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Between unitas and aequalitas 统一和统一之间
Pub Date : 2018-11-22 DOI: 10.1093/OSO/9780198824312.003.0007
A. Gamberini
This chapter focuses on political life within the city commune. Although each political group tended to represent itself as ‘the whole’, division in the political body not only existed but was in fact a constituent part of communal experience, where a variety of different social groups and sectors confronted one another in increasingly regulated and disciplined forms. To see how the ideologies of unity came to terms with the theme of plurality means, therefore, investigating phenomena in the context of political culture, such as the organization of assemblies, the decision-making process, and the mediation of councils. In this respect the chapter casts light on the development of new civic values, such as aequalitas, and fresh legal principles, such as quod omnes tangit ab omnibus comprobetur—what affects everybody must be agreed upon by everybody—which succeeded not only in justifying collective decision-making but also in establishing the principle of representation.
这一章的重点是城市公社内部的政治生活。尽管每个政治团体都倾向于将自己描绘成“整体”,但政治团体中的分裂不仅存在,而且实际上是公共经验的组成部分,各种不同的社会团体和部门以日益规范和纪律的形式相互对抗。因此,要了解统一的意识形态如何与多元化的主题达成一致,就意味着要研究政治文化背景下的现象,比如集会的组织、决策过程和委员会的调解。在这方面,这一章揭示了新的公民价值观的发展,如平等主义,以及新的法律原则,如影响每个人的人必须得到每个人的同意,这些原则不仅成功地证明了集体决策的合理性,而且建立了代表制原则。
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引用次数: 0
The Modernist Art of Hunger 饥饿的现代主义艺术
Pub Date : 2018-11-22 DOI: 10.1093/oso/9780198828891.003.0002
A. Moody
Chapter 1 reconstructs the canon that forms the basis of later writers’ deployment of the art of hunger. It sketches the aesthetic framework of the art of hunger through four of its exemplary texts—Kafka’s “A Hunger Artist,” Knut Hamsun’s Hunger, Melville’s “Bartleby, the Scrivener,” and the poetry of Rimbaud—and locates these foundational writings in the context of their later redeployment by surrealist and “lost generation” writers. Reading these texts and authors both in their own moments and as they have been read by later writers and scholars, it seeks to derive the theory of art that later writers engage with when they redeploy the art of hunger in new contexts.
第一章重构了构成后来作家运用饥饿艺术的基础的经典。它通过卡夫卡的《饥饿艺术家》、克努特·哈姆森的《饥饿》、梅尔维尔的《记录者巴特比》和兰波的诗歌这四篇典范文本勾勒出饥饿艺术的美学框架,并将这些基础作品置于后来被超现实主义和“迷惘的一代”作家重新利用的背景中。阅读这些文本和作者,既要阅读他们自己的作品,也要阅读后来的作家和学者的作品,它试图推导出后来的作家在新的语境中重新部署饥饿艺术时所参与的艺术理论。
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引用次数: 0
Impact of the Global Gag Rule 全球禁言规则的影响
Pub Date : 2018-11-22 DOI: 10.1093/oso/9780190876128.003.0006
Y. Rodgers
Chapter 6 offers new econometric estimates of the impact of the global gag rule on abortion rates. The analysis identifies the policy impact as the difference in abortion rates before and after the 2001 policy reinstatement and the difference between countries with high and low exposure to the policy. Abortion rates are constructed using Demographic and Health Survey data from 51 developing countries. Results from logistic regressions indicate that the global gag rule is associated with a threefold increase in the odds of women getting an abortion in Latin America and the Caribbean, a twofold increase in sub-Saharan Africa, and no net change in the Middle East and Central Asia. Results also indicate no consistent relationship between strict abortion laws and abortion rates. In the majority of developing countries exposed to the global gag rule, the policy failed to achieve its objective of discouraging women from getting an abortion.
第6章对全球禁言规则对堕胎率的影响提供了新的计量经济学估计。分析将政策影响确定为2001年政策恢复前后堕胎率的差异,以及受政策影响程度高和低的国家之间的差异。堕胎率是根据51个发展中国家的人口和健康调查数据计算的。逻辑回归的结果表明,全球禁言令与拉丁美洲和加勒比地区妇女堕胎几率增加三倍有关,在撒哈拉以南非洲增加两倍,而在中东和中亚没有净变化。结果还表明,严格的堕胎法与堕胎率之间没有一致的关系。在大多数受全球禁言规则影响的发展中国家,该政策未能实现劝阻妇女堕胎的目标。
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引用次数: 3
The War Intensifies, December 1941–June 1944 战争加剧(1941年12月- 1944年6月
Pub Date : 2018-11-22 DOI: 10.1093/oso/9780198827023.003.0003
Thomas Brodie
This chapter analyses Catholics’ responses to Germany’s worsening geopolitical position during the crucial period of the war between the beginning of 1942 and spring 1944. Much historiography has traditionally depicted this as a period of rising defeatism in German society, and as a time when many individuals began to distance themselves from the Nazi regime. This chapter contributes to recent critiques of this interpretation, noting how diverse Catholics’ views regarding the war remained in this period. Many continued to hope for and believe in German victory, and increasingly viewed the war through the prism of the Nazi regime’s anti-Semitic ideology. Drawing on a wide range of sources, ranging from the intelligence reports of Gestapo informers to private letters and diaries, this chapter explores Catholic mentalities during this period in greater depth than previously attempted.
本章分析了在1942年初至1944年春这一战争的关键时期,天主教徒对德国日益恶化的地缘政治地位的反应。传统上,许多史学都将这段时期描述为德国社会失败主义上升的时期,也是许多人开始与纳粹政权保持距离的时期。这一章有助于最近对这种解释的批评,指出天主教徒对战争的不同看法在这一时期仍然存在。许多人继续希望并相信德国的胜利,并越来越多地通过纳粹政权的反犹太意识形态的棱镜来看待这场战争。从盖世太保告密者的情报报告到私人信件和日记,本章借鉴了广泛的资料来源,比以前更深入地探讨了这一时期天主教徒的心态。
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引用次数: 0
Scrutinizing the Present Phase of Human History 考察人类历史的当前阶段
Pub Date : 2018-11-22 DOI: 10.1093/oso/9780198800170.003.0003
S. Collini
This chapter examines the range of F. R. Leavis’s historical thinking, from the early work of his Ph.D. through to his post-1945 dealings with the nineteenth century. The chapter argues that, rather than being largely derived from Eliot’s work, Leavis’s thinking drew on older and more conventional strains of historical writing whose framework he never entirely shook off. It emphasizes the extent to which Leavis believed that a proper cultural history would yield an evaluative assessment of the quality of human living in various periods and hence an overall judgement about progress or decline. It shows that the two key periods in Leavis’s scheme were the seventeenth century, understood as the beginnings of the modern world, and the nineteenth century, seen as the triumph of a broadly mechanical and economistic world view that he tended to equate with ‘Utilitarianism’.
本章考察了f·r·里维斯历史思想的范围,从他早期的博士工作到1945年后他与19世纪的交往。这一章认为,里维斯的思想并非主要来源于艾略特的作品,而是借鉴了更古老、更传统的历史写作流派,他从未完全摆脱这些流派的框架。它强调了里维斯相信,一部适当的文化史将在多大程度上对不同时期的人类生活质量作出评价性评价,从而对进步或衰落作出全面判断。它显示了李维斯体系中的两个关键时期分别是17世纪和19世纪,17世纪被理解为现代世界的开端,19世纪被视为广泛机械和经济主义世界观的胜利他倾向于将其等同于功利主义。
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引用次数: 0
Italian Opera Reprieved 意大利歌剧暂缓
Pub Date : 2018-11-22 DOI: 10.1093/OSO/9780190692636.003.0005
I. Woodfield
In the light of the imminent closure of the opera buffa troupe, Da Ponte arranged a collective benefit for the performers: a lighthearted satirical piece entitled L’ape musicale, which featured the most popular music of recent seasons. His campaign to persuade Joseph II to change his mind over the decision to discontinue Italian opera bore fruit in January 1789, following the Russian victory at Ochakiv, following which a lighter public mood was briefly evident in Vienna. Da Ponte could now offer his pasticcio on behalf of the whole troupe as an expression of gratitude for the reprieve they had been granted.
考虑到歌剧剧团即将倒闭,达·庞特为演员们安排了一场集体演出:一场轻松的讽刺剧,名为L 'ape musicale,其中包括最近几季最流行的音乐。1789年1月,随着俄国在奥恰基夫的胜利,他说服约瑟夫二世改变主意,停止意大利歌剧的决定取得了成果,此后维也纳的公众情绪短暂地缓和了下来。达庞特现在可以代表整个剧团献上他的表演,以表达对他们获得缓刑的感激之情。
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引用次数: 0
Epilogue 后记
Pub Date : 2018-11-22 DOI: 10.1093/oso/9780190904999.003.0008
L. Hunt
The epilogue pulls together the arguments from the prior chapters by analyzing a scenario involving an informant who engages in “otherwise illegal activity” on behalf of the police. The epilogue then revisits the overlapping conceptions of human dignity that were introduced earlier, reaching the following conclusion: a broadly defined ideal theory of justice in the liberal tradition provides constraints regarding how the state (especially the police) may fulfill its reciprocal duties in society; one of those constraints is a commitment to a conception of persons that includes human dignity. By concluding the book in this way, the goal is to emphasize liberalism’s commitment to a conception of persons that is based upon multiple foundational stances. This helps show how liberal personhood likewise constrains the police’s power from multiple foundational stances. The hope is that, by following this path, there has been something of a retrieval of dignity in policing.
结束语通过分析一名告密者代表警方从事“其他非法活动”的情节,将前几章的论点整合在一起。结语部分回顾了前面介绍的关于人类尊严的重叠概念,得出以下结论:自由主义传统中定义广泛的理想正义理论为国家(尤其是警察)如何履行其在社会中的互惠义务提供了约束;其中一个限制是对包括人的尊严在内的人的概念的承诺。以这种方式结束本书,目的是强调自由主义对基于多种基本立场的人的概念的承诺。这有助于表明,自由主义人格同样从多个基本立场限制了警察的权力。人们希望,沿着这条道路走下去,警务工作能在某种程度上恢复尊严。
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引用次数: 0
Metascience and Better Science 元科学和更好的科学
Pub Date : 2018-11-22 DOI: 10.1093/oso/9780198733669.003.0001
R. Anjum, S. Mumford
Central to science is a set of norms for the correct, systematic acquisition of empirical knowledge, such as that data should be objective, results repeatable, and that theories should bring predictive success. These norms remain contested, however. Science cannot evaluate its own norms since doing so is a distinctly philosophical enterprise. This tells us that scientism is wrong: the idea that science can answer every question. A question that it cannot answer is what justifies science. We will answer this and other questions philosophically with a focus on the causal sciences. Science and metascience may then achieve a reflective equilibrium.
科学的核心是一套正确、系统地获取经验知识的规范,比如数据应该是客观的,结果应该是可重复的,理论应该带来可预测的成功。然而,这些规范仍然存在争议。科学不能评价它自己的规范,因为这样做是一个明显的哲学事业。这告诉我们,科学主义是错误的:认为科学可以回答所有问题的想法。一个它无法回答的问题是什么证明了科学的合理性。我们将以因果科学为重点,从哲学上回答这个问题和其他问题。然后,科学和元科学可能达到一种反思的平衡。
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引用次数: 0
Special Functions and Approximations 特殊函数和近似
Pub Date : 2018-11-22 DOI: 10.1093/OSO/9780198821939.003.0008
S. Thurner, R. Hanel, Peter Klimekl
The chapter contains the most important mathematical forumas that are used throughout the book. This collection should make the book self-contained. The chapter also contains some useful approximations that are used several times in the text.
这一章包含了贯穿全书的最重要的数学公式。这本书应该是由这些收藏品组成的。本章还包含一些有用的近似,在文本中使用了几次。
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引用次数: 0
Profusion and Parody in Barcelona 巴塞罗那的缤纷与戏仿
Pub Date : 2018-11-22 DOI: 10.1093/OSO/9780195384567.003.0005
M. Christoforidis
The cosmopolitan northern city of Barcelona played host to Carmen’s Spanish premiere in 1881, starring Célestine Galli-Marié, and although the opera failed to take root at this point, Barcelona’s status as a center of entertainment in a variety of Spanish genres and a keen purveyor of European trends set the stage for Carmen’s return in the late 1880s. This revival led to a proliferation of competing productions in the early 1890s, and a degree of popularity that inspired the composition of a successful parody, the género chico work Carmela (1891), which subverted the local color and melodies of Bizet’s opera for a Hispanic audience and toured Spain and the Americas for several years.
1881年,《卡门》在西班牙的首演是在北部的大都会巴塞罗那举行的,由c莱斯汀·加利-玛丽埃尔斯主演。尽管这部歌剧当时未能在西班牙扎根,但巴塞罗那作为各种西班牙流派的娱乐中心和欧洲潮流的敏锐推动者的地位,为《卡门》在19世纪80年代末的回归奠定了基础。这种复兴在19世纪90年代早期导致了竞争产品的大量增加,并在一定程度上受欢迎,启发了成功的模仿作品,gacimnero chico的作品Carmela(1891),为西班牙观众颠覆了比才歌剧的当地色彩和旋律,并在西班牙和美洲巡回演出了几年。
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