Qin Hui has been my favorite scholar since many year ago. I think he is among the small group of Chinese contemporary scholars who are actually presentable on a global stage. Recently I had the chance to listen to his lecture series My View on Karl Marx. It was fascinating. I translated a small excerpt from the last episode into English, so my western friends can have glimpse of it.
Towards the end of the Q&A session, someone asked Mr. Qin:
So this was a case report that laid out the treatment from following a case of a 3 year old girl.
She’d been in a small town in Austria and there her parents – it had been a winter day – her parents had gone out on a walk with her. And it was one of those terrible things: the parents lost sight of their little girl just for a moment and the next thing, they looked and she was out on the surface of this icy fishpond and then she fell through the ice under the water and was gone.
We’re at Cardiff University’s School of Journalism, Media and Culture, housed in a shiny new building which opened only last September, for the last of this series examining the relationship between the law and politics.
So far, Jonathan has questioned what he calls law’s expanding empire and the mission creep of the European Convention of Human Rights. He has discussed how best democracy can accommodate political difference and has warned the UK against going down the American constitutional road. Now, he is going to offer some suggestions to try and re-energise political participation, both in our institutions and political processes. The lecture is called “Shifting the Foundations”.
ANITA ANAND: Welcome to Washington DC and the fourth BBC Reith Lecture with the former UK Supreme Court Judge, Jonathan Sumption.
We’re at George Washington University, home to 26,000 students. Former alumni include Jacqueline Kennedy Onassis and the former director of the FBI, J Edgar Hoover.
我们在有26000名学生的华盛顿大学。其校友包括杰奎琳·肯尼迪和前FBI主任，J Edgar Hoover。
In his series, Jonathan has been interrogating the complex relationship between politics and the law, suggesting that the Courts have become too powerful. Now he compares the constitutional models of the US and the UK. This lecture is called Rights and the Ideal Constitution.
ANITA ANAND: Welcome to the third of this year’s Reith Lectures with the former Supreme Court Justice Jonathan Sumption.
We are in Edinburgh’s Parliament House, a building which dates back to the 16th century. This place has long been home to the Court of Sessions, the highest court in Scotland, and here in the great hall we are dominated by a stunning stained glass window depicting the moment King James V confirmed the Court of Sessions right here in 1532. This is a place, therefore, steeped in regal and legal history, an entirely suitable setting for Jonathan Sumption to continue his series of lectures on the role of the law in our public and private life.
So far Jonathan has questioned what he calls “law’s expanding empire” and discussed how best democracy can accommodate political difference. Today he will be taking a look at human rights, in particular the role of the European Convention on Human Rights and the Strasbourg Court. The lecture is called Human Rights and Wrongs.
ANITA ANAND: Welcome to the second of the 2019 BBC Reith Lectures with the former Supreme Court Judge, Jonathan Sumption. We’re in England’s second city at the University of Birmingham’s Bramall Music Hall, a beautiful modern addition to this famous old red brick campus.
Our speaker this year began his series by raising concerns about the law’s growing influence over public life. He suggested that this expansion may not be good for democratic life. Now, he develops this idea further, turning his attention to some fundamental issues which underpin democracy, how the State acquires and builds legitimacy and, mindful of recent events, how democracy accommodates difference, difference of opinion and experience. This, he believes, is the job of politicians, not of judges.
IN THE SPRING of 1984 I began to write a novel that was not initially called The Handmaid’s Tale. I wrote in long hand, mostly on yellow legal notepads, then transcribed my almost illegible scrawlings using a huge German-keyboard manual typewriter that I’d rented.