审美境界与道德境界

审美境界和道德境界分属美学和伦理学两个学科领域,但又都是人生的正面价值体现,也是人生的一种理想状态。二者之间不应混淆,却又有着内在的相通之处。审美境界不是纯然客观的形态,而是主体在审美对象召唤下产生的整体性心灵状态,其中包含着道德情感,古人称之为“胸襟”。人的审美活动之所之能臻于“境界”,恰恰是由于有道德价值的介入,否则无法达到境界;道德境界体现了最高的道德价值,以“至善”为其核心价值,儒家的“仁”或“诚”等都是达到了至高的道德境界。道德境界不是外在的约束而致,而是以内心的自觉来践行来达到,其中包含着精神的幸福感和悦畅感,同时,也有审美的因素在其中。     

论唐君毅伦理思想的三重向度

唐君毅的伦理思想至少具有自我伦理、文化伦理、境界伦理三重向度。在自我伦理中，唐君毅以“道德自我”之建立来抵抗内外诸恶，销解“自我中心”主义；以儒家的心性修养论作为自我疗愈的重要途径。在文化伦理中，唐君毅为人类各种文化活动奠定一道德基础，同时强调应以仁、义、礼、智之伦理原则来实现不同文化之间的会通。在境界伦理中，一方面人之精神、心灵境界随九境之转呈升进最终成就一真实之生命存在；一方面“心灵九境”框架本身具有重要的伦理判教功能和方法论意义。唐君毅伦理思想的三重向度之间通过“道德自我”来贯通，它们在逻辑上是一种递进的关系，并且都分别指向了儒家的精神及价值立场。     

儒家乐舞思想“审美快感”之思辨

汉代是我国封建社会舞蹈文化发展的重要时期,乐舞作为汉代当时审美文化的主流,逐渐形成了当时社会性的一种文化景观。汉代学者将乐舞的审美快感分为初境"乐人"、中境"乐治"、上境"乐天地"的三个层次和三种境界,将儒家的乐舞美学思想加以完善,通过分析审美快感的本质与追溯审美快感的本源来分别阐述审美快感的层次与境界,从而建立人们正确的审美观将其继承并不断的传承后世。     

儒学的最高目标:道德抑或艺术人生

长期以来学界几乎一致认为儒家学说的最高目标是伦理道德和社会责任的建构,其艺术审美精神是经过道德过滤、为道德服务的工具。其主要论据是:儒家经典著作里很少涉及美学和艺术;当儒家谈到艺术审美时总是强调其道德意义;儒家的审美理想"中和"本身是一个道德理想。但是基于《论语》《孟子》等儒家基本经典的精神,逐一审视这些论据,可以看出儒家学说的终极目标其实不是道德责任,而是人生艺术的创造和欣赏的美学境界。在儒家的价值观中,道德或者是达到审美和艺术创造的一种方法,或者是作为这个最高目标的一部分而得到肯定的。     

儒家伦理美学如何可能CSSCI

在现代性美学视域下,作为中华美学精神显性形态的儒家美学因其与伦理道德的密切关联,往往被当代美学研究者视作理论粗放的功利主义美学。事实上,儒家美学对道德善的注重并不妨碍其成为一种可行性的当代美学观。在文艺观上,儒家伦理美学的"善"是作为内在价值存在于作品中的;在美感论上,儒家伦理美学的"善"是作为自然价值存在于审美情感中的;在形而上学上,儒家伦理美学的"善"是作为本体价值存在于审美境界中的。因此,儒家伦理美学实质是一种审美与道德价值内在结合的伦理美学,其不但具有当代美学的合法性,而且是有着美好价值担当的生活之道。     

儒家伦理美学如何可能

在现代性美学视域下,作为中华美学精神显性形态的儒家美学因其与伦理道德的密切关联,往往被当代美学研究者视作理论粗放的功利主义美学。事实上,儒家美学对道德善的注重并不妨碍其成为一种可行性的当代美学观。在文艺观上,儒家伦理美学的"善"是作为内在价值存在于作品中的;在美感论上,儒家伦理美学的"善"是作为自然价值存在于审美情感中的;在形而上学上,儒家伦理美学的"善"是作为本体价值存在于审美境界中的。因此,儒家伦理美学实质是一种审美与道德价值内在结合的伦理美学,其不但具有当代美学的合法性,而且是有着美好价值担当的生活之道。     

对“仁者之乐”中生生之美的思想解读

先秦儒家所推崇的"仁者之乐",是人的生命价值与存在意义的显现。中国美学在先秦儒家肯定生命真谛之乐的思想滋养中,也将人生作为美学思想的起点和归宿,赋予人与自然更多的生命意义,在人与人之间,人与自然之间,寻求平衡一体的和谐,在审美意境中不断探求一种完美自由的、道德与审美并存的乐的体验。     

《论语》的道德自由精神探析

儒家德性伦理中不乏道德自由精神.《论语》天命观念下主体的意志自由,礼乐行为规范下的主体道德行为自由,社会等级秩序下的道德境界自由,充分体现了主体在道德活动中看似被压制实则具有丰富的道德自由精神.道德自由精神反过来又折射出儒家的德性精神,以及人生、社会的理想建构.     

儒家敬畏的核心文化心理特征及其内在理路

儒家围绕敬畏的心理机制、对象、涵育和效用构建了敬畏的理论体系。敬畏是主体在自觉体认崇高价值时所持守的旨在自我超越的既崇敬又谨畏的理性化道德情感; 儒家以内在的道德本心作为敬畏的本根,并将其落实为道德实践中对人伦、自然、生命、职事和人文等的外在崇高价值的敬畏; 儒家敬畏涵育围绕心理动力、内在涵养、外在范导和积习沉淀系统展开,可谓环环相扣、层层递进; 敬畏作为进德修业之基不仅不会戕害自由、尊严与创造,反而是达至无入而不自得的洒落境界的必由之路。     

新儒家道德哲学辑要

现代新儒家是产生于本世纪20年代,以接续儒家“道统”、复兴儒学为己任,以服膺宋明理学(特别是儒家心性之学)为主要特征,力图以儒家学说为主体为本位,来吸收、融合、会通西学,以寻求中国现代化道路的一个学术思想流派。作为承继宋明儒家内圣之学发展而来的新儒家之“新”,首先在于吸收西方哲学的某些内容和方法,从形而上学的高度,给予儒家的道德理想和人生境界以新     

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。     

范式转换与道德生活史的研究

伦理学就是一种生活观。伦理思想史的研究需要范式的转换,即由思想史转向道德生活史,研究社会变迁视野中的道德变迁,研究具体历史条件下的社会伦理关系,研究民众层面的日常道德生活。     

“礼”的道德意蕴

先秦儒家十分强调“礼”对于个体修身养性的重要性。他们认为,道德修养的价值就在于成就德性自我,在礼义规范的认同、体验中确立个体的道德主体地位,从而将外在的礼义约束转化为内心的道德自觉,进而成就理想人格,达到道德境界。     

Martha and the Masters: Virtuous Domestic Aesthetic Activity

In this essay, I draw Karen Stohr’s work on the moral-aesthetic elements of hospitality into conversation with classical Confucianism. While the early Confucians would not deny the other-regarding elements of hospitality Stohr emphasizes, they also notably highlight the ways exercises in taste and skillful aesthetic activity can work on and for the agent herself, providing a sensibility that can guard domestic aesthetic activity against problematic forms of self-sacrifice and alienated labor that color contemporary gendered representations of the home and its activity. The most robustly virtuous and indeed rewarding versions of hospitality and domestic aesthetic activity, I argue, will link self to environment and work, using both as mechanisms that foster wider values the self prizes and endorses.     

儒墨两家之“孝”、“丧”与“爱”的区别和争论

Although Pre-Qin Confucians and Mohists can be traced back to the same source,they had great divergences on many issues and started debates on them.Both schools had regarded showing piety to parents as positive.While Mohists proceeded piety from the perspective of mutual benefit and reward,Confucians did not.Filial piety according to Mohists is a link in the system of concurrent love,whereas according to Confucians it is a connection in the system of benevolence.Mohists criticized Confucians for their pract...     

马克思的自由观及其当代意义

马克思的哲学中,艺术活动始终是人类自由生存的典范状态。在其早期思想中,由于视生产劳动本质上是一种类似于艺术的活动,马克思认为消除了异化的生产实践便是人的自由的实现?而在其晚年思想中,由于认识到物质生产领域始终是一个必然性王国,自由王国便被置于这一必然王国的彼岸,自由的实现也便只能存在于艺术活动之中,但这一自由王国的繁荣又依赖于必然王国借助生产率的提高所提供的自由时间的增长。马克思的这一自由观对于当代人类的自我理解仍有重要的意义。     

Poem as Proposition in the Analects: A Whiteheadian reading of a Confucian sensibility[1]

I suggest that ubiquitous references made by Confucius to poetic songs in the Analects reveal an important aspect of his philosophy. This aspect involves the assumption that things in the world “resonate” with one another. Using elements of Alfred North Whitehead's thought, as well as metaphysical insights from the Han Dynasty text, Huainanzi, I first present an aesthetic theory along with a supporting cosmological vision that enhances our appreciation of this trait in the Confucian world. With these preliminaries in mind, I approach the Analects itself. I will isolate the term xing, or “stimulation “, and demonstrate how this term allows us to understand the function of poetry for the early Confucians. I conclude that poetry was thought to behave much like what Whitehead called “propositions”, and that this function assumes a world with certain basic tendencies normally associated with Daoist cosmology.     

儒学和之道的诠释与反思

“和”是儒学之道的最高点。作为核心议题,和贯穿于儒家学术讨论的各个层面。“和”在字源上与音乐相关,其主旨有别于“同”,与德行修养、政治教化、生活实践相关联。儒家多在天人关系的语境中阐述“和”,认为天人在根本上是和谐而非对立的。依据对天的不同理解,儒家天人和谐思想呈现为两大主张:人与主宰之天合一、人与自然之天协同。同时,儒家关于和的论述并不仅仅是一种探寻形而上之奥秘的理论尝试。这一理论具有很强的化解冲突、建立秩序的实践性功能。作为一种救治方案,和道在人的领域具有人我、家庭和国家三个向度,追求一种动态的有序。     

The Art of Nature: Hegel and the Critique of Judgment

This essay examines the reasons for Hegel's frequently professed claim that Kant's Critique of Judgment simultaneously reveals the internal limits of critical philosophy and opens the door to his own system of speculative idealism. It evaluates Hegel's contention that the conceptions of aesthetic experience, organic purposiveness, and the intuitive intellect developed in the third Critique together conspire to undermine the epistemological and metaphysical foundations of the theories of nature and freedom advanced in the first and second Critiques . Finally it explains how Hegel understands his logic and real philosophy as a realist and quasi-naturalistic alternative to Kant's subjective idealism, one that purports to generate a system of categories adequate not only to dead matter but also to organic life and free self-conscious spirit.     

Autonomy and the Asymmetry Problem for Moral Expertise

We seem less likely to endorse moral expertise than reasoning expertise or aesthetic expertise. This seems puzzling given that moral norms are intuitively taken to be at least more objective than aesthetic norms. One possible diagnosis of the asymmetry is that moral judgments require autonomy of judgement in away that other judgments do not. However, the author points out that aesthetic judgments that have been ‘borrowed’ by aesthetic experts generate the same autonomy worry as moral judgments which are borrowed by moral experts. The author then explores various approaches to accepting the testimony of moral experts and concludes that the asymmetry may best be explained by (1) the conditions for moral expertise being more difficult to satisfy than those of aesthetic expertise and (2) the intuitive greater seriousness of accepting the moral judgments of others, since moral norms are generally viewed as more binding than aesthetic norms.