子思书再探讨--兼论《大学》作于子思

子思原书各篇可分为三类,一是子思所记孔子言论,二是子思本人著作,三是弟子所记子思言论。除了原本《中庸》、《表记》、《坊记》、《缁衣》外,郭店简《穷达以时》亦属第一类;属于第二类的除了见于今本《中庸》的《天命》和并见于郭店简、马王堆帛书的《五行》外,还有今本《大学》,而《淮南子·缪称训》主体部分正是子思书佚篇《累德》,亦属此类。属于第三类的有郭店简《鲁穆公问子思》以及典籍中的若干佚文。早期文献中对子思书的不同称谓,意味着不同的文献来源,称《子思》者引自《汉志》所著录的二十三篇本,称《子思子》者引自《隋志》和《唐志》所著录的七卷本。七卷本具有很高的价值,非后来子思书辑本所能相比。     

《淮南子·缪称》与郭店简儒家佚籍的学术关联

《淮南子·缪称》保存了大量《子思子》佚文,与子思著作有密切关系,而学界一般亦认为郭店楚简中的儒家佚籍是子思学派的作品。将《缪称》篇与郭店简《成之闻之》《穷达以时》《五行》《尊德义》《性自命出》等篇对读,二者在用词、语句乃至思想上多有相合之处,据此可以进一步确认郭店简这些篇章确为子思学派的作品。同时,通过对读亦可以帮助我们更清楚地认识《缪称》篇的成书及性质。     

《性自命出》与《淮南子·缪称》论“情”

郭店楚墓所出儒书《性自命出》 ,据内容可划分为上、下两个部分。这两部分中都有不少地方论及“情” ,下一部分对“情”的重视尤其引人注目。据考察 ,这种重视“情”的思想 ,亦见于《淮南子》的《缪称》篇。而《缪称》 ,据前人研究 ,乃是一篇保存了大量儒家子思学派学说的文献。本文通过征引《子思子》佚文与《缪称》及《性自命出》比较 ,认为《性自命出》对“情”的看法可能出自《子思子》 ,为研究《性自命出》等篇的学派性质提供了一条新的线索。     

上博竹书《从政》篇与《子思子》

对上博竹书《从政》篇进行分章排比,可以看出其每一段落都应以“闻之曰”起始,“闻之曰”其实与“子曰”相同。无论形式还是内容,《从政》篇都与保存在《礼记》中的《坊记》、《中庸》、《表记》、《缁衣》等子思著作相近相通,也就是说,《从政》篇与史籍著录的《子思子》不仅形似,而且神似。《孔丛子·公仪》所记鲁穆公与子思的对话,更可说明《从政》篇乃《子思子》佚篇。     

子思作《孝经》说新论

《缁衣》、《中庸》、《坊记》、《表记》出自《子思子》,已由郭店楚简的发现得到证明。 《李经》与《缁衣》等四篇好在“子曰”之后引《诗》《书》,风格相同,当属同一时代,同一作者的作品。 《论语》中孔子多言《诗》《礼》而罕言《书》,与《子思子》判然有别。用《诗》《书》发挥孔子思想,应是 子思的创造。孟子受业于子思之门人,“退而与万幸之徒序《诗》《书》,述仲尼之意”,继承了子思学 派的传统。《孟子》原有《说孝经》等“外书四篇”,《史记》等都曾引用。《说孝经》当是《孝经》成书于 孟子之前、孟子论述其师门所传《孝经》的证据。郭店楚简内多处论孝,与《孝经》相表里,表明孝是 子思学派论讨的热点之一。     

《孝经》为子思撰新考

魏文侯作《孝经传》,说明《孝经》至迟于战国初年魏文侯时已成书,在魏文侯时及以前,对孔子称“仲尼”者仅为《孝经》和《中庸》,《缁衣》《坊记》《表记》《中庸》取自《子思子》,为子思所作,已由郭店楚简的出土得到证明,四篇中对孝的论述与《孝经》相近似,而且此四篇与《孝经》在“子曰”之后引《诗》《书》,体例相同。郭店楚简《缁衣》的出土为这一体例的存在提供了有力的佐证。因此,《孝经》是战国初期魏文侯时子思将其祖孔子、其师曾子论孝的对话编撰整理而成的。     

论子思学派之《诗》学北大核心CSSCISSCI

《缁衣》、《中庸》、《表记》、《坊记》、《五行》这五篇作品出自子思学派,是目前学术界分歧最小的看法,而频繁引《诗》、解《诗》、论《诗》,又是这几篇文献的共同特点。本文发现大毛公《诗故训传》已经称引子思学派的作品,由此进一步可以证明几篇备受争议的子思学派的作品均出自先秦。本文也申述了子思学派之《诗》学可以成立的理由,认为子思学派是七十子之后儒家《诗》学的集中代表。本文同时梳理了子思学派引《诗》之范围和原诗的主题,并初步归纳了子思学派引《诗》的体例,以便深入讨论子思学派之《诗》学。     

子思与《易》关系新证

子思与《易》有关。对易学"卜筮"知识、《周易》古经和《易传》,子思都学习而熟知。更值得注意的是,子思作《易》,其著作即帛书《衷》篇。在孔子之后的先秦儒家"中道"思想传承中,子思最能体会"中道"在孔子思想体系中的重要地位,故一方面从形而上层面阐发"中道",而作《中庸》;另一方面在孔子所开创的经学易学上,凸显孔子所"观"、所新诠的易学"中道",专门辑录孔子有关"中道"的论述,而作《衷》篇。子思在先秦儒家易学传承中应有重要的地位。     

竹帛《五行》篇为子思、孟子所作论——兼论郭店楚简《五行》篇出土的历史意义

基于20世纪70年代以来对《五行》篇研究的学术史检讨,从以往研究的薄弱环节出发,依据郭店竹简出土后研究的新发展,可以推定《五行》篇经部为子思作、说部为孟子作,这一结论呼应了荀子的所谓“子思唱之,孟轲和之”,是合理的。     

《五行》、《中庸》差异论北大核心CSSCISSCI

《五行》、《中庸》皆为子思所作。对于《中庸》,司马迁明确指出：“尝困于宋,子思作《中庸》。”（《史记·孔子世家》）司马迁的这种看法得到比较普遍的承认,如东汉郑玄说：“名曰《中庸》者,……孔子之孙子思假作之。”     

Nizarre Qabbani’s Original Versus Translated Pornographic Ideology: A Corpus-Based Study

Nizarre Qabbani, the modern Arabic poet, has evoked a firestorm of controversy. Some consider him a stunning feminist poet, while others consider him an abysmal anti-feminist erotic one. This study allows his literary works to speak up loud, statistically revealing the dominant genre of his original work and his translated work. This enables the reader to evaluate objectively the original ideology of the poet and the rendered ideology of the translators. A corpus of Qabbani’s complete works is created; the keywords and their concordance are processed automatically and are reviewed manually. A lexicon of his poetic images and symbols is created to focus the light on his filtered-version poems that appeared in the Arabic media. Basic findings are tabulated and compared to the findings of his translated works in order to judge the objectiveness versus subjectiveness and the representativeness versus selectiveness of the translated works.     

The Divine Truth of Mathematics and the Origins of Linear Algebra

In a work ahead of its time the German mathematician Hermann Grassmann (1809–1877) published in 1844 one of the landmark works in mathematics, his Ausdehnungslehre or Calculus of Extension. It contained the main theorems that make up what is today called linear algebra. The significance of the book was not recognized at first and it took even longer before any connection was publicly made between this work and Grassmann's training for the ministry. This was in spite of the strong influence on his thinking in general that he described coming from his teacher at Berlin, the theologian Friedrich Schleiermacher.     

The hazards of high callings

Summary To conclude, it is the concern of this paper that a minister have enough sources of satisfaction and security in his nonprofessional life so that he is not tempted to use his parishioners for the attaining of those needs. The pastor must be free of the need to use his parishioners, else he is working, not primarily for the parishioners' well-being, but rather for his own needs for success. He must notneed to see people converted, nor counseled successfully, nor saved from divorce. This would be only using these parishioners as a means by which the pastor proves his abilities. To guard against this danger, in a work so important as the ministry, is a difficult task. But it can be done when the pastor works at having a successful and satisfying private life. Such a private life pays dividends in the mental health of the pastor, and in parish work which is well done.     

A Heideggerian Phenomenology Approach to Higher Education as Workplace: A Consideration of Academic Professionalism

Heidegger’s early works provide his most important contribution to our understanding of being, while his discussion of the effects of technology on that being in his later works is one of his best known contributions. I use his phenomenological approach to understanding the workplace and then, from a range of potential applications, choose to describe the functioning of higher education as a workplace for academic professionals. Heidegger seemingly fails to offer a subtle approach to what is labouring, or to whether there is a substantive difference between labouring and working. To find such approaches I draw upon work of both Marcuse and Arendt which specifically relates to these distinctions.     

DREAMING THE ANALYTIC SESSION: A CLINICAL ESSAY

This is a clinical paper in which the author describes analytic work in which he dreams the analytic session with three of his patients. He begins with a brief discussion of aspects of analytic theory that make up a good deal of the context for his clinical work. Central among these concepts are (1) the idea that the role of the analyst is to help the patient dream his previously “undreamt” and “interrupted” dreams; and (2) dreaming the analytic session involves engaging in the experience of dreaming the session with the patient and, at the same time, unconsciously (and at times consciously) understanding the dream. The author offers no “technique” for dreaming the analytic session. Each analyst must find his or her own way of dreaming each session with each patient. Dreaming the session is not something one works at; rather, one tries not to get in its way.     

Separation and individuation in Picasso's Guernica

A systematic, psychoanalytically oriented analysis of Picasso's preparatory studies for his master-painting Guernica as well as of his many alterations in the course of his work on the painting itself revealed a prominent concern with issues of attachment and of separation, differentiation and maturation, in association with loss, death and destruction. Background information on the circumstances of Picasso's work on the painting, his personality and his biography, as well as information gleaned from other of his works from various periods of his life were also taken into account. Integration of the direct findings from the analysis of Guernica's evolution and from this comprehensive background information suggests that the process of creating Guernica represents a symbolic attempt at individuation and establishment of separateness from the mother, by means of aggressive acts expressed towards representations of the mother figure in the painting. The preparatory studies and the painting itself are perceived as transitional objects.     

Constructing the truth From ‘Confusion of tongues’ to ‘Constructions in analysis’1

The author hypothesizes that the papers Freud wrote in the period 1934‐9 constitute a fi nal turning point in his work resulting from an attempt to work through, by means of self‐analysis, early traumatic elements reactivated by the conditions of his life in the 1930s. The author emphasizes that the ups and downs of Freud's relationship with Sándor Ferenczi and the mourning which followed his death in 1933 played an important role in this traumatic situation. He suggests that through these last works, Freud pursued a posthumous dialogue with Ferenczi. This working through led Freud, in Moses and monotheism, to an ultimate revision of his theory of trauma, a revision which the author examines in full, in the light of the works of the Egyptologist, Jan Assmann. A new analytical paradigm emerges: that of constructions in analysis developed in the article of the same name. The activity of construction appears as an alternative to the mutual analysis proposed by Ferenczi and is closely bound up with the notion of historical truth. In psychoanalysis, it would mean constructing a historical truth whose anchoring in the material truth of the past is essential, though it should not be confused with it.     

Merleau-Ponty’s Responses to Skepticism: A Critical Appraisal

Abstract

In this article, I reconstruct and evaluate Merleau-Ponty’s main responses to philosophical skepticism in the relevant parts of his work. To begin with, I introduce the skeptical argument that Merleau-Ponty most often tried to refute, namely, the dream argument. Secondly, I show how Merleau-Ponty, in his initial works, excludes the skeptical problem by appealing to a general contact with the world guaranteed by perception. Finally, I analyze how in his last texts Merleau-Ponty considers at least some uses of the skeptical arguments as tools to make our opaque contact with being explicit.     

Otto Rank's art

Abstract

Otto Rank's work has had an indirect influence on much of existential‐humanistic psychology, yet his contribution has been unevenly acknowledged. Seeing Rank as a developing artist helps to put his creative contributions to psychoanalysis, post‐psychoanalytic critique, and existential‐humanistic psychotherapy, in perspective. After his separation from Freud, Rank's innovative thought blossomed; his later works have deep and lingering humanistic import. A look at convergences and divergences between Freud and Rank shows that Rank's art (of living, of theorizing, and of practicing therapy) is an uncannily familiar and inspiring model of humanistic practice in the world. The continuing relevance of Rank's ideas about art and artists is explored, and Rank is re‐introduced to humanistic psychologists who may recognize aspects of his work as consonant with their own.