The Legacy of the Studiengruppe Für Systemforschung

The Studiengruppe für Systemforschung was dissolved in 1974. Several members of the group moved to the Research Centre Karlsruhe. There, despite their new institutional surroundings, they remained faithful to the Studiengruppe’s conceptual foundations, and developed a new Institute for Technology Assessment and Systems Analysis. This has since become the leading technology assessment group in Germany.     

The Studiengruppe Für Systemforschung: Systems Research and Policy Advice in the Federal Republic of Germany, 1958–1975

In recent years, students of science policy in the Federal Republic of Germany have looked with increasing interest to the innovations of the 1960s. Key concepts such as democratization, participation, and planning mark the political and socio-cultural discourse of the time. For over two decades, the Studiengruppe für Systemforschung (Study Group for Systems Research – SfS) in Heidelberg gave a fresh impetus to policy advice. This essay continues our reflections on its history, traces its origins and development, and reflects on its achievements.     

"游必有方"和"粪土之墙"正解

《论语.里仁》曰:“父母在,不远游,游必有方。”句中“方”,《十三经注疏.论语注疏》保存了汉代郑玄的解释:“方,犹常也。”宋代邢昺进一步解释为“常所”,目前的《论语》注本大多把“有方”解释成“有固定的地方”,联系先秦时期其他典籍中“有方”的用例,“有方”义为“有道理”或“有原因”。《论语.公冶长》有“粪土之墙不可杇也”,现存《论语》的各种传世古注中,没有关于“粪土之墙”的解释,近年出版的《论语》注本,则多把“粪土之墙”解释为“污秽肮脏之墙”;《说文解字》:“粪,弃除也。”可见先秦时期“粪”是动词,是“弃除”的意思,那么,“粪土之墙”应以解释为“剥落泥土之墙”为宜,这样的墙,才真正“不可杇”。     

试论B.M.阿列克谢耶夫的汉学研究思想

阿列克谢耶夫汉学研究建立在对中国国情文化实际考察和作品译介研究基础之上,从而形成阿列克谢耶夫对中国历史文化及其发展特征的独到而深刻的见解。他基于破除欧洲中心论的比较文化思想,力求使中国文学和西方文学得到有机的统一。     

Subaltern voices and postcolonial schizophrenia: The political tensions of M.I.A.’s Kala

ABSTRACT

Banned from the U.S. during the “war on terror,” the British/Sri Lankan hip-hop artist M.I.A. responded by recording her 2007 album Kala in multiple locations throughout the global South, collating indigenous musical styles and unorthodox recording techniques. Via a critical/cultural analysis, this paper explores M.I.A.’s work on Kala as subaltern resistance mobilized by “differential movement,” particularly in its mode of production, which operated outside of, and in opposition to, institutional mechanisms designed to expunge or neutralize politically subversive art and artists. Yet M.I.A.’s musical sampling also surfaces conflicts between creative freedom and cultural appropriation, emblematizing “postcolonialist/postmodern schizophrenia” (Vályi, 2011. Remixing cultures: Bartók and Kodály in the age of indigenous cultural rights. In K. McLeod & R. Kuenzli (Eds.), Cutting across media: Appropriation art, interventionist collage, and copyright law (pp. 219–236). Durham, NC: Duke University Press.).