《易传》的哲学体系与《乐记》的文艺理论体系

本文主要从三个方面探讨了《易传》的哲学体系与《乐记》的文艺理论体系之 间的关系。一是《乐记》对《易传》“天人合一”哲学体系的把握;二是《乐记》对《易传》 对立统一辩证观及其思维方式的承袭;三是《易传》的哲学和谐观与《乐记》的艺术和谐 观。总之,《易传》以哲学的世界观和方法论及思维方式观照和影响了《乐记》的文艺理论 体系的建构。     

从乾坤易到礼乐易——论《乐记》对礼乐哲学和易学的双向推进

通过辨析相关文献史料,认为《乐记》乃公孙尼子所作。研究《乐记》与《周易》的关系,应当跳出以往《乐记》袭易还是易袭《乐记》的单向思维,深入比较《乐记》与《易传》思想。《乐记》创造性地援易解乐,同时创新了礼乐哲学与易学,形成礼序乐和的重要思想,将传统的以礼统乐发展为以乐统礼,由更重视秩序之“中”发展为更强调感通之“和”,建构了新的礼乐哲学和美学典范。同时,《乐记》以礼乐代乾坤,将乾坤易发展为礼乐易,成为孔子以德解易的完成式,开创了天人合一的新形式,由此奠定了它在先秦思想史上的重要地位。     

《乐记》音乐美学思想探析

《乐记》是我国古代一部重要的音乐美学论著,它通过对音乐的产生,音乐与人的情感,音乐与社会相互关系等的分析论述,强调了乐与礼的结合和音乐的社会功能,阐明了音乐是社会生活的反映以及音乐与人的内心世界相关等观点,在我国古代音乐发展史上占有非常重要的地位,对中国音乐美学的发展产生了重要影响。因此,研究《乐记》对探讨我国音乐美学的形成与发展具有十分重要的意义。     

《周易》与《乐记》

《周易》与《乐记》李平哲学是文化的核心，是一个民族文比形成的思想基础。《周易》被尊为六经之首，是中国古代哲学的正宗，同时也是传统文化的活水源头。它弥纶群言，笼罩百家，涵古盖今，包裹天地，对传统文化的方方面面都产生了深远的影响。所谓“《易》道广大，无所...     

论“以类相动”与异质同构论的关系

《乐记》是我国古代的艺术哲学典籍,其中"以类相动"这一命题着重强调了情感与表现形式的关系问题,这与格式塔心理学的异质同构论在认识上是相似的。中国传统的"天人合一"思想是"以类相动"的哲学基础,异质同构论则建立在西方文化传统之上,二者存在明显的不同,体现出了中国美学思想与西方美学思想在本体上的差异性。     

《易传》与中国美学

<正> 《易传》是中国思想史上一部重要著作。《易传》虽然不是一部美学专著,但它所阐述的“天人合一”思想、“《易》者象也”思想,不仅影响了古代的理论思维,而且也影响了形象思维,从而为中国美学追求“天人合一”的审美境界以及强调形象思维在艺术和审美中的重要意义,提供了哲学的依据。另外,《易传》在对客观世界的变化以及《易》象与客观世界的关系作出解释时,使用了“阴阳”、“刚柔”、“乾坤”、“知几其神”、“通变成文”和“修辞立诚”等范畴和命题。《易传》对这些范畴和命题的深入发挥,同样对中国美学的发展产生了极其深刻的影响。所以,从中国美学史的角度讲,不了解《易传》,就不可能真正把握中国美学的特色。     

《乐记》德性教化思想探析

《乐记》作为儒家音乐思想的集大成者,强调了音乐的德性教化功能,认为音乐具有伦理性,通过效仿天地之和合,定人伦,并突出音乐对人性情的调节功能,能起到节制情欲、陶情移性的作用。当下,我们要充分发挥音乐的社会认识和治理功能,强化音乐的德性教化功能,突出音乐对社会关系的调节功能。     

试论《周易》中的生命哲学

《周易》在中国哲学中具有重要的地位,对中国传统文化产生了深远的影响。不管是儒家思想还是道家思想,皆与《周易》有千丝万缕的联系。而《易传》对《周易》古经的系统化解读,则从根本上将本为卜筮之书的《周易》提升为哲学与人生智慧之书。《易传》哲学的核心则是其所阐释的天人合一的生命哲学。受《易传》的影响,中国传统文化也以关注个体生命形下存在与形上存在的合一,乃至整个宇宙生命的有机运行为核心。《周易》将整个宇宙视为一个有机的生命体,在阴阳交互作用中这一生命体一直处于“生生不息”的状态中。这一宇宙生成论将分别表征天地的乾坤两卦作为创生世界万物的基元,而人则是天地人三才中的重要一员。《易传》的这一思想突出了人的主体性地位。而人若要充分发挥其主体性地位,则需要以“诚”为媒介,通过“进德修业”、“继善成性”来实现人与天的德性的合一,同时又要“与时偕行”,实现人与天的自然的合一。前者被后世的儒家所继承与发扬,而后者则为后世道教、中医学等所借鉴。《周易》所宣扬的天人合一的思想与西方占主导地位的主客二分的思想迥异,而与在西方被边缘化的历程哲学有内在的相通之处。基于西方主客二分观念的科学思想虽极大地促进了生产力的发展,但由此而导致的人的身心的分裂及环境污染等问题亦不容忽视。《周易》中的天人合一思想与历程哲学在弥补西方科学思想的不足方面可以发挥重要的作用。     

《乐记》中的教育

《乐记》发展了儒家关于音乐的特征、乐教的功用以及内容与形式、美与善、礼和乐等关系的思想,突出了音乐的政治教育与教化功能方面,它是中国古代最重要、最系统的音乐教育思想的论著,至今仍未失去其灿烂的光辉。     

从郭店楚简再论《乐记》成书年代

依据儒家文献,结合新出土的郭店楚简《性自命出》等资料,通过对气论、礼乐论哲学思想的发展,以及对荀子《乐论》与《乐记》所反映的时代精神风貌的差异三方面的研究,可知尚不能根据新出土的郭店楚简得出《乐记》为孔子弟子或再传弟子公孙尼子所作的结论。蔡仲德先生关于《乐记》成书于汉代与作者为河间献王刘德的看法是可取的。     

Psychotherapy in the aesthetic attitude

Abstract: Drawing upon the writings of Jungian analyst Joseph Henderson on unconscious attitudes toward culture that patients and analysts may bring to therapy, the author defines the aesthetic attitude as one of the basic ways that cultural experience is instinctively accessed and processed so that it can become part of an individual's self experience. In analytic treatment, the aesthetic attitude emerges as part of what Jung called the transcendent function to create new symbolic possibilities for the growth of consciousness. It can provide creative opportunities for new adaptation where individuation has become stuck in unconscious complexes, both personal and cultural. In contrast to formulations that have compared depth psychotherapy to religious ritual, philosophic discourse, and renewal of socialization, this paper focuses upon the considerations of beauty that make psychotherapy also an art. In psychotherapeutic work, the aesthetic attitude confronts both analyst and patient with the problem of taste, affects how the treatment is shaped and ‘framed’, and can grant a dimension of grace to the analyst's mirroring of the struggles that attend the patient's effort to be a more smoothly functioning human being. The patient may learn to extend the same grace to the analyst's fumbling attempts to be helpful. The author suggests that the aesthetic attitude is thus a help in the resolution of both countertransference and transference en route to psychological healing.     

On the aesthetic illusion

The aesthetic illusion--the experience of the content of a work of art as reality--occurs through the mobilization and intensification of typical infantile fantasies in the beholder. This necessarily evokes intrapsychic conflict in the mature adult. Two illusion-producing strategies ameliorate this conflict and effect the aesthetic illusion. The first illusion is that the artist's proffered fantasy is the beholder's own personal and private fantasy. This isolates the beholder from the shame- and guilt-evoking social surround. The second illusion is that the protagonist depicted in the work is an actual person. This defends the beholder from the painful emotions attendant upon his instinctually gratifying identification with the protagonist. The first illusion is necessary for the establishment of the second, but it is the second that establishes the aesthetic illusion. The aesthetic illusion exists in a highly unstable dynamic equilibrium with the beholder's usual reality orientation. If either orientation is too powerful, the dynamic equilibrium is disrupted and the aesthetic experience as such is abolished.     

Ji Kang on Nourishing Life

Ji Kang's "An Essay on Nourishing Life" has,for much of its history,been overshadowed by his more famous work "Sound is without Grief or Joy." Be that as it may,"An Essay on Nourishing Life" is also an important text in that it delves into the interdependence of the heart-mind,spirit,and vital breath,and into how harmony between them is the key to ensuring physical longevity.In addition to investigating this aspect of his thought,this paper will also discuss Ji Kang's attention to the vicissitudes of knowledge and desire and to the need to temper them with tranquility and stillness."An Essay on Nourishing Life" can thus be read as an extension of classical Daoist theories of self-cultivation while at the same time elaborating upon them by bringing together their disparate components into a coherently unified doctrine.     

嵇康哲学新论

在嵇康理论体系中,元一阴阳五行之气是构成万物的质料,而不能决定事物之"性",也不是事物之"理"的生成者.事物自身固有的自然本性,决定了其运动规律"理".透过现象(形),辨析事物性质(名实)和规律(理)的"形名"学,不仅是嵇康最重要的学术方法,而且反映了其哲学以事物"自然之性"为本的理论特点,这也是魏晋玄学本体论的基本特征.     

探寻巫乐舞对道教音乐的影响

中国道教音乐在千百年的历史演变中,由于其宗教自身发展的需要,吸纳了多种音乐素材,最终形成了形式完备、内涵丰富、中华文化底蕴深厚的传统音乐。本文经过大量音乐史料的深入分析研究,在古代历史史料的考证后认为,虽然至今现存的道教音乐内容丰富,构成成分纷繁复杂,但通过梳理甄别发现古代巫乐舞即是道教音乐的起源,也极大的影响着道教音乐的发展。     

A model of aesthetic appreciation and aesthetic judgments

Although aesthetic experiences are frequent in modern life, there is as of yet no scientifically comprehensive theory that explains what psychologically constitutes such experiences. These experiences are particularly interesting because of their hedonic properties and the possibility to provide self‐rewarding cognitive operations. We shall explain why modern art's large number of individualized styles, innovativeness and conceptuality offer positive aesthetic experiences. Moreover, the challenge of art is mainly driven by a need for understanding. Cognitive challenges of both abstract art and other conceptual, complex and multidimensional stimuli require an extension of previous approaches to empirical aesthetics. We present an information‐processing stage model of aesthetic processing. According to the model, aesthetic experiences involve five stages: perception, explicit classification, implicit classification, cognitive mastering and evaluation. The model differentiates between aesthetic emotion and aesthetic judgments as two types of output.     

Magic and the aesthetic illusion

The aesthetic illusion is the subjective experience that the content of a work of art is reality. It has an intrinsic relation to magic, an intrapsychic maneuver oriented toward modification and control of the extraspyschic world, principally through ego functioning. Magic is ontogenetically and culturally archaic, expresses the omnipotence inherent in primary narcissism, and operates according to the logic of the primary process. Magic is a constituent of all ego functioning, usually latent in later development. It may persist as an archaic feature or may be evoked regressively in global or circumscribed ways. It causes a general disinhibition of instincts and impulses attended by a sense of confidence, exhiliration, and exuberance. The aesthetic illusion is a combination of illusions: (1) that the daydream embodied by the work of art is the beholder's own, the artist being ignored, and (2) that the artistically described protagonist is a real person with a real "world." The first illusion arises through the beholder's emotional-instinctual gratification from his or her own fantasy-memory constellations; the second comes about because the beholder, by taking the protagonist as proxy, mobilizes the subjective experience of the imaginary protagonist's "reality." The first illusion is necessary for the second to take place; the second establishes the aesthetic illusion proper. Both illusions are instances of magic. Accordingly, the aesthetic illusion is accompanied by a heady experience of excitement and euphoria. The relation among the aesthetic illusion, magic, and enthusiasm is illustrated by an analytic case, J. D. Salinger's "The Laughing Man," Woody Allen's Play It Again, Sam, Don Quixote, and the medieval Cult of the Saints.     

走进季羡林--季羡林学术思想研讨会纪要

季羡林先生作为文化名人的时间已经很长了,在关于文化的讨论中,季先生"三十年河东,四十年河西"的东西文化变迁说、以中国的"天人合一"补救西方"征服自然"之弊病的见解、拿进来送出去等主张广为人知.然而,人们往往热衷于重复季先生的"意见",而忽视了他的见解背后所蕴涵着的深厚的学术支持,这使许多看似热闹的文化讨论多少有些单薄和武断.2001年10月15-16日,"季羡林学术思想研讨会"在济南召开,这次会议是"山东大学百年校庆"活动之一,也是第一次以季先生的学术思想为话题的研讨会.山东大学教授、<文史哲>主编蔡德贵先生筹备并主持了这次会议.国家教委社政司司长顾海良先生、山东大学党委副书记赵明顺先生到会致辞.