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This article sets out to explore the construction of the literary critic in Raymond Williams's first book Reading and Criticism and how William Shakespeare operates in it. In his work, the Welsh writer displays a paradox. On the one hand, he acknowledges the importance of social and historical conditions when training readers in the context of free and compulsory education in England. By means of this project, the critic becomes a pedagogue. On the other hand, the writer removes the object and the methodology of study as well as the figure of the critic from their social and historical frame. This paradox, made visible through the references to Shakespeare, does not mean that the pedagogue outstands the critic: the former exhibits the limits of Williams's first proposal, which are in keeping with the lack of historicity he ascribes to literary studies. ; Este artículo explora la construcción del crítico literario en la primera publicación de Raymond Williams, Reading and Criticism, y el estatuto que se le asigna en ella a William Shakespeare. En el desarrollo de su trabajo, el escritor galés deja entrever una paradoja. Por un lado, reconoce la importancia de las condiciones sociohistóricas en la delimitación de sujetos lectores en el marco de la democratización del acceso a la educación gratuita y obligatoria en Inglaterra. En este proyecto, el crítico deviene en pedagogo. Por otro lado, Williams sustrae el objeto y la metodología de estudio así como la propia figura del crítico literario de su marco contextual. Este artículo no concibe esta paradoja, visibilizada mediante las referencias a Shakespeare, como un desplazamiento del crítico por parte del pedagogo. Por el contrario, este último expone las limitaciones de la primera propuesta de Williams, concomitantes con la ahistoricidad a la que somete el estudio de la literatura.

如果將崔健的專輯《新長征路上的搖滾》視為中國搖滾樂的正式開端,中國搖滾樂儼然已有近三十年的歷史。作為一種西方另類文化產品的追隨者,中國搖滾樂並沒有簡單複製西方搖滾樂史;作為一種流行次文化現象,中國搖滾樂生動地反映和再現着中國社會的面貌及其歷史變遷,而這一在中國文化語境下的反映和再現則正是中國搖滾樂作為一種風格的原創性所在。本文試圖探討中國搖滾樂中的「中國元素」。為了能夠縱觀這三十年的歷史,筆者特意挑選崔健、唐朝樂隊、二手玫瑰樂隊作為三個「十年」的突出代表來進行考察。 ; 作為中國搖滾樂的先驅者,在崔健的音樂作品中保留著一種「紅色情結」,一些革命年代的印記依舊會在他的歌曲中顯現;另外,崔健的一句「一無所有」喊出了那一代青年人的心聲,這種直白地表達在當時不自覺地帶有了一種比較嚴肅的政治含意,也因此使中國搖滾樂的命運同西方搖滾樂一樣,最先以一種反叛的不安分子形象示人;唐朝樂隊是中國搖滾樂「黃金時代」的代表,對中國古代輝煌歷史時期的追憶,加之重金屬音樂風格的衝擊力,使其再造了一個理想的中國陽剛之氣──「文武雙全」;創新性地將搖滾和東北二人轉風格元素相結合使二手玫瑰樂隊成為近期中國搖滾樂的一朵奇葩, 他們既娛樂又嚴肅的反諷風格豐富了中國搖滾樂的語匯。通過對這三例的並置對比,本文意在論證三十年間中國搖滾樂中的「中國性」在體現方式上的微妙變化以及其風格演變的過程。 ; Having a history of nearly thirty years, Chinese rock is not only a term that indicates a regional genre, but also a specific music style. Its originality lies in its intimate relation with the particular social and economic conditions of China. This thesis focuses on "Chineseness" in Chinese rock, which covers musical characteristics, political identity, traditional and ancient culture and regional performing arts. In order to demonstrate its historical development, I choose and discuss three musical acts from each decade in Chinese rock history. They are Cui Jian in the 1980s, Tang Dynasty in the 1990s and Second Hand Rose after 2000. ; Widely regarded as the forerunner of Chinese rock, Cui Jian's music has a "red" ideology; meanwhile, his brave expression of the inner youth voice of that generation also give Chinese rock a rebellious image from the very beginning. Tang Dynasty represents Chinese rock's "golden age". Through invoking a glorious period in China's ancient history, they build an ideal Chinese masculinity in their style of heavy metal. Second Hand Rose innovatively absorbs elements from secular performing art in their music, criticizing new societal conditions in an ironic way. This thesis concludes with the view that the expression of "Chineseness in Chinese rock has been continually transforming throughout the decades, and those Chinese rock musicians' attitudes toward an "ideal" conceptualization of China have likewise ...

Pierre Rosanvallon is a historian, economist and political scientist; profuse author and one of the most influential of our time. In The Century of Populism is fully devoted to explaining this phenomenon in three stages. First describe the skeleton and features defining. Secondly, quickly review the full cases and, finally, concludes with a critical judgment of populism. In that sense, go with concern the current state of things and advance some amendments to strengthen democracy. ; Pierre Rosanvallon es historiador, economista y politólogo;profuso autor y uno de los pensadores másinfluyentes de nuestra época. En El siglo del populismose aboca de lleno a explicar este fenómeno en tresetapas. Primero describe el esqueleto y las característicasdefinitorias. En segundo término, repasa ágilmentelos casos plenos y, finalmente, concluye con unjuicio crítico del populismo. En ese sentido, ve conpreocupación el estado actual de las cosas y adelantaalgunas enmiendas para fortalecer la democracia.

黎必信. ; "2012年3月". ; "2012 nian 3 yue". ; Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. ; Includes bibliographical references (leaves 355-368). ; Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. ; Abstract in Chinese and English. ; Li Bixin.

本文以「從禮樂到生民:論中唐樂府的復興與新變」為題,試圖將中唐樂府放入當時思想、政治與文化的新格局中,探討其創作及觀念之特徵,並對盛、中唐之際的文學發展與中唐樂府的革新提出新的解釋。 ; 已往之研究往往強調中唐樂府「刺時」的一面,而歸因於中唐的政治狀況。但本文認為,就題材來說,中唐樂府並非僅有「刺時」的內容,亦有大量的風俗描寫; 就原因而言,政治固然是因素之一,然絶非唯一因素。其背後還涉及詩學觀念的轉向與文人身份的變化。 ; 本文指出,盛、中唐之際文人對於「風雅」或者「詩教」的觀念發生了變化。盛唐以前對「教化」的理解總與「禮樂」相伴,認為只要行禮樂便可以達到教化的目的,強調「禮樂」的作用自然凸顯《詩經》「上以風化下」的一端,而非「下以風刺上」的一面。至盛唐末期,這種觀念受到挑戰,文人對詩教的理解從頌讚的雅頌走向諷刺的國風,而最後刺時之文也獲得了正當性。中唐樂府的興盛與這種詩學觀念的轉變有著密切的關係。 ; 本文認為,中唐文人的政治身分變化與中唐樂府的變化亦有密切關係。初盛唐文人少做地方官,至中唐,長期擔任地方官的文人比例大增。他們在觀念上調和「儒」、「吏」關係,更多地認同「循吏」的價值與傳統,使得地方官文人與漢良二千石的傳統銜接。他們以「循吏」的眼光在地方進行創作,為樂府的「觀風」職能提供良好的背景。 ; 觀念的轉向、文人身份的變化,加之當時的政治狀況,造成了中唐樂府的興盛,也造就其獨特之特徵。本文對張籍、王建樂府在盛中唐樂府演變中的作用與地位提出了新的論述,認為張、王的樂府唱和,繼承、改造了盛唐李白和杜甫新、古題樂府的創作形式,體現了盛唐末年所開啟的「風雅」詮釋方式,而以興諷刺時作為樂府的主要內容,為其後的元、白樂府提供了借鏡。本文指出,中唐樂府雖然繼承了漢樂府「觀風」的傳統,但在題材內容上有所擴大。漢代,「樂府」作為中央官署,其「采詩」的主要目的是考察地方吏治,對於地方風土風俗則沒有太大興趣,但中唐樂府對此一題材卻有大量的書寫。「風俗」題材的興起與當代儒學關注點從「禮樂」轉向「生民」有關。「生民」既成為評判政治優劣的標準,「生民」的活動自然被納入創作的視野。論文認為,從文體角度說,中唐的樂府作者雖在主觀上排斥六朝傳統,但在樂府的命題以及表現方式上依然深受六朝的影響。 ; 論文還考察了與新樂府創作相應的一套詩學論述,發現中唐詩人提出了所謂樂府「正聲」的觀念,以對抗初、盛唐樂府的觀念。不僅如此,中唐的樂府觀念還與「史官」、「諫官」的意識相互滲透,使得本為詩歌所獨有的「采風」觀念擴散到詩歌以外的文類,而本為樂府所關注的獨特題材也進入其他文體的書寫當中。 ; This thesis focusing on Yuefuin the Mid-Tang dynasty,discusses its characteristicsin the new pattern of thought, politics and culture. The thesis tries to provide a new explanation for the literature development in the Mid-Tang. ; Existing researches often emphasized the relation between yuefu and political reality. However, political reality was not the only theme reflected in yuefu, the description of customs was included. Politic was not the mere reason. Literati's political identitywas changed and the existing tradition of "praise and criticize" from the Han dynasty was also transformed. ; The thesis pointed out that the idea of "Fengya" or "poetic education" was changed from the High-Tang to the Mid-Tang dynasty. "Civilization", usually relating to "rites and music", was considered to be successful in the High-Tang dynasty. Therefore, literature was encouraged to praise the dynasty while criticism was ignored. This idea faced ...