中西方人生哲学中的本位差异

中西方人生哲学中的本位差异陈根法中西方人生哲学的比较,是中西文化比较的一个重要落脚点。人生哲学的本位问题,涉及人生哲学的思想基础和理论基础的问题。人生哲学以什么为本位,展现着该人生哲学的基本特点和发展方向。以知识为本位是西方人生哲学的根本特征。主要表现在１．重视知识在道德中的地位和作用。２．认定智慧是一种主要的美德;３．追求“为知识而知识”的人生目的。以道德为本位是中国传统人生哲学的特征。这种人生哲学认为,道德是人生的本质,也是生命价值的具体表现．人不是为生活而生活,而是要审慎地选择道德理想,不断提高生命意义,以达至善的目的。以知识为本位的西方人生哲学促进了科学文化的繁荣,促进了主体意识的发展,同时也诱发了西方的极端个人主义和西方的精神危机。而以道德为本位的中国传统人生哲学则塑造了中国人的群体精神,塑造了中国人重视修养、崇尚道德的传统并由此增进了人际关系的温馨与和谐。但同时也遏制了科学的进步和个性的发展。因此,中西人生哲学应该并且能够相互补充。（日摘自《复旦学报》１９９２年第５期）中西方人生哲学中的本位差异@陈根法     

现代新儒家的道统意识与文化自觉

现代新儒家在西方文化的冲击下,凸显和张大了传统的道统意识,并且在新的历史条件下赋予了鲜明的时代内容,表现为民族精神的认同意识、儒家思想的正统意识和全球语境的弘道意识,转化为对传承民族文化传统的强烈情怀和自觉担当。     

中国传统思想文化在新文化建构中的位置

<正> 当代中国思想文化主要是由三种成分构成的:一、渊远流长、根深蒂固的以儒学为主体的传统思想文化;二、19世纪下半叶开始输入中国的近现代西方思想文化,其核心是民主和科学;三、五四新文化运动前后开始传入中国并指导中国取得革命胜利的马克思主义。传统思想是中国本土文化,固然根基深厚,近现代西方思想文化和马克思主义也已深深扎根于中国人民的意识之中,特别是马克思主义更为绝大多数中国人民所接受。     

论名节

名节是中国传统伦理中的重要观念与精神。传统名节意识鼓励人们要重名节,称名于世;要以德、功、言"立实名";以正道恒毅守护名节。传统名节意识的成因是:其一,儒家伦理文化重视并培育了名节意识;其二,传统社会之"名教",使名节意识渗透到民众的人伦日用中;其三,传统"熟人社会"是名节意识的现实土壤。传统名节意识的历史价值在于:其一,鼓舞了中华民族求不朽、重节操的民族精神;其二,形成了中国传统社会重德治、尚"无讼"的社会风气;其三,塑造了士人百姓重自律、尚荣辱的"集体良知"。传统名节意识仍有其现代价值:其一,名节意识作为集体良知,依然会继续支配着中国人的道德选择和道德行为;其二,名节意识有助于社会价值观念的澄清;其三,现代法治社会仍需要名节意识以培植公民的道德自律精神。     

"普世理想"与民族性--探讨中国文学在全球化时代的出路

中国现当代作家们的“绝望”意识在近百年中国文学史上形成了一种传统 ,当代作家们在作品中表现绝望的载体 ,大致有这样几种模式 :割裂了历史的现代精神 ;缺乏整体民族意识的民俗 ;失却了生命豪情仅作为纯欲望存在的个体。在当前这个全球化时代 ,西方强势文化已确实对中国文学形成了三种不同形式的制约 ,即来自于传统启蒙理想、后现代主义和欧美大众文化的三重束缚。我们现在应该做的是就此结束“一切乞灵于西方”的思维方式 ,把构建汉民族文化体系 ,呼唤汉民族自身的文艺复兴作为创作和批评的目标。     

论西方政治史中的贵族传统

西方从古典时代到中世纪一直存在着贵族政治传统。就其演变历程来说,在古典时代体现为过上得体生活的希腊精神,和公民自觉投身于公共领域的罗马美德,在中世纪表现为贵族等级意识,在转型时期,贵族在衰落的同时开始了文明化的进程,为了跻身于社会上层,新兴资产阶级接受了贵族等级的等级意识,从而在现代社会形成了社会上层独特的政治文化。本文认为,等级意识和荣誉观念构成了西方政治中的贵族传统核心要素,贵族政治传统在现代政治中的特殊意义在于,等级给政治以秩序,荣誉赋政治以魅力。     

蔡元培在中国现代心理学史上的先驱地位与贡献

本文较全面系统地论述了蔡元培在中国现代心理学史上的先驱地位与贡献：留德跟冯特学习实验心理学,奠定了专业基础;扶持创建我国第一个心理实验室和第一个心理研究所,奠定了组织基础;关于心理学性质与方法之思想,提供了方法学基础;重视心理学在教育中的应用,推动了儿童与教育心理学的研究;文艺与美育心理之思想,开了我国现代文艺与美育心理学之先河;主张西方心理学与中国传统文化相结合,对心理学研究仍有指导意义。     

现代国家意识在中国士绅阶层的萌芽与形成

现代国家意识伴随着一个国家由传统步入现代化的进程而产生.从林则徐、魏源主张学习西方,启蒙一代风气;到洋务运动被动接受现代文明的挑战;再到甲午战败,民族救亡运动空前高涨,社会变革呼声不断涌现;现代国家意识在中国士绅阶层的萌芽到形成经历了半个世纪的蹒跚.本文从平等、主权、开放、民主等角度论述其对于中国人心目中根深蒂固的华夏中心意识、天下概念乃至闭关锁国传统、专制思想的根本性冲击.正是由于这一意识的形成,使得中国人对于国家间平等和世界秩序有了新的体认,也使得中国在汇入世界现代化发展潮流的同时,腐朽的封建制度逐步走向瓦解.     

浅谈中国传统山水画的空间意识

中国传统山水画有独特的空间意识,中国山水画的散点透视方法与西方科学、理性的焦点透视法不同。中国山水画空间意识的形成与中国传统哲学思想有着密不可分的关系。而中国山水画独特的空间意识有其艺术特征和具体表现,促成了中国传统绘画艺术的独特艺术效果。     

中国传统建筑对近现代建筑的影响

20世纪90年代过后,后现代主义式微,但后现代主义所传达的建筑思想仍然延续至今。后现代主义之后,建筑的表现公式基本可以概括为传统加现代。其中,西方的后现代运动后,建筑的表现公式是西方古典主义加现代主义,而在这个后现代公式里,古典主义当然可以替换成中国传统建筑设计,这样所形成的建筑样式就应该是中国传统建筑加现代主义。基于此,探究中国传统建筑如何影响中国的近代建筑具有重要意义。     

Modernity and Postmodernity: The Characteristics of Postmodern Cultural Media

From the academic frontier of modernity and postmodernity,the author aims at exploring the fission between modernity and postmodernity and also the characteristics of postmodern cultural media from a philosophical vantage point.This paper illustrates three aspects of Western modernity:individual modernity,social modernity,and instrumental modernity,and it also clarifies the issues in modernity,starting by explaining three forms of the cultural fission:avant-garde,modernism,and postmodernism.The paper then demonstrates that the rise of postmodernity represents a new transformation and new characteristics of contemporary Westem spirit,namely,the collision and compatibility of various concepts,in which popular culture and high culture,mass culture and elite culture,fashion and games as well as noise and silence have constituted an uncanny landscape of cultural media.This eerie landscape displays the indeterminacy of language,culture,art,consciousness,and aesthetics.From the perspective of theoretical innovation,the author proposes that the postmodem cultural media always displays its commodity and instrumentality,plays and entertainment,anti-culture and anti-art,replication and fabrication logically and practically as an outcome of post-industrial society.In conclusion,three critical issues are addressed:personal spiritual belief,the development of mass culture,and aesthetic principles.The postmodem cultural media has deeply influenced traditional culture,aesthetics,and how they are evaluated,resulting in cultural conflicts and a humanistic dilemma in the world of contemporary capitalism.     

The Worldwide Significance of Chinese Aesthetics in the Twenty-First Century

Through comparisons between traditional Chinese and Western aesthetics, this article tries to explain the worldwide significance of Chinese aesthetic tradition in the twenty-first century. In contrast to cognitive-rational spirit and the tendency to distinguish the subjectives and objectives of traditional Western aesthetics, traditional Chinese aesthetics shows a distinctive practical-emotional spirit and a tendency to harmoniously unite human beings with nature, and believes that beauty is, first and foremost, a free state or way (Dao) of human life; the most important thing for human beings is how to make their own lives and existence beautiful. Therefore, it puts forward some persuasive and valuable insights into beauty and art, thus playing an independent and constructive role in intercultural aesthetic dialogues of the twenty-first century. Translated from Journal of Xiaogan College, 2004:5     

Culture and aesthetic preference: comparing the attention to context of East Asians and Americans

Prior research indicates that East Asians are more sensitive to contextual information than Westerners. This article explored aesthetics to examine whether cultural variations were observable in art and photography. Study 1 analyzed traditional artistic styles using archival data in representative museums. Study 2 investigated how contemporary East Asians and Westerners draw landscape pictures and take portrait photographs. Study 3 further investigated aesthetic preferences for portrait photographs. The results suggest that (a) traditional East Asian art has predominantly context-inclusive styles, whereas Western art has predominantly object-focused styles, and (b) contemporary members of East Asian and Western cultures maintain these culturally shaped aesthetic orientations. The findings can be explained by the relation among attention, cultural resources, and aesthetic preference.     

Bazin,an Early Late Modernist

This article argues that there are inflections of modernism in André Bazin's realist aesthetics and that he should be considered an early champion of post–World War II modernism in cinema. Within classical film theory, which took its point of departure in the silent cinema era, modernism is taken to be incompatible with realism. Moreover, both modernism and realism are seen to rely on the principle of medium specificity in this context, whereas Bazin argued that aesthetic progress in cinema is intrinsically related to the medium's capability to be impure. Recently, we have seen several attempts at connecting Bazin's aesthetics with high‐modernism in the visual arts. However, I argue that it is more instructive to focus on their differences. This comparison is relevant for developing a deeper understanding of the form of modernism at stake in Bazin's aesthetics, especially when it comes to the question of the spectator's role in the constitution of meaning. Furthermore, Bazin's proto‐modernist aesthetics must be discussed with an eye to his ardent support of what he considered a new avant‐garde in narrative cinema and his lasting, but often misunderstood, interest in ambiguity as an aesthetic category.     

Contemporary Art and Contemporary Sport in the Arabian Peninsula

ABSTRACT

This paper explores the relationship between the development of art and sport in the Arabian Peninsula. In particular, it will be argued that both sport and art can be understood in terms of a trajectory from the ‘modern’ to the ‘contemporary’. Modernity and modernism are introduced through an interpretation of Paul Delaunay’s series of paintings ‘The Cardiff Team’ (1912–22) which may be read as an expression of modernity. The content of the paintings documents core elements of European modernist culture, including technology and science, leisure, consumerism and advertising, and crucially (international) sport. Delaunay’s work provides a background from which to reflect upon the development of sport into something like its contemporary form, in early 20th Europe. By drawing on Terry Smith’s analysis of the difference between modern and contemporary art, and applying this to sport, in order to suggest that there is a distinctive contemporary form of sport, the core tensions within both artistic and sporting practices are argued to lie in the movement from a conception of sport as an expression of modernity, where this is conceived as a universal movement, exemplified by Western humanism, towards a conception of sport as something particularised, expressive of local cultures. The promotion of art institutions and sports events within the Arabian Peninsula highlights the resultant tensions between the neo-colonial influence of Western culture and the reinterpretation of that culture, locally, in order to reflect upon and articulate communal identity within the contexts of globalism and transnationalism.     

审美现代性与日常生活批判

一、问题的提出从历史角度说 ,艺术作为人类文化一个不可或缺的重要组成部分 ,是与社会生活密不可分地联系在一起的。审美发生学的研究已经证实 ,艺术的基本社会功能就是协同功能 ,通过艺术活动来教化社会成员 ,协调社会关系 ,传递文化、道德和行为方式 ,沟通社会成员之间的情感联系。这种功能我们可以在原始艺术、古典艺术甚至一切前现代艺术中清楚地看到。在前现代 ,艺术与社会的功能关系基本上是协调一致的。虽然在传统文化中不乏反抗现存社会的艺术 ,特别是面临巨大变迁的时代的艺术 ,但从总体上说 ,艺术和社会成员的日常生活及其意识形…     

知识划界、追赶焦虑与中国本土心理学的理论建构导向

科学心理学以方法为中心的知识建构策略,内在地要求它与常识心理学划界以谋求自然科学分支的学科地位,其代价是对人类心理之情感与意义维度的隔离。在移植西方心理学体系的过程中,科学心理学的争议也内含于中国心理学的发展轨迹中,同时还附加了学术边陲地区特有的学科追赶焦虑。中国本土心理学理论应突破科学至上的观念束缚,致力于发展具有现实解释力和价值引导力的人文主义导向的心理学理论,以切实解决中国现实社会中的心理问题,并在世界心理学界发出真正的中国声音。     

中国本土化心理治疗的回顾与思考

心理治疗的理论建构、价值取向和具体操作,受到社会文化的深刻影响,而现代的心理治疗理论及操作技术多产生于西方,所以应该研究创立中国本土化的心理治疗理论及操作技术。通过对中国古代传统心理治疗和现代西方心理治疗中国化的回顾,分析中国文化和哲学对本土心理治疗的影响,探讨发展中国本土化心理治疗的途径。     

Patterns of Tao (Dao): The Birth of Chinese Writing and Aesthetics

In the Chinese tradition, the relationship between art and philosophy is conceptually explored in terms of the relationship between dao (Tao) and wen, which may respectively be viewed as representing philosophy and art. Over history, discourses on dao 道 and wen 文 are central to studies of Chinese literature, art, culture, and civilization. But just as dao holds a range of ideas in Chinese philosophy, wen is also one of the most complex terms in Chinese tradition, whose denotations and connotations are multifaceted and open to interpretations. This article argues that the elusive nature of wen can be understood adequately from the perspective of language philosophy and aesthetics via its relationship to the metaphysical principle of the Dao. By examining the discourses on wen and dao, this article advances a thesis with three interrelated ideas: (1) wen (writing) as manifestations of the Tao is an instance of “humanized nature”; (2) the birth of wen marked the beginning of reflections on literature and art, hence inaugurating aesthetics in the Chinese tradition; and (3) the early discourses on wen have determined the distinctiveness of Chinese aesthetic consciousness.     

Wisdom and Knowledge: The Outline of Eastern and Western Aesthetic Spirits?

Wisdom and knowledge are the basic spirits of Eastern and Western aesthetics. The shortcoming of the aesthetics based on knowledge, i.e., the aesthetics of knowledge, lies in the fact that it clings to the opposing differences between Western- and Eastern-centered theories. These differences include essentialism and anti-essentialism; harmonious and non-harmonious relationships between person, self, nature and society; art or nature as the highest aesthetic realm; metaphysics or psychology as the aesthetic domain; dualism and Advaita; and so on. The aesthetics based on wisdom, namely aesthetics of wisdom, is valuable due to its adopting an impartial attitude toward Eastern and Western aesthetics, essentialism and anti-essentialism, philosophical horizon and psychological horizon, theory of harmony and theory of antagonism, beauty of art and beauty of nature, dualism and Advaita, up to aesthetics of knowledge and aesthetics of wisdom. Contrasted with this understanding of the aesthetics of knowledge, non-dualism and non-Advaita are the soul of the spirit of the aesthetics of wisdom.