"伦理"与"道德"概念的三重比较义

“伦理”与“道德”是伦理学或道德哲学中的两个核心概念,但二者长期处于概念模糊和逻辑混乱状态,导致伦理学和道德教育“名不正而言不顺”。通过对这两个概念进行以词源学为基础的三重比较:汉语言文化中的比较、英语文化中的比较、中西文化中的比较,我们可以得出的结论是:当代“伦理”概念蕴含着西方文化的理性、科学、公共意志等属性,“道德”概念蕴含着更多的东方文化的情性、人文、个人修养等色彩。“西学东渐”以来,中西“伦理”与“道德”概念经过碰撞、竞争和融合的过程,目前二者划界与范畴日益清晰,即“伦理”是伦理学中的一级概念,而“道德”是“伦理”概念下的二级概念。二者不能相互替代,它们有着各自的概念范畴和使用区域。     

本雅明的“起源历史”及其对历史唯物主义的重构尝试

如何切入对历史主义、实证主义、第二国际教条化马克思主义的现实反思，是包括卢卡奇、本雅明、阿多诺等在内的早期西方马克思主义学者的共同难题。他们都强调现实历史的变革要以历史哲学的重构为底色，即对资本主义社会的批判必须立足于一种新的历史意识以摆脱“经济决定论”和线性进步观。其中，本雅明试图以“起源历史”重构历史唯物主义，他的“起源”概念是其理论的难点。学界对“起源”概念在《德意志悲苦剧的起源》和《拱廊计划》中的内在作用存在争议。对本雅明而言，《德意志悲苦剧的起源》时期的“起源”概念侧重于将真理从主客认识论的困境中分离出来，内蕴着柏拉图的理念和歌德的表达性生命的影响；《拱廊计划》则进一步将“起源”批判性地内化为对19世纪现代性之自然历史性质的辩证揭示，并识别为一个过去与当下充满张力的、“起源历史”的真理性时刻，以便从历史连续体的叙事中剥离出来。通过这一工作，本雅明不仅破解了新康德主义以及受其影响的历史主义变体和第二国际修正主义的理论困境，还为历史唯物主义把握历史提供了一种新的“辩证历史”意识。但在现实性上，这种历史意识过于倚重主体对历史经验的创造性领会，而忽视了经济作用及其内在张力，存在着主观...     

"东西方差异"抑或"元概念"争执——关系概念再思考

“关系”作为社会网络研究乃至整个新经济社会学研究的核心概念,自从它成为一个学术研究对象以来就一直是学者们争论的一个焦点问题。如何对这一概念做出定义、分类、操作乃至如何运用它来建构理论,不同的学者有不同的解释。本文以“东西方差异”作为反思“关系”概念的切入口,指出现有的“关系”概念所包含的东西方差异实质上是一种假象,并就国内学者对“关系”概念的反思进行了梳理、提出自己的理解。     

威斯特法尔:"尼采和悲剧的方法:反本雅明"

本雅明在其《论德国悲剧的起源》一书中对尼采做出批评,认为要纠正他的错误,需要用反思的和历史的方法对悲剧艺术这种古希腊社会和文学现象加以研究。而我则认为,本雅明的这种研究方法是有内在缺陷的,需要通过尼采关于悲剧和历史科学与人类意义之关系的     

外刊学论

休:“本雅明:历史唯物主义与神学”(Hugh,R.P.,“Walter Benjamin:His-torical Materialism with Theology”,Pilosophies of History:From Enlightenmentto Postmodernity,Chapter8,Blackwell,2000)瓦尔特·本雅明是法兰克福学派中一位唐吉诃德式的人物。他将自己归为马克思主义的历史唯物主义者,但与所有正统的马克思主义者相反,他认为如果没有神学就不能理解历史,“我的思想是与神学联系在一起的,就像墨水与瓶子一样,它完全被其所容纳。”在本雅明的哲学里,有19世纪超历史主义的因素、尼采的虚无主义、康德对经验的分析、犹太教神…     

记忆中"曾经"的承诺

该文关注“曾经”与“承诺”—“复仇”与“拯救”如何相关特别是如何转换的“记忆的政治”。问题的背景是苦难:作为存在论或现象着的生活世界的基本事实,它是人类唯一可以普遍面对神、面对政治的“救赎地”,而不是“弥撒”中可以流逝的将来时,或在“复仇”中永远走不出的过去时。这里重要的是记忆形式的时间结构发生了根本的变化。因而“曾经”不是无生命力的过去压力(如尼采所批判的和本雅明所清理的);也不是简单转化为复仇的有生命力的权力意志即强权政治(如尼采所一厢情愿的);而是走出复仇的拯救———即走出过去时的———“记忆”中的“曾经”的“承诺”。但事实上,它已不能由西方文化的特质独立承担了。     

流动的门槛——阿甘本笔下的本雅明

本雅明辞世之后,对他的各类诠释让读者莫衷一是。上个世纪末,阿甘本从主权理论进入本雅明的文本,在本雅明研究中开拓出全新的理解空间。通过追踪本雅明与施米特的隐秘交锋,阿甘本逐渐展开重新理解"保罗的政治神学"的思想视域。本文对阿甘本的本雅明解读进行初步梳理,尤其关注其中呈现出来的现代性问题的历史脉络。     

儿童"零"概念形成的实验研究

该研究通过3项系统实验探讨了学前至小学低中年级儿童视野、掌握和应用“零”概念的发展水平。结果表明,学前至小学低中年级儿童对“零”概念的理解、应用“零”进行加减运算、乘除运算的能力都是不断提高的。但是。对于把“零”作为除数或被除数的理解要落后于将其作为乘数或被乘数使用的理解。最后,综合三项实验结果进行了总体讨论。     

"生活世界"与"生活-世界"--一种中国哲学本体诠释的可能性

本文论述了胡塞尔现象学中作为科学奠基的“生活世界”概念,把它放在中国哲学的传统加以观照,试图对其进行一种新的本体诠释,由此拓展对“生活世界”的理解。     

法律·正义·弥赛亚——解读本雅明的“神圣暴力”概念

本雅明对线性时间观和历史进步论的批判可一直追溯到其早期政治神学。在其政治神学核心文本《暴力批判》中,本雅明将历史描述为连续的暴力,并将这种历史暴力称为"神话暴力"。本雅明指出,"神话暴力"是对真理、合法性和法律的垄断,对历史受难者的压迫,现实的任务在于打破这种暴力的历史连续性。本雅明试图用弥赛亚王国来中止和取代现实的历史进程,其"神圣暴力"的概念正是意欲取代现代国家堕落的"神话精神"。"神圣暴力"是一种超验活动,它超越权力规则,并削弱现存法律体系,而代表着一种更高的原则——未来的正义,是代替集权统治的暴虐与议会民主衰落的另一种选择。     

In Defence of Moderate Aesthetic Formalism

I argue against Kendall Walton's argument against formalism, in his 'Categories of Art', that we must always take the history of production into account in ascribing aesthetic properties to works of art. I concede that he is right about representational properties and about what I call 'contextual' properties of works of art. But that conclusion cannot be generalized to abstract and non-contextual art, and it cannot be generalized to the non-representational and non-contextual features of representational and contextual works of art. I then dispute Walton's intriguing 'guernicas' example. I also consider his other counter-examples. I argue that art-historical categories can be put to one side when we consider the aesthetic nature of abstract and non-contextual abstract works of art. However, there is no doubt that many other works of art possess significant non-formal aesthetic values.     

The practical absolute: Fichte’s hidden poetics

The following paper argues that J.G. Fichte, despite his apparent philosophical neglect of art and aesthetics, does develop a strong, original, and coherent account of art, which not only allows the theorization of modern, non-representative art forms, but indeed anticipates Nietzsche and Heidegger in conceiving of truth in terms of art rather than scientific rationality. While the basis of Fichte’s philosophy of art is presented in the essay “On Spirit and Letter in Philosophy,” it is not developed systematically either in this text or anywhere else in his writings, but must be reconstructed through a broad consideration of all his works, including, above all, his political and economic writings. For Fichte, the art-work does not exist as an object possessing “aesthetic value” and which can, in turn, be possessed, consumed, and enjoyed through the subjective act of aesthetic experience. Rather, it involves a mode of praxis which, grounded in a radical and original power of imagination, creatively discloses possibilities for future forms of existence, experience, and political community that cannot be theoretically anticipated. While Fichte cannot himself theorize specific forms of art, since the art that concerns him belongs to the future, we can, however, retrospectively try to understand non-representational painting and non-mimetic dance as concrete realizations of Fichte’s art-work of the future. In this way, Fichte’s philosophy of art ultimately suggests an alternative to Heidegger’s understanding of the work of art as a projective institution of truth. Fichte suggests that the human body, rather than human language, is the fundamental medium of art.

Father and Son: Freud Revisits his Oedipus Complex in <Emphasis Type="Italic">Moses and Monotheism</Emphasis>

In this paper, I propose to understand Freud on his own terms and within his social, intellectual and psychological context. It is my hope that such an understanding will contribute in turn to our understanding of some of the sources of the creative process. Were it not for his fame, Freud's views on religion, history and art, would at best be but a footnote to these subjects. My contention is that Freud's writings on these subjects can contribute more to our understanding of Freud, the person, than they do to some of the subjects he is writing about. Toward this end I will focus on two of Freud's works, written more than 30 years apart, his early Moses of Michelangelo and his late-life work Moses and Monotheism, which reflect the considerable changes in Freud's thinking.     

The Artwork and the Promesse du Bonheur in Adorno

Adorno's saying that ‘art is the promise of happiness’ radiates into every corner of his work from his aesthetic theory to his critical theory of society. However, it is much misunderstood. This can be seen from the standard answer to the question: in virtue of what formal features do art works, according to Adorno, promise happiness? The standard answer to this question suggests that the aesthetic harmony occasioned by the organic wholeness of the form realized in the artwork contrasts with and throws into relief the antagonistic nature of society. The trouble is that this answer is flatly incompatible with Adorno's historicism and central components of his aesthetic modernism, including his critique of classicism, and his negativism. I propose a re‐interpretation of Adorno's thesis that art is the promise of happiness that overcomes these difficulties.     

More than meets the eye: Morandi's art and analytic listening

This study of Giorgio Morandi, the great twentieth-century Italian painter, departs from the model of Freud's essay on Leonardo, in which he creates a psychodynamic hypothesis by linking the art with facts and conjecture about the artist's life. Because personal information about Morandi is remarkably scarce, we can make few connections between his art and his individual psychology. But Morandi's works can inform psychoanalysis and enhance analytic listening when we reflect on the paintings themselves, our responses to them, and the responses of art critics. This approach to his art evokes core principles of clinical theory, demonstrates the overlap between the creative process in art and analysis, and exemplifies the value of interdisciplinary study for analytic education.     

论马一浮"六艺之学"视野中的易学研究

作为现代新儒家早期思想的代表人物,马一浮先生提出了以儒家"六艺之学"统摄天下诸学的主张.这是马先生的一个创举,体现着他对传统儒学有意识地改造和发扬.作为"六艺之学"的一个分支,易学研究在马一浮先生的学术研究中无疑具有着"本体论"地位和作用,它所体现的"心之本体",不仅是"六艺"所自出的本原,也是"六艺之学"共同的目的和归宿.     

Marx and God with anarchism: on Walter Benjamin’s concepts of history and violence

The article analyses relationships between profane and religious illumination, materialism and theology, politics and religion, Marxism and Messianism. For Walter Benjamin, every second is “the small gateway in time through which the Messiah might enter”. This is the starting point in the reading of Benjamin’s works, where we confront various liaisons and couplings of radical politics and messianic events. Through the reading of Benjamin and through the analysis of his conceptions of history and time, the article addresses the question what is possible in the world.     

“A Matter of Life and Death”: Kawabata on the Value of Art after the Atomic Bombings

This article explores the possible interpretations—and the implications of those interpretations—of a comment about the importance of art made by Yasunari Kawabata (1899–1972), later the first Japanese Nobel laureate for literature: that “looking at old works of art is a matter of life and death.” (In 1949, Kawabata visited Hiroshima in his capacity as president of the Japan literary society P.E.N. to inspect the damage caused by the atomic bombing of Hiroshima that helped end World War II. On his way back to his home in Kamakura, he stopped in Kyoto. He came under severe criticism for “sightseeing” at such a time. This comment was his response.) The introduction explains why we should take him seriously as a commentator on art. The body of the article examines why our looking at art might be more, not less, important after the post‐War situation, the kinds of art Kawabata might have meant, why some possibilities are more likely than others, and how they differ in what they offer us and the value of art under conditions of trauma and mass trauma.