本文關(guān)鍵詞： 戲 戲殺 法律規(guī)范 比較 文化觀念　出處：《武漢大學》2017年碩士論文　論文類型：學位論文

【摘要】：在中國古代歷朝刑律中,殺人罪都被統(tǒng)治者視為嚴重的犯罪而進行懲處。殺人罪根據(jù)主觀罪過形態(tài)形成了 "七殺"的認定體系。戲殺罪作為其中之一,與其他殺人罪有明顯的不同。它是過失殺人中細分出的獨立罪名,是處理獨特情景下過失犯的特殊法律規(guī)定,并且這種劃分為中國所獨有。"戲"指的是角力比武之類的技藝比較或日常生活中的戲謔玩耍,"殺"表示發(fā)生致人死亡的后果,當戲與殺之間存在直接因果關(guān)系時便可成立戲殺罪,由致害方承擔相應的刑事責任。該罪萌生于秦漢時期,消亡于清末,可謂由來已久、歷史悠長。這個存續(xù)過程中,各朝分別對戲殺罪進行了不同程度的定義或限制,使得該罪在縱向上呈現(xiàn)出動態(tài)的變化。秦朝"比劍"、"戲而傷嬰"的記載表明在漢以前的社會生活中已經(jīng)存在因戲而殺傷人的現(xiàn)實情況。漢初的《二年律令》則第一次明確規(guī)定了"戲殺"這一罪名,但規(guī)則極為簡單。漢代司法實踐中又多采用"原心論罪",賦予法官極大的自由裁量權(quán)。這種情況在晉朝有了很大改變。張斐給出了"兩和相害謂之戲"的經(jīng)典定義,對戲殺罪的主觀心態(tài)、工具手段、身份限制、因果關(guān)系等都進行了相對詳細的規(guī)定,形成了客觀法定情節(jié)。而唐律在此基礎上進一步完善,不僅給出"以力共戲,至死和同"的更為具體的定義,還依據(jù)主觀過錯程度、行為方式、戲的對象、具體情境的不同,系統(tǒng)地將戲殺罪劃分為普通犯、加重犯和法律擬制三大類,量刑亦各分層級。此外,"戲""殺"之間的因果關(guān)系的判定規(guī)則也更為客觀、具體。宋朝完全承襲唐律戲殺之規(guī)定,元朝則在沿襲中稍加變化。明、清一方面繼承了戲殺罪名,另一方面大量壓縮戲殺的范圍將其限定于"可堪殺人"之中,采取虛擬重刑規(guī)則處罰,再以秋審程序例行減刑。之后,由于西方法制的沖擊,戲殺罪隨著"七殺"體系的瓦解在清末修律的過程中徹底消失。戲殺罪流變的各階段可以說既一脈相承、又各具特色。其中,以漢、晉、唐、元、清最具代表性。本文在梳理流變過程后,重點比較了漢唐律、唐元律、唐清律在"戲"的定義、規(guī)范內(nèi)容、歸罪標準和量刑輕重等方面的不同。通過對比,得出了戲殺罪在整個縱向變化發(fā)展過程中客觀歸罪主義不斷加強、量刑逐步加重以及審查、審判與審結(jié)權(quán)限始終分離的三大規(guī)律。透過這些動態(tài)規(guī)律,從更宏觀的角度整體把握戲殺罪,可以發(fā)現(xiàn):作為中國獨有的特殊罪名,戲殺罪極具中國立法特色。其一,該罪將主觀過錯標準與客觀歸罪原則有機融合,主觀過錯程度是劃分該罪量刑輕重的依據(jù),但歸罪標準卻是客觀法定的外在工具、場景、身份。其二,該罪的立法技術(shù)以類型思維為主、概念思維為輔。先以類型法盡可能涵蓋戲殺各種情節(jié),不能涵蓋時以概念要素作為補充。其三,該罪規(guī)制的內(nèi)容對應的是西方刑法中的違法阻卻事由,中西采用了完全不同的立法思維和方式。然而,之所以會出現(xiàn)這些規(guī)律和特色,歸根結(jié)底是深層的文化因素所致——中國傳統(tǒng)的天道觀、王道觀、孝道觀和公道觀。這些思維觀念共同作用,最終導致了戲殺罪的上述狀況。
[Abstract]:In ancient Chinese criminal law Chinese, homicide is regarded as the ruler of serious crime and punishment. Homicide has formed "the identification system of Qisha according to the subjective form of murder. The play as one of them, which was different from the other murder. It is independent from charges of manslaughter in fine, is special legal provisions unique scenario of negligent crime, and this division is unique to Chinese." play "refers to such a comparison or wrestling contest skills in daily life tease and play" kill "said the occurrence of death caused by the consequences, when there is a direct causal relationship between drama and drama can be set up to kill murder, the damage caused by the parties bear the criminal responsibility of the crime. Adorable was born in Qin and Han Dynasties, disappearing in the late Qing Dynasty, is a long-standing, long history. The survival process, in the murder of the play of different degree of definition or limit System, make this crime shows a dynamic change in the longitudinal direction. The Qin Dynasty "than the sword", "play and hurt the baby" the records show that the reality of the situation because of the play and killing people before the Han Dynasty already exists in the social life. In the early Han Dynasty < two years law > is first defined "play to kill" the charges, but the rules are very simple. The judicial practice in the use of "heart essence", the discretion of judges. This situation has greatly changed in the Jin Dynasty. Zhang Fei gives the classical definition of "two and the harm that play", to play to kill crimesubjective mentality, tools, identity constraints, causal relations are relatively detailed provisions, formulate the objective legal circumstances. And the further perfect, not only gives a total force to play, and with a more specific definition, according to the degree of subjective fault, behavior mode, play the object of the specific situation 涓嶅悓,緋葷粺鍦板皢鎴忔潃緗垝鍒嗕負鏅，

本文編號：1526602