宋代流配地域的演变及其影响——以刺配法的实施为中心

宋代刺配刑泛滥,导致触法流配者大为增加。为避免因配隶人群大量聚集而导致的社会治安乱局,宋廷一方面施行诸路间相互移配、散配的政策,另一方面格于军政形势及祖制,将配隶地域逐步由京畿地区向南方远路转移。步入南宋,由于疆域的蹙缩及政治地理格局的剧变,流配地域在进一步南移中逐渐集中于五岭地域的远恶州军,而大量的逃亡配军刑徒与盐寇、峒寇相纠合,加剧了该区域及近邻州军的动乱,成为终宋之世都未能解决的地方军政难题。     

民国广东四邑侨乡匪患与华侨护乡

论文介绍了民国时期广东四邑侨乡地区的匪情及其产生的原因、海外华侨参与四邑侨乡治匪的方式和举措;分析阐述了匪患期间华侨护乡的效用及其影响因素。从民国广东四邑地区治匪的个案来看,侨乡与华侨社会之间存在较为频繁的人员、资金、信息等要素的跨国流动,海外华侨的积极参与在治匪护乡活动中起到了积极作用。但值得注意的是,在强调华侨这种外部力量对侨乡社会的作用时,不能忽视整个国家的历史发展对侨乡社会的影响。尽管华侨在四邑侨乡具有一定地位,起到一定作用,但其力量无法与中国乃至四邑的腐朽势力相抗衡,结果致使其维持治安的效用有限。     

Southern rebels against Italian unification: the Great Brigandage in the province of Capitanata

This article explores counter-revolutionary brigandage in Southern Italy after 1860 (also known as Great Brigandage). Working from archival sources, the article offers a new interpretation of the interactions between the political, social and criminal aspects of the guerrilla war against the Risorgimento. Notwithstanding the plurality of the individual motives leading single actors to fight, it is argued that brigandage was an essentially political phenomenon and that the alliances between common bandits and loyalist forces were made possible only in the macro-political setting of the collapse of the Neapolitan monarchy, the difficulties facing Italian state-building, and the emergence of popular legitimist sympathies after 1860.     

Gender and Minor Aesthetics in Northeastern Brazilian Banditry: The Evolution of Cangaceiro Assemblages in Photography,Film, and Oral History

Various accounts and representations of the last generation of active cangaceiros, or Northeastern Brazilian bandits, (ending with the killing of Lampião’s lieutenant, Corisco, in 1940) have emphasised and popularised a unique aesthetic developed by Lampião’s group. This aesthetic was divulged to the public, and documented for subsequent generations, with the help of the photographic and cinematic technology of the time. I analyse this imaginary as a minor aesthetic in the vein of Deleuze and Guattari’s notion of minor literature, focussing on the doubly minor character of the involvement of women in cangaço (banditry) after 1930, and utilising several key photographic/filmic texts, beginning with images of the 1930s and continuing with reimaginings and reframings of those images from the 1950s through the 1980s. Women’s contributions to both the aesthetic and survival of cangaço in its final decade have been denied or not well recognised in contemporary accounts, but their contributions to the imaginary I call the cangaceiro assemblage have received increasing attention since the 1970s, which I demonstrate with important examples of film and television (both documentary and fictional) and related oral history. Beyond their aesthetic creativity, the affective perspectives/experiences of women bandits (cangaceiras) are best understood as outlaw emotions which challenged conventions of gender and sexuality in the backlands.