对21世纪传统文化热的若干反思

21世纪大陆社会一个引人注目的现象就是传统文化热。这与中国传统文化的丰厚有关,既是在西方文化大为传播以及精神生活出现危机的时代背景下的反弹,也是经济迅速增长之后自信心增长的必然结果。不过传统文化固有其独特价值,但并没有解决中国的救亡图存问题。在当今这个时代,没有科技技术的发展就无法实现中华民族的伟大复兴。     

儒家伦理传统与儒家道德记忆

道德记忆是人类记忆思维活动的一种特殊表现形式,是人类道德生活经历在脑海里留下的印记或印象。道德记忆是儒家慧命赓续的伦理传统得以延续的精神力量,它不仅仅使得儒家伦理精神不断历经传承、发展、演绎而形成了体系完备的理论形态,更使得儒家伦理以文化心理的社会形式引导着人们的道德实践活动。道德教化是儒家伦理传统的道德记忆方式,儒家以道德教化来守护角色记忆与定位道德责任、塑造榜样记忆与开展教化示范,并通过实践道德记忆达到知行合一。珍惜儒家道德记忆、传承发展儒家优秀伦理传统是一个富有时代意义的重要话题。道德记忆是一个立意高远、形象生动、涉面甚广、兼具理论与现实关怀的创造性学术范畴,它不仅为我们考察儒家伦理传统提供了一个崭新视角,对于我们当今如何开展伦理学研究也带来了深刻的学术思考。     

儒家传统与伦理异化

儒家传统,主要依存于又服务于自然经济与血缘纽带为支柱的宗法农业家庭,以及由这样的家庭构成的宗法封建制,故其主要内容是以维护等级、限制特权、调节矛盾为中心的“礼教”——“所以定亲疏、次嫌疑、别同异、明是非”的一套价值规范。虽然儒家传统的礼教思想,有其重视道德自觉、培养理想人格,追求人际关系和谐等光辉的一面,但因其扎根于找国奴隶制、封建制社会长期顽固的宗法关系之中,“礼教”经原始儒学加工,释之以“仁”、充之以“孝”,补之以“仁政”、“德治”。证之以“明分使群”,内化为修己之道,外化     

儒家传统的诠释与转化

儒家传统的诠释与转化——访郑家栋副研究员本刊记者郑家栋，１９５６年生，哲学博士，中国社会科学院哲学研究所副研究员。主要从事于儒家哲学与儒家思想史特别是当代儒学的研究。主要著作有：《现代新儒学概论》、《本体与方法——从熊十力到牟宗三》、《当代新儒学论衡...     

从传统儒家走向后儒家

本文试图在当前人类经济全球化-多元化发展和中国进行现代化建设的历史氛围中,探讨从"传统儒家"向"后儒家"的创造性转化问题.     

荀子乐论与儒家乐论传统

乐论是古代典籍中关于乐的论述,这种论述包含着关于文化艺术的理论视角和价值立场,以及关于政治、道德伦理与艺术文化之关系的探讨。以荀子乐论为代表的先秦儒家乐论旨在通过主体的艺术化生存在工具与价值、感性与理性之间建立一种平衡关系。乐之和张扬着乐之独特价值的同时与主体心性修养、政治和谐密切相关。儒家乐论传统在经历了汉代天人之学...     

体用论与传统儒家形而上学

中国早期哲学思维方式属于本源论模式,具有形象化特征,欠缺思辨性。佛教将万物视为相、用,以为其体或为心、或为空等,表现出哲学思辨模式。宋明儒家吸收了这种抽象化思辨模式,其代表之一为朱熹。朱熹以体用论为思维方式,将万物之理视为体,万物之流行与发用视为用,比如道之体为性,道之用为情。体用方式成为朱熹观察世界、理解世界和解释世界的基本模式。早期的朱熹体用论依然具有本末论色彩,其表现为中和旧说。后来的体用论有效地克服了本末论(本源论)的局限性,进入了思辨性阶段,其表现为中和新说。朱熹体用论的出现标志着中国传统哲学提升为思辨哲学,并成为一种追问终极性存在的本体论。     

儒家传统与张謇的一生

张謇(1853—1926),是清末民初我国著名的实业家和教育家。他在42岁“大魁天下”之后,毅然摒弃仕途,穷其毕生精力,在家乡南通创办实业,振兴教育,擘画水利,推     

儒家传统伦理与现实生活的分化

儒家传统伦理与现实生活的分离已是不争的事实,这既使儒家传统伦理因离开现实生活的支持而显得空乏,又使现实生活因离开传统伦理的规范而零乱失序。对此,必须创建新的道德体系来进行规范引导。新的道德体系应当是现实适应性、合理超越性与世界开放性的内在统一。     

论儒家思想中的"人"与"自然"之关系:兼论其21世纪之启示

本文探讨儒家思想传统中“人”与“自然”之关系。本文先从比较文化史视野,析论中国思维方式之特质在于“联系性思维方式”。本文指出,儒家思想传统以“联系性思维方式”为基础,强调“人”与“自然”之间是一种相即相融并互相渗透的关系。“自然”是“人”的创生者,“人”也是“自然”的参与者。儒家思想家主张“人”与“自然”之间具有连续性与一体性之关系。这两种关系之所以可能,其基础正在于人与宇宙万物都以生生不已的仁德为其本性。“仁”既内在于每个人的心性之中,又超越于每个个体之上,成为宇宙万物之共同质素。而儒家思想中“人”与“自然”之连续性与一体观的建立与发展,正是以人“心”之自觉为其基础。     

Confucian Ideology and Creativity

The study examines an important philosophical root for the Chinese notion of creativity, that is, the Confucianism, and concludes that the Confucian ideology has shaped how Chinese have viewed creativity in the past, and may still have a great impact on how contemporary Chinese perceive creativity.     

A Confucian Interpretation of Creativity

This article explores a Confucian interpretation of creativity with reference to two classics—Analects and Mencius. A Confucian understanding of creativity centers on yi (appropriateness) and is motivated by shu (empathy) for the purpose of broadening dao (Way). Confucian creativity is manifested in two main ways: novelty through original interpretations of the objective world; and appropriateness through flexible responses to concrete circumstances synchronically and diachronically. Two major implications for research on creativity are highlighted. The first is that a Confucian approach to creativity extends the existing research on personal creativity by foregrounding the moral and interpersonal elements. Secondly, Confucian creativity synthesizes novelty and appropriateness, thereby challenging the essentialization of creativity and creative abilities of East Asians. A Confucian conception of creativity transcends a narrow focus on specific creative acts to a broader consideration of the agents, relationships, socio-cultural contexts and related moral issues.     

儒学传统:在理性与信仰之间的平衡与开展——略述孔孟荀思想脉络

孔子从世间日常情感出发建构的儒家思想体系与价值意识,体现有“在理性与信仰之间保持平衡与张力”的一种运思方式与精神特质。由孔子到孟子再到荀子,其开展的思想脉络是:孟子把孔子信仰的一面强化了,荀子则把孔子理性的一面张扬了,他们各自从不同面向丰富了孔子原创儒学的体系,无需贬彼褒此。     

Creating Creativity: Reflections from Fieldwork

The present article addresses the question of ‘When can we say something is creative?’ and, in answering it, takes a critical stand towards past and present scientific definitions of creativity. It challenges an implicit assumption in much psychological theory and research that creativity exists as an ‘objective’ feature of persons or products, universally recognised and independent of social agreement and cultural systems of norms and beliefs. Focusing on everyday life creative outcomes, the article includes both theoretical accounts and empirical examples from a research exploring creativity evaluations in the context of folk art. In the end, a multi-layered perspective of creativity assessment emerges, integrating dimensions such as newness and originality, value and usefulness, subjective reception and cultural reception of creative products. Implications for how we understand and study creativity are discussed.     

Virtue and the Good Life in the Early Confucian Tradition

This essay examines the role of virtue and the status of non‐moral goods in conceptions of the good human life through an exploration of the thought of Confucius and Mencius. Both Confucius and Mencius lived in quite similar worlds, but their conceptualizations of the world differed from each another. This difference led them to hold different views on the role of virtue and the status of non‐moral goods. On the one hand, Confucius highlighted the self‐sufficiency of virtue, but he acknowledged and appreciated the intrinsic and instrumental value of non‐moral goods. On the other hand, while Mencius underscored the role of virtue as the best means to the best ends, he tried to depreciate the value of non‐moral goods. As a consequence, even though their conceptions of the good life were essentially predicated on virtue, they parted company concerning the status of non‐moral goods in human life.