老庄道家责任伦理思想新释

尽管老庄道家尊奉“道法自然”的法式,主张绝圣弃智和清静无为,追求无为而无不为,却并非一味提倡消极避世,并非不讲人的责任担当。老庄道家的责任伦理思想主要体现在四个层面:一是无责于人:责任的内涵。《庄子》虽无“责任”概念,却通过“责”“任”和“事”等来明言范畴,阐述了无责于人、不避其任、应为之事、圣人之过的责任伦理观念;二是道法自然:责任的指向。在天人关系的宇宙论框架之中,立足于三种“自然”的意涵,老庄阐述了常因自然、以辅万物、听天由命等人对待自然的责任观念;三是审分明职:责任的职业主体承担。《道德经》不太关注君臣问题,也不太关注君臣责任,而《庄子》从天道与人道、自然秩序与社会秩序相互感应的角度,强调不同角色、不同身份和不同等级的责任分工,尤为关注君、臣两种职业的责任;四是为而不争:责任的理想人格承担。老庄道家构建了许多理想人格,诸如真人、大丈夫、大人、神人、圣人等,并分别就其应承担的责任做了独特阐释。     

论老庄养生哲学

《老子》、《庄子》多处谈养生。老庄的思想,养生哲学是为灵魂,著者以为掌握了老庄养生思想就掌握了老庄哲学的重要旨趣。     

论老庄的“重生”思想

在老庄的人生哲学中,生命有三种存在形式：生命的物质存在、生命的社会存在和生命的精神存在。因而老庄的“重生”思想包含了三重内涵：重身轻物——珍重人的自然生命;外圆内方——注重人的社会生命;精神自由——关怀人的精神生命。     

孔孟老庄美学思想比较

儒道之学重在人生,本无意论美,其美学思想皆出自审美化的人生哲学。故,论儒道美学即论其哲学也,亦即论其人生境界观也。一孔孟之学以“仁”为根本,“成仁”乃其理想;老庄之言以“道”为宗尚,“体道”是其归宿。两家本旨多有不同,前贤有治世治身之说,时彦有入世超世之判,皆以法度、自然明两家轸域。审美精神之歧异亦无外乎此,盖先有人生境界观而后有艺术审美论也。1.美善相乐与自然真美孔子论乐,“谓《韶》,‘尽美矣,又尽善也。’谓《武》,‘尽美矣,未尽善也’”(《论语·八佾》),缘《韶》主尧舜禅让以德,而《武》主武王征伐以力。此美善相乐…     

禅宗美学思想的生态智慧

禅宗美学思想的生态智慧,主要表现在精神生态审美方面,但是,在具体场合又呈现出多样性,即具体表现在自然生态观、精神生态观两个方面。     

道家美学思想与中国电影

以老庄思想为核心的中国道家思想,对中国文化传统和美学的形成和发展起到了重要作用。道家美学指向人生和宇宙的深层,求索“形而上”的意义。采取一种超脱、“忘”的人生态度,保持一种人格、精神上的自由,美就是这种自由的产物。道家更关心的是个体生命的实现,人的本真生命的吟唱,更善于隐喻人生的况味以及表现心灵的幽秘。受道家美学影响的中国艺术,对具体现实、有形物象和社会问题采取的是较为超脱的心态,带有某种飘逸而高蹈的风采,更多地给人一种哲理、意蕴的体悟。中国人的审美思想在很大程度上受到了道家思想的影响,中国电影也毫无疑问地濡染了这一思想,从而在世界电影艺术之林中独树一帜,具有独特的美学风格。中国电影从中国古典美学的意象、意境理论中获得丰厚养分,在有限的影像画面内追寻无限的“意义”,已经成为了中国电影艺术家们的自觉追求。电影艺术既要给人以“趣味”,更要给人以“深致和美”,亦即启发人作“形而上”的思索,这是中国电影艺术追寻的终极目标。     

杜威美学的生态意蕴及其对生态文明建设的意义

作为美国本土实用主义哲学的集大成者,杜威的“经验的自然主义”美学具有鲜明的生态精神和深厚的生态意蕴,这在其哲学基础经验存在论、经验方法和审美本体论、审美主体论、审美功功能论等诸方面都有充分的体现.这样的美学无论对于生态美学的建构还是对于人类生态文明建设都具有十分重要的意义,理应引起足够的重视.     

郭熙山水画美学中的道家思想

郭熙是北宋著名画家、绘画理论家,他的山水画论基于儒家文化,同时蕴含了明显的道家思想,道家文化色彩极为显著。通过探究《林泉高致》中对后世影响较为深远的绘画理论,将郭熙提出的“林泉之心”审美心胸命题、“三远”创作手法以及“可行、可望、可居、可游”的山水画价值理论作为研究基础,分析其思想理论源头,阐述郭熙美学思想与道家思想的联系,并试图挖掘以山水画为代表的中国传统艺术所体现的深层意蕴,让当代人更好地理解传统艺术之美。     

复归与超越:王重阳修道论与老庄思想的关系

王重阳创立的以"全真而仙"为核心的修道论,远承老庄之学,融贯儒佛思想,分别从"全真"、"修心"、"真行"等不同层面,把老庄道家的"见素抱朴""法贵天真"思想,自然超脱的养心论和老子"不善者吾亦善之"的慈善济世思想推向了一个新的高度,实现了对老庄思想的复归与超越,增强了道教的普世性,提升了道教的思想水平。     

生态美学视野下的城市园林建设

生态园林美学,是研究以人为本的现代城市生态风景园林多维空间艺术景观造型的审美特征和审美规律的一门多边科学。生态美学是一种追求人与自然双方作为审美参照的科学,它不把人与自然看成对立面,而是看成相互交融的整体。人在自然中生活的有诗意,有着审美的预约,同时,自然也因人的维护而提供给人类以诗意的生活环境,这是人们得以诗意栖居的美好理想。把城市的园林建设纳入到生态美学的视野之下进行研究是学科发展的需要,更是我国现代城市化发展的需要。     

试析道教劝善书中的生态伦理思想

道教劝善书作为一种伦理道德教化书 ,其中所述的伦理道德规范不仅用以调节人与人之间、人与社会之间的相互关系 ,而且还进一步推广到调节人与动植物、人与自然的关系 ;它主张自然界生命的平等性 ,倡导“贵生”的生命情怀 ,提出“是道则进 ,非道则退”的生态伦理行为准则 ,从而形成了具有神学特征的以生命为中心的生态伦理观。     

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     

Aesthetics and the Problem of Evil

Much of Western speculative metaphysics has subscribed to what has been called “explanatory rationalism,” which holds that there is a reason for everything that is and for the way everything is. Theodicies, or metaphysical attempts to solve the problem of evil, have relied on a special application of this principle of explanatory rationalism, namely, the principle of plenitude, which holds that the evil in the world is a necessary ingredient in the world's overall perfection or degree of reality. This essay argues that the principle of plenitude is aesthetically motivated, and that only in art and perhaps in revealed religion can the demands of explanatory rationalism be satisfied.     

The Concept of Yuko-Datotsu in Kendo: Interpreted from the Aesthetics of Zanshin

As kendo continues to gain in international popularity, there are hopes for its adoption in the Olympic Games as an international competitive event, even while moves to further this aim have not necessarily occurred in Japan or elsewhere. One reason for the efforts to achieve a form of globalization of kendo different from Judo is the attempt to adhere to and preserve the unique concepts kendo, the sport embodies by remaining true to the forms of traditional Japanese culture. This is epitomized by the importance given to zanshin (the combination of posture and fighting spirit after striking), one of the key concepts that constitute yuko-datotsu in kendo. Our purpose in this study is to discuss the intersubjective nature of the decisions regarding the conditions for point-scoring in competitive sports. In particular, we will focus on the aesthetics required for zanshin in kendo, focusing on the theory behind yuko-datotsu (point score), which will also considerably influence its international dissemination. Kendo is characterized from the perspective of western rationalism as an appreciation of form and rules of behavior referred to as formalism and, in this respect, it has unique characteristics differing from those of modern sports that are disseminated internationally. In martial arts, besides refinement and proficiency in the rules of behavior by rigidly adhering to form and rules of behavior and repetition, the aim is to transcend said form and the rules of behavior and embody the spiritual nature dwelling in the background. Kendo should remain traditional path and keep zanshin in the value of point (yuko-datotsu) for its virtue. Kendo has not yet developed into an international competitive sport, but it is in the process of traversing that Geido path as a Do for the purpose of character building through it. Throughout life, one should try to devote oneself to kendo with thought for the value of transcending form and the rules of behaviour, and embodying the spiritual nature of the sport that inheres in its background. That is why one may perceive an evident hesitation or indeed negativity regarding the possible internationalization or development as an Olympic event.     

Simone Weil: The Ethics of Affliction and the Aesthetics of Attention

ABSTRACT

For Simone Weil the invocation of ‘rights’ to address extreme human suffering–what she calls ‘affliction’–is ‘ludicrously inadequate’. Rights, Weil argues, invite a response, whereas what the afflicted require is not dialogue but simply to be heard. For Weil, hearing the ‘cry’ of the afflicted is the basis of all justice. The task of such a hearing is given over to Weil’s concept of attention, which demands an ethics of creative silence. This paper will argue that central to Weil’s ethics of attention, and thus the way she thinks we should show compassion and act justly, is the Kantian aesthetic concept of disinterestedness. I will argue that whilst Weil is influenced by Kant in multiple ways, it is his aesthetics, rather than his normative moral theory, that is most at play in her own ethical theory of attention.     

审美的神经机制

审美能力是人类独有的高级功能。本文介绍了审美的认知神经模型, 以及相关研究的实验范式, 对各种刺激材料和任务进行了评价。回顾了近年来脑成像研究的主要进展, ERP和MEG研究证明审美包含发生在不同时段的不同加工阶段, 与审美判断相关的ERP成分为300~400 ms 额中部负成分和440~880 ms 头皮后部晚期正成分。fMRI研究发现与审美相关的主要脑区包括尾状核、框额部皮质和扣带前回。未来研究应进一步区分审美的不同方面的神经机制之间的差别, 扩大刺激材料范围, 更深入地探讨复杂因素, 如文化因素对审美神经机制的影响。     

Political Psychology as Social Aesthetics

Political psychology may be legitimately developed as a "social aesthetic.&;rdquo; Its activities generate social forms, much as in the arts. While logic works within the confines of society's language, aesthetic forms work with its sensibility, in the understanding that significance lies within the unitary wholes. In this sense, political psychology cannot be separated from psychology in general. In both cases we participate in the generation of form. However, because these forms enter society in significant ways, reflexive attention must be given to what it is we create. Mechanical forms, which are common to the field and to society generally, contribute to a condition of social alienation; in contrast, the form of a game is more closely related to the spontaneous creation of community.     

足部畸形的矫正与美学要求

现在,对足部畸形的定义、外科矫正要求、技术方法的选择与治疗目标的确立出现了新的概念,即在保证医疗效果的前提下必须兼顾美学和患者心理的要求。这就要求现代的骨科医生应当学习、提高美学的相关知识,用艺术的视角、美学的方法和数字化的科学标准,评估技术方法、医疗流程和治疗结果,使每例足踝畸形的矫正达到满意的疗效和艺术作品的效果。