) changing from copying Western genre theories to research for national film genres. At the same time, China' s concrete development history of the study of the Chinese film genre also determines its problems and challenges faced in the future. First, at the present, the further development of the study of the Chinese film genre is meeting with a big bottleneck of the shortage of the native theory of film genre. Secondly, one of the urgent problems solved currently is how to localize the theory of the Western film genre. Thirdly, the study of the Chinese film genre must attach an importance to some common topics appearing in the study of the world film genre, and, from a global perspective, takes China' s study of film genre as a part of the world's study of film genre so as to make its own contribution.

A Comment on the Marxist Nature of "Practical Existence Aesthetics"
——Focusing on the Concept of "Practice"

CAO Qian

2011, 18(5):  61-70. 

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A Comment on the Marxist Nature of "Practical Existence Aesthetics"
——Focusing on the Concept of "Practice"(School of Liberal Arts, Shanghai University, Shanghai 200444, China)Abstract： 〖WTBZ]This essay, centering about the current controversy over "practical existence aesthetics", and based on Marx' s Outline of L. A. Feuerbach, Manuscript of Economics and Philosophy in 1844 and Introduction to The Critique of Political Economy, gives a retrospection and a comparison between the difference and similarity of the "practice" views by Li Zehou, Zhu Guangqian and Zhu Liyuan, demonstrating the Marxist nature of "practical existence aesthetics", and, at the same time, indicating the misunderstanding of Dong Xuewen and others about this concept.
Key words：

Goodness as the Desirable Selfishness and
Goodness as the Public Opinion
——A View of Goodness and Evilness

QI Zhi-Xiang

2011, 18(5):  71-78. 

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t is well known that goodness and evilness are man' s basic forms of value. While goodness is worthy of promotion, evilness deserves punishment, which is the essence of character accomplishment. But, what is the meaning for goodness and evilness? Maybe it is not very clear to everybody. A common view is considering goodness or evilness as one of man' s unchangeable, objective characters. The former is reasonable, for the benefit of others; and the latter means appetency, showing selfness. Actually, it is a distortive interpretation. Another popular view in history is using bitterness or sweetness to replace goodness or evilness. While goodness brings about sweetness, evilness produces bitterness. That saying is also unbelievable. Bitterness or sweetness does not derive so much from goodness or evilness as from beauty or ugliness. As a matter of fact, goodness and evilness are determined by public opinions that comprise personal desires. Just as satisfying does goodness, dissatisfying produces evilness. Human beings have their public opinions of transcending national countries and histories, which make up the universality of goodness and evilness. And different histories or nations have different public opinions, which constitute the relativity of goodness and evilness.
Key words： 〖WTBZ] 

The Grand Scribe' s Records and the Traditional
Establishment of Biographical Literature

FU Gang

2011, 18(5):  79-87. 

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Based on the historian' s tradition of factual records, Sima Qian founded the tradition of biographical literature. Without the literariness in his heart at that time or the socalled literary concept handed down to generations, he just tried to depict his characters vividly. He grasped their spirits, and, from their actions to their displayed personality or psychology, brought forth the intrinsic factor of historical changes, thus representing his judgment of history. But it was how to portray his characters vividly that started the tradition of biographical literature. His profound historical thinking and outstanding historical information made his biographies reach an unprecedented height, just as he said, "making an approach to the relationship between nature and society and understanding the change from the ancient to the present". And by doing so, are produced the literary devices of The Grand Scribe' s Records. Therefore, it is necessary to come from this place for understanding the birth and development of China' s literature.

A Chronological Study of the Zheng Songs in Classic of Poetry

SHAO Bing-Jun

2011, 18(5):  88-103. 

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A Chronological Study of the Zheng Songs in Classic of Poetry(Center of Chinese Ancient Literature and Culture, Shanghai University, Shanghai 200444,    

On Administrative Delay

GUAN Bao-Yang

2011, 18(5):  104-117. 

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On Administrative Delay(Shanghai University of Political Science and Law, Shanghai 201701, China)Abstract： 〖WTBZ]Administrative delay, as an irrational act in using authority, is usually ignored both in the theory of administrative jurisprudence and in the practice of administrative lawgoverning. In fact, in contrast to the traditional administrative law violation, inappropriate administration and administrative omission, it is more critical for administrative subject to use administrative authority with neglect, abandon administrative authority for no reason, and make sluggish administrative acts in space and time as well as other administrative delays. No scientific approach to the irrational act of using authority as administrative delay and its control is made so that administrative law is not capable in controlling administrative authority. For this purpose, this essay tries to make a systematic discussion of the essence, theoretic forms and legal control of administrative delay. The author holds that we should improve our consciousness of controlling administrative delay by administrative law, establish the system of acting ways of administrative authority in administrative substantive law, use administrative procedure law to set up the specialized control article on administrative delay, and strengthen the judicial discretion in administrative proceeding.

The DeElitism in China' s Contemporary Paintings

WANG Hong-Xi

2011, 18(5):  118-126. 

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The DeElitism in China' s Contemporary Paintings(School of Fine Arts, Shanghai University, Shanghai 200444, China)　Abstract： The traditional elite painting is of minority art, which serves the people in the upper society. This kind of art, after undergoing a transformation of era, dies a natural death. Under the condition of contemporary market of art, the difference between elites and nonelites is related closely to social identity and service object. While the elite artist mainly serves the people in the upper society, the nonelite artist takes the people in the lower and middle societies as main service object. Both have more difference in economic income and less difference in artistic quality. Therefore, for China' s contemporary paintings, there is no cultural elite connotation but economic meaning. Of course, in order to seek for survival, part of contemporary paintings will choose a creative mode of the "false elegance". But what most of painters create are "vulgar" works displaying worldly desires. The emergence of these circumstances has something to do with the excessive difference between wealth and poverty. It is the arty fashion from wealthy people and the material incentive means from cultural administrations that make China' s contemporary paintings being the market victims short of cultural indications.

An Interpretation of Several Words in Analects of Confucius

YANG Feng-Ban, JIANG Chong-Mu

2011, 18(5):  127-133. 

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An Interpretation of Several Words in Analects of Confucius(1.School of Liberal Arts, Shanghai University, Shanghai 200444, China;
2.School of Humanities, Suzhou University of Science and Technology, Suzhou 215011, China)Abstract： 〖WTBZ]It is a broad avenue to the problem in ancient books to use a method of combing modern linguistics with traditional linguistics. Just by doing so, this essay gives an interpretation of several difficult words in Analects of Confucius. Since, in the times of the Analects of Confucius, people used active subject instead of passive subject, “父母唯其疾之忧” in Chapter 2 means that "parents are anxious lest their children should be sick". In the same way, for “其如示诸斯乎” in Chapter 3, there is a "示" that means "indicate" instead of "place" as a loanword. What' s more, for “劳而不怨” in Chapter 4, “劳” signifies "hardship" instead of "worry", because, at that time, there was no entry for "worry" in the meaning of “劳”. While, for “则吾必在汶上矣” in Chapter 6, “汶上” indicates "both banks of the Wen River" instead of "north of the Wen River", “空空” in Chapter 9 is a reduplicated adjective instead of a repeated adjective, because, in the times of Analects of Confucius, there was hardly usage such as repeated adjective.
Key words： 〖WTBZ] Analects of Confucius; modern linguistics