Since the end of the Cold War, the power comparison between the United States and Russia in the Middle East has been"strong US, weak Russia". But since sending troops into Syria on September 30 of 2015,Russi...Since the end of the Cold War, the power comparison between the United States and Russia in the Middle East has been"strong US, weak Russia". But since sending troops into Syria on September 30 of 2015,Russia has taken a forceful position of involvement in the Middle East and achieved fruitful results, not only boosting its military presence in the Middle East, but also greatly increasing its political influence. Russia is now an important external force influencing political changes in the Middle East.Since taking office as US president, Donald Trump has changed the policy of strategic contraction pursued by his predecessor Barack Obama in the Middle East, taking a proactive rather than a stiff approach to further intensify contention with Russia in a bid to reshape and consolidate its position as a top dog in the Middle East. US-Russia contention has led to new geopolitical divisions and realignment as well as profound and complicated changes in geopolitical structure in the Middle East, thus perpetuating US-Russia contention, as the two countries will lock themselves in fierce contention over regional dominance on both military and political battlegrounds.展开更多
The critical nature of artwork is owed, according to Adorno, to the fact that it opposes its assimilation by reason and that it does not yield to the imposition of its established principles. This character which Heid...The critical nature of artwork is owed, according to Adorno, to the fact that it opposes its assimilation by reason and that it does not yield to the imposition of its established principles. This character which Heidegger, too, through a paradoxical convergence with Adorno, and in opposition to Lukacs, recognizes as its ontological component, permits the work of art to represent a force of resistance to dominance in general, in the prospect of the salvation of a humanized society. As such, it makes possible the radical rejection of political and, pertinent to it, pedagogical activity, when converted into primarily authoritiarian activity. Such a responsibility does art assume, according to Adorno, when it represents a spirituality, which is embodied in exemplary fashion both in the work of art itself, making the experience of the sublime possible, and in the aesthetic of the sublime, which is concentrated intensively on whatever remains unapproachable through concepts. In this way, we could say that the aesthetic of the sublime is converted into ＂first philosophy,＂ in the sense that it provides the rule for every theoretical approach. Concurring with this reading of Adorno, we consider how the sublime, as shown in the context of his aesthetic theory, is governed, furthermore, by a paideutic principle of exceptional significance, which we must necessarily activate through aesthetic education, so that western man may understand that he must uproot himself from the nihilistic social context in which he lives, rupturing the delusion of his omnipotence. In a world governed by a permanent crisis of democracy in public and private life, since the weakening of political imagination unites with the retreat from political ethos and an generalization of the unprecedented will for dominance, we consider this aesthetic theory to be exceptionally essential and useful to us both as pedagogical theory and as political theory, since it allows us to understand that the experience of the sublime through art is in opposition to this condition of destruction, and indeed represents the ideal of justice.展开更多
This paper examines in detail how Zhou Zuo-ren, leading essayist and theoretician of the personal essay in the 1930s, turned the essay, the most free, independent, and informal of all the literary genres, into a vital...This paper examines in detail how Zhou Zuo-ren, leading essayist and theoretician of the personal essay in the 1930s, turned the essay, the most free, independent, and informal of all the literary genres, into a vital medium for the cultural and political self-assertion of the modern Chinese men of letters and for the making of a vernacular aesthetic by incorporating Western values with a rediscovered tradition of individualism and self--expression in classical Chinese literature, thus conforming to the tasks of the New Literature of breaking free from the prison-house of an over-coded cultural system into the refresh, raw experience of the mundane daily world and of transforming the language of the everyday into a refined mode of expression suitable for the expanded horizon of the enlightened individual.展开更多
文摘Since the end of the Cold War, the power comparison between the United States and Russia in the Middle East has been"strong US, weak Russia". But since sending troops into Syria on September 30 of 2015,Russia has taken a forceful position of involvement in the Middle East and achieved fruitful results, not only boosting its military presence in the Middle East, but also greatly increasing its political influence. Russia is now an important external force influencing political changes in the Middle East.Since taking office as US president, Donald Trump has changed the policy of strategic contraction pursued by his predecessor Barack Obama in the Middle East, taking a proactive rather than a stiff approach to further intensify contention with Russia in a bid to reshape and consolidate its position as a top dog in the Middle East. US-Russia contention has led to new geopolitical divisions and realignment as well as profound and complicated changes in geopolitical structure in the Middle East, thus perpetuating US-Russia contention, as the two countries will lock themselves in fierce contention over regional dominance on both military and political battlegrounds.
文摘The critical nature of artwork is owed, according to Adorno, to the fact that it opposes its assimilation by reason and that it does not yield to the imposition of its established principles. This character which Heidegger, too, through a paradoxical convergence with Adorno, and in opposition to Lukacs, recognizes as its ontological component, permits the work of art to represent a force of resistance to dominance in general, in the prospect of the salvation of a humanized society. As such, it makes possible the radical rejection of political and, pertinent to it, pedagogical activity, when converted into primarily authoritiarian activity. Such a responsibility does art assume, according to Adorno, when it represents a spirituality, which is embodied in exemplary fashion both in the work of art itself, making the experience of the sublime possible, and in the aesthetic of the sublime, which is concentrated intensively on whatever remains unapproachable through concepts. In this way, we could say that the aesthetic of the sublime is converted into ＂first philosophy,＂ in the sense that it provides the rule for every theoretical approach. Concurring with this reading of Adorno, we consider how the sublime, as shown in the context of his aesthetic theory, is governed, furthermore, by a paideutic principle of exceptional significance, which we must necessarily activate through aesthetic education, so that western man may understand that he must uproot himself from the nihilistic social context in which he lives, rupturing the delusion of his omnipotence. In a world governed by a permanent crisis of democracy in public and private life, since the weakening of political imagination unites with the retreat from political ethos and an generalization of the unprecedented will for dominance, we consider this aesthetic theory to be exceptionally essential and useful to us both as pedagogical theory and as political theory, since it allows us to understand that the experience of the sublime through art is in opposition to this condition of destruction, and indeed represents the ideal of justice.
文摘This paper examines in detail how Zhou Zuo-ren, leading essayist and theoretician of the personal essay in the 1930s, turned the essay, the most free, independent, and informal of all the literary genres, into a vital medium for the cultural and political self-assertion of the modern Chinese men of letters and for the making of a vernacular aesthetic by incorporating Western values with a rediscovered tradition of individualism and self--expression in classical Chinese literature, thus conforming to the tasks of the New Literature of breaking free from the prison-house of an over-coded cultural system into the refresh, raw experience of the mundane daily world and of transforming the language of the everyday into a refined mode of expression suitable for the expanded horizon of the enlightened individual.
