Resolving the Paradox of Phenomenology through Kant's Aesthetics: Between Merleau-Ponty and Deleuze

Commentators have claimed that the philosophies of Merleau-Ponty and Deleuze converge upon a spatial field of sensation which is prior to representation. This essay will contest these readings by showing that, for Deleuze, the pre-representational spatial field of intensity is fundamentally split from thought. This “gap” between sensation and thought is, for Deleuze, fundamentally temporal, in that thought is continually open and passive to being violated and transformed by the sensible and the sensible is continually being pushed beyond itself by a certain kind of thought. This violent exchange across the gap between thought and sensibility is found, by Deleuze, in Kant's notion of the aesthetic idea. On the contrary, for Merleau-Ponty, Kant's aesthetics imply a non-conceptual “ground” shared by both thought and sensibility. By contrasting these two readings of Kant's aesthetics, this paper reveals the basic divergence between the philosophies of Deleuze and Merleau-Ponty.     

Kant's Noumenon and Sunyata

This paper compares Kant's positions on space, time, the relational character of noumena, and the relational character of the self, with the somewhat similar accounts of those things in two philosophers of the Kyoto school: Keiji Nishitani and Nishida Kitaro. I will argue that the philosophers of the Kyoto school had a more coherent and better integrated account of those ideas, that was open to Kant. I think that the comparison both clarifies Kant's position on these topics, and elucidates the topics.     

Kant's Musical Antiformalism

According to the orthodox view of Kant's philosophy of music, Kant is the founder of musical formalism, the view that music is pure, contentless form, and appreciated as such. On this orthodox view, Kant is an innovator in philosophy of music, though his views are confused and sometimes contradictory. Sometimes, we are told, Kant indicates that music is a fine art and sometimes that it is merely an agreeable art. None of the orthodox position is correct. Kant's views on music are familiar, even a little old fashioned for their time. His views are consistent. He believes that some music is fine art and that the fine arts are imitative arts. Imitative arts have content, and Kant believes that at least some music has content. Our views on Kant's philosophy of music ought to be thoroughly revised.     

康德的德性理论

康德的德性论聚焦于人的道德而非一般的理性存在的道德,在理性与经验情感、规范与性情、神性与人性等方面有着系统的论述,对于理解康德伦理学的完整面貌、澄清多年来的一些误解,有着重要的意义.     

康德哲学与企业文化

本文分析了中国当前企业文化的三种类型即官商、儒商和佛商,指出佛商流行于华南一带,是目前最有生机活力的一种企业文化,但这种生机活力是由于解构一切规范带来的,具有投机性,不具有积极建设性,对市场经济规律没有自觉意识,尤其对于赚钱的目的性不明确,背后受本能欲望的支配;康德哲学和西方基督教文化在这方面的启示是能够提供一种终极关怀,实践理性的道德自律为人的生存指明了一种理想目标。因此,当代企业文化的发展前景依赖于个人自由意志的确立和建立理性的规范,赚钱的目的应归结到完成自由人格。