One of the pressing problems with contemporary peacebuilding research is that much of the analysis focuses on thepractical and technical challenges while paying little attention to the philosophical assumptions of tho...One of the pressing problems with contemporary peacebuilding research is that much of the analysis focuses on thepractical and technical challenges while paying little attention to the philosophical assumptions of those operations.Any understanding of peacebuilding is underpinned by philosophical frameworks as they shape and orient ustowards particular strategies for peacebuilding. This paper makes a philosophical critique of liberal peacebuilding（the mainstream peacebuilding） and explores a postmodern post-liberal hybrid peacebuilding. The analysis claimsneither the categorical rejection of liberal peacebuilding nor the exclusive reliance on locally-orientedpeacebuilding. Rather, the upshot is the need for deconstructing dualistic view of either liberal peacebuilding orlocally-oriented peacebuilding so that both external liberal actors and local actors engage in jointly learning andmutually transformative process wherein both liberal international actors and local actors look beyond peaceconstructed around their narrow and restricted conception and framework to create the meanings of peace that caninterconnect the global and the local.展开更多
From the academic frontier of modernity and postmodernity, the author aims at exploring the fission between modernity and postmodernity and also the characteristics of postmodern cultural media from a philosophical va...From the academic frontier of modernity and postmodernity, the author aims at exploring the fission between modernity and postmodernity and also the characteristics of postmodern cultural media from a philosophical vantage point. This paper illustrates three aspects of Western modernity： individual modernity, social modernity, and instrumental modernity, and it also clarifies the issues in modernity, starting by explaining three forms of the cultural fission： avant-garde, modernism, and postmodemism. The paper then demonstrates that the rise of postmodemity represents a new transformation and new characteristics of contemporary Western spirit, namely, the collision and compatibility of various concepts, in which popular culture and high culture, mass culture and elite culture, fashion and games as well as noise and silence have constituted an uncanny landscape of cultural media. This eerie landscape displays the indeterminacy of language, culture, art, consciousness, and aesthetics. From the perspective of theoretical innovation, the author proposes that the postmodem cultural media always displays its commodity and instrumentality, plays and entertainment, anti-culture and anti-art, replication and fabrication logically and practically as an outcome of post-industrial society. In conclusion, three critical issues are addressed： personal spiritual belief, the development of mass culture, and aesthetic principles. The postmodern cultural media has deeply influenced traditional culture, aesthetics, and how they are evaluated, resulting in cultural conflicts and a humanistic dilemma in the world of contemporary capitalism.展开更多
In the 1960s and 1970s-as strncturalism, post-structuralism, and literary criticism seeped into history--the ＂linguistic turn＂ or ＂narrative turn,＂ leading to what is known as postmodem philosophy of history, took...In the 1960s and 1970s-as strncturalism, post-structuralism, and literary criticism seeped into history--the ＂linguistic turn＂ or ＂narrative turn,＂ leading to what is known as postmodem philosophy of history, took place in Western philosophy of history. In the past forty years of reform and opening up to the outside world, and especially in the most recent two or three decades, Chinese research on Western postmodem philosophy of history has proceeded from overall review to in-depth research, and then on to reflection, criticism, and even transcendence. Neither the rethinking of historical objectivity and rationality nor the reconstruction of convictions about historical reason can work without the profound insights or theoretical tensions of postmodern philosophy of history.展开更多
文摘One of the pressing problems with contemporary peacebuilding research is that much of the analysis focuses on thepractical and technical challenges while paying little attention to the philosophical assumptions of those operations.Any understanding of peacebuilding is underpinned by philosophical frameworks as they shape and orient ustowards particular strategies for peacebuilding. This paper makes a philosophical critique of liberal peacebuilding（the mainstream peacebuilding） and explores a postmodern post-liberal hybrid peacebuilding. The analysis claimsneither the categorical rejection of liberal peacebuilding nor the exclusive reliance on locally-orientedpeacebuilding. Rather, the upshot is the need for deconstructing dualistic view of either liberal peacebuilding orlocally-oriented peacebuilding so that both external liberal actors and local actors engage in jointly learning andmutually transformative process wherein both liberal international actors and local actors look beyond peaceconstructed around their narrow and restricted conception and framework to create the meanings of peace that caninterconnect the global and the local.
文摘From the academic frontier of modernity and postmodernity, the author aims at exploring the fission between modernity and postmodernity and also the characteristics of postmodern cultural media from a philosophical vantage point. This paper illustrates three aspects of Western modernity： individual modernity, social modernity, and instrumental modernity, and it also clarifies the issues in modernity, starting by explaining three forms of the cultural fission： avant-garde, modernism, and postmodemism. The paper then demonstrates that the rise of postmodemity represents a new transformation and new characteristics of contemporary Western spirit, namely, the collision and compatibility of various concepts, in which popular culture and high culture, mass culture and elite culture, fashion and games as well as noise and silence have constituted an uncanny landscape of cultural media. This eerie landscape displays the indeterminacy of language, culture, art, consciousness, and aesthetics. From the perspective of theoretical innovation, the author proposes that the postmodem cultural media always displays its commodity and instrumentality, plays and entertainment, anti-culture and anti-art, replication and fabrication logically and practically as an outcome of post-industrial society. In conclusion, three critical issues are addressed： personal spiritual belief, the development of mass culture, and aesthetic principles. The postmodern cultural media has deeply influenced traditional culture, aesthetics, and how they are evaluated, resulting in cultural conflicts and a humanistic dilemma in the world of contemporary capitalism.
文摘In the 1960s and 1970s-as strncturalism, post-structuralism, and literary criticism seeped into history--the ＂linguistic turn＂ or ＂narrative turn,＂ leading to what is known as postmodem philosophy of history, took place in Western philosophy of history. In the past forty years of reform and opening up to the outside world, and especially in the most recent two or three decades, Chinese research on Western postmodem philosophy of history has proceeded from overall review to in-depth research, and then on to reflection, criticism, and even transcendence. Neither the rethinking of historical objectivity and rationality nor the reconstruction of convictions about historical reason can work without the profound insights or theoretical tensions of postmodern philosophy of history.
