Committed art and autonomous art each have their own strengths as well as their respective weaknesses: The former negates art′s detachment from reality, while the latter denies its connection to reality. Sartre′s philosophy takes the path of extreme subjectivism. All that is kept of his ＂ choice＂ is therefore the abstract authority of the choice enjoined. And ＂ freedom＂ becomes empty assertion. The extension of this philosophy to literature makes his commitment removed from the objective requirements of the work, also changes his plays into vehicles for what the author wants to say, becoming complicit in the culture industry. What Brecht is greater than Sartre is that he wanted his drama to educate spectators to a thoughtful attitude. But his drama theory ended up with a didactic poésie. Due to the pursuit of political commitment and the disdain for various mediations, the theory and practice of Brecht suffer from an alienating infantilism; and as a result of pursuing the aesthetic principle of simplification or technique of reduction, his construction of the social and economic contexts is so simple that his theater eventually proves false. Thus, Brecht′s plays often have their own defects the aesthetic form defiled by political untruth frequently turns his work to illustrated primer. As a result, political flaws become artistic flaws, and vice versa. The statement that ＂ it is barbaric to continue to write poetry after Auschwitz＂ should not be softened. But Enzensberger′ s rejoinder also remains true, because literature must resist this verdict. The protest against the world is reflected in Kafka and Beckett. They explode art from the inside, and such art in turn is of great aggressiveness; whereas pro claimed commitment only subjugates art from the outside. It′s flashy and unrealistic, degenerating into handicrafts ultimately. The question of commitment has taken different forms in French and German because of their disparate cultural traditions. Aesthetically, the principle of l′art pour l′art has been dominant in the former. This is why the appeal to commitment sounded revolutionary there; in terms of the cultural tradition of the latter, the work of art is to be nothing for itself, otherwise it inspires effeminacy and discourages action. So encouraging commitment is rather misplaced.

Critical theory could be defined in a more historically specific way, and its project was defined by the tension between a critique of universalizing ＂ enlightenment＂ and a reliance upon universalist categories. Drawing on Adorno and Horkheimer′s Dialectic of Enlightenment and the Odyssey, the way the Frankfurt School critique of Enlightenment can be elaborated and expanded and categories that would resist its universalizing tendencies are to be introduced. Adorno and Horkheimer examine Odysseus as an exemplary Western figure. But in the process the travels and travails of Odysseus and the journeys can be seen as reflecting the experience of the Frankfurt School in exile. Adorno and Horkheimer thus present a highly unusual concept of ＂ homeland＂ ( Heimat) , which they under stand as a place of refuge but not the end of the journey. Horkheimer and Adorno highlight the scene in which Telemachus slaughters the women and then the goatherd, in order to suggest that the manner in which the brutal executions is recounted implies a critique of the violence, and ultimately the hope for an ＂ abolition of death＂ itself. Adorno and Horkheimer focus on the utter heterogeneity and temporal contradiction between a mortal life and its ex tinction through execution. Thus, the ＂ the law of Homeric escaping＂ implies that fleeing, narrating, and cruelty remain forever unfinished, open, and ongoing processes. The radical incommensurability that separates ＂ death＂ from ＂ dying＂ is revealed to be immeasurable by the very rhetorical question of the narrator: ＂ how much longer? ＂ followed by the answer, ＂  not very long. ＂ Odysseus′s unfinished ＂ excursion＂ is the condition that will enable him to live out his life as peacefully as possible. This ＂ end＂ of the epic, which Adorno and Horkheimer like so many other readers ignore, provides the indispensable supplement to their suggestion that only the ＂ once upon a time＂ of the fairytale can overcome the myth of an original home: that supplement is that ＂ once upon a time＂ must be linked to the singular and unrepeatable ＂ once and for all＂ if there is to be a hope of a life that would ＂ escape＂ totalization without thereby becoming eternal.

This article studies the way in which the concept of Aufkl rung produces what the postmodern condition calls a Meta narrative. The Meta narrative is the founding discourse allowing us to examine the human figure starting from the idea that the history of humanity is a long path towards emancipation. In this perspective, Adorno and Horkheimer wonder why the Aufkl rung functions as the Meta narrative of modern man, why does it play the role of a totalitarian reason, and how to become free from it. In order to set up a connection between Meta narrative, the Aufkl rung and the critical theory of reason, the starting point of this article is ＂ the Song of Sirens＂ in Homer′s Odyssey. Based on different understandings of this chapter and of the figure of Ulysses, it studies Kant′s ex planation of Aufkl rung as an almighty reason, as well as Adorno and Horkheimer′s critique of this totalitarian rea son. It provides further Blanchot′s own reading of the Song of Sirens as a way of using art against reason and a search of a space of writing. In this sense, Blanchot′s understanding brings us back to Baudelaire′s question of modernity, to this very relation between human being and the present.

Over its long history, the Frankfurt School attempted to enrich its critique of modern society, largely rooted in the imaginative rereading of the Marxist tradition that became known as Critical Theory, by drawing on in sights from psychoanalysis. Although the specific insights informing the work of Erich Fromm, Max Horkheimer, Herbert Marcuse and Theodor W. Adorno may have been different, all supported the productive integration of Marx and Freud. In particular, the Frankfurt School used Freudian theory to explain the failure of the working class to assume its putative revolutionary mission, the unexpected rise of fascism, and the possible ways in which utopia might be envisaged. In addition, most explicitly in the work of Adorno, they pitted the materialist impulses of psychoanalysis against the consciousness philosophy they identified with the Idealist tradition.

This thesis analyzes the historical development of nominalism from its theological origin via Pictorical nominalism to that of Adorno′s musical nominalism, and the author recognizes the influence of Duchamp′s view of proper name on Adorno′s discussions about musical nominalism. The center of the article is to elucidate how Adorno distinguishes nominalism and realism in music, especially when talking about the relationship between musical conventions and creations, the way Adorno show his dialectical attitude, and he combines the specific problem of musical language with universe social development of bourgeois society. As for Adorno, the relationship between general and particular in musical language has a similar contradict with that of the relationship between individual and totality in bourgeois society.

In spite of their commercial trends in the past ten years, Chinese youth films have focused on the realistic topics, narratives and style, and opened a perspective based on gender difference, by talking about the stories of young girls. Regarding to the gender issues in the youth films, the female image and the youth narrative have been greatly impacted and changed by the directors′ feminist perspective. In the films about girls, many stories deeply described the girls′ cultural dilemma, the difficult personal relations, and their desire and gender identification, thus implied the existing power relation and cultural discourse that constructed the girls′ delicately subject. The change of the female image from a ＂ campus belle＂ to a ＂ problem girl＂ demonstrated that the youth films trans formed the nostalgia fantasy to a realistic fable; and the genre regained the new blood. By examining the representation of girls in films in the last ten years, the paper analyzed the subjectivity of the youth, especially the girls who were socially and culturally marginalized.

The legendary story of Mulan, recorded in The Ballad of Mulan, is of great importance in Chinese cultural memory, and iconic in calling on women of new femininity to join in rescuing Chinese nation or socialist construction. Adapted to retell traditional story in China, this story also inspired Disney′s cartoon film Mulan and its live action version. As to the representation of gender and the state, and ideologies delivered in adapting and retelling traditional Chinese stories, Shao Brothers′ Hua Mulan ( 1964) , Director Ma Chucheng′s Hua Mulan ( 2009) , and Disney′s feature animated film Mulan ( 1998) lack women′s perspective as subjects. Thus, if common women do follow Mulan′s example to work and fight, they will face specific gender problems that have never been included in the public discourse.

With the popularity of science fiction in the past 20 years, the revolutionary representations of body boundaries and women subjects have emerged in both radical subcultural texts and the mainstream texts of the Euro American popculture. With women cyborg characters shown in various narrative styles, two American films Alita: Battle Angel and Captain Marvel, both constructed carnival fantasies of the feminist triumph. However, similar with other postmodernist concepts, cyberpunk, as a radical but popular term, has been appropriated by the consumerist culture in these mainstream films, which implies political rightness produced by the consumerist visual texts secretly implied the conservative ideologies more than ever.

Drawing insights from the critiques against digital feminism, postfeminism and popular feminism in Euro America, this paper takes Boom Studio a feminist self-media in Bilibili as a case study and reveals the strategy and features of Boom′s feminist practices of producing feminist short videos: taking “ high visibility” as a core strategy an d integrates feminist politics into the youth online subculture based on the mechanism of “ pan-entertain-ment” ; the feminist discourse reconstructed in the videos featured with “ precarity” in Euro America′s digital feminism: emphasizing superficial feminist critiques without touching the structural problems, highlighting individual ism, personal choice from postfeminism and popular feminism on the one hand, which are indeed in complicity with the neoliberal ideology, and on the other hand, embodying the important feminist politics of “ the personal is political” . This paper virtually situates the strategy and the “ precarious” features of such feminist video activism within the Chinese context of digital feminist development and unravels its positive effects.

Different from the concept of state capture, which is controversial and abstract, policy capture is a more specific analytical concept that can be applied to different fields. Based on the analysis of the Zhouji Iron Mine Exploration Rights Case and the Yizhong Company′s Compensation Cultivated Land Index Transaction Case, it can be found that the mechanism of local policy capture in China the formation of a community of interests between enterprises and corrupt government officials lie in the existence of information asymmetry in the policy process of hierarchical governments, and loopholes in decision making conference institution and meeting management, etc. In addition to giving full play to the decisive role of the market in resource allocation, reducing intervention and other general measures to prevent and control policy capture, it is necessary to base on the current actual situation in Chi na, to break the collusion of interests, to build pro Qing political and business relations, to strengthen local governments′ hierarchical supervision, to standardize and institutionalize decision making meetings, and to take other specific measures, so as to prevent local policy capture.

Collective corruption has become a hot issue for the society and scholars in recent years. It means that the corrupt elements form alliances and carry out corruption together, which has a strong political corrosive and economic damage. Based on game theory, the construction of a single order and multi order model of collective corruption found that reducing the number of corruption blacks and increasing the probability of corruption being punished are the key to managing collective corruption. At the same time, it is also necessary to strengthen psychological intervention on corrupt elements, to form an effective insider reporting system, and to build a scientific power restriction and supervision system, so as to comprehensively improve the effectiveness of collective corruption governance.

The Belt and Road Initiative is an opportunity to promote good business environment and incorruptible order of the countries along the border, and it is also a response and practice to pluralism, openness, inclusive ness, and respect for governance. The Belt and Road Initiative is facing a complex and diverse risk of corruption with the development of multiple cooperation within the world. It is urgent to solve the uncertainty problem of governance objectives, governance bodies, governance tools and governance systems from a global perspective. According to a new paradigm of global governance, integrating consultation, contribution, shared benefits, and cooperative governance will help to cope with the risk of dynamic corruption and progressively promote the establishment and maintenance of business environment incorruptible order among countries along the Belt and Road.

Understanding the psychological causes of decision making errors from the perspective of behavioral science can focus on reviewing decision making processes and correcting decision making errors, thereby improving the effectiveness of public policy implementation and promoting the early realization of the modernization of China′s national governance system and governance capabilities. Based on the classic psychology laws, the article analyzes and discusses the decision errors of public managers, and believes that it can expand the space for behavior scientists to participate in public policy formulation, introduce red team judgment process control methods, and develop targeted decision support systems. The three countermeasures of the system can alleviate decision making errors, improve decision making performance, and form a better decision making system that is inclusive, objective, and predictable.

Behavioral public management is an interdisciplinary subject between psychology and public management. Its research and practice guided by behavioral science has penetrated into the broad fields of policy construction, policy analysis, organizational decision - making, public satisfaction evaluation, and public perception. It is currently the most important development direction of public management. The article starts with the change of the humanity hypothesis of public management, and finds that behavioral public management responds well to the problem of the lack of the micro foundation of traditional public management, showing a high degree of interoperability with the internal logic of public management. After summarizing the development trend in the field of behavioral public management research between China and the West, it is pointed out that the future research field will be deepened in the research of public decision - making psychology and the promotion of social good behavioral nirms.