冲突世界中的和谐对话——老子和谐观给世人的提示

我们来到老子晚年定居讲学地区的西安,参加此次以"和谐世界,以道相通"为主题的"国际道德经论坛",其重要意义之一,便是会聚东西方学者,借老子的智慧来为我们当前扰攘不安的世界进行一次盛大的文化与哲学对话。我曾多次出席西安举办的老子学术讨论会,此次论坛国际学者的对话,要比以往更具有时代性意义。下面我想对老子思想的现代意义略作论述。     

海德格尔《哲学论稿》译名讨论

在《哲学论稿（从本有而来）》（《全集》第65卷）中,海德格尔尝试了艰苦的思与言的改造工作,意在从非形而上学意义上重解“存有／本有”（Seyn／Ereignis）问题。本文根据作者对德文原著的初步解读和翻译,并参照英文译本“英译者前言”中的译名分析,讨论了《哲学论稿》中八组基本词语,主要涉及Ereignis,Sein,Wesen,Werfen,Gr—und,Bergen,Besinnung,RUcken等词语以及相关的词族,并且提出了作者对于这些基本词语的汉译建议。原来文后附有由作者制作的“《哲学论稿》德一英一中译名对照表”,但因篇幅有限,不在这里刊登了,而是登载在《世界哲学》的网站上,有兴趣的读者请登陆我们的网站：www．worldphilosophy．cn。     

突破语言对哲学的桎梏——意大利分析哲学协会（SIFA）2008“本体·心灵·语言”国际会议侧记

分析哲学一向被称为"英美分析哲学",这并非是由于这个20世纪最富影响力的治学方法诞生于英国或者美国,而是由于其主要的代表人物大都是英国或美国的哲学家,这无形当中也使英语成为分析哲学的"官方"语言.尽管英美的哲学家们都不大愿意承认他们在语言上所具有的得天独厚的优势,但是,当英语成为从事分析哲学的世界语言时,非英语国家的思想家们所面临的挑战就不仅仅是如何用英语来思考或者如何将自己的思想确切地用英语表达出来,而且还包括如何将分析哲学从英美学者的"垄断"中解放出来.     

西方人格工具在中国:文化的思考——以多元文化人格问卷为例

本文以多元文化人格问卷在中国施测的结果为例,从中国文化的角度,探讨中国文化对语言等值和功能等值的影响,如时间观、面子观、关系观、人际沟通观、谦虚观等对项目的具体影响,思考西方人格工具在中国应用时遭遇的文化冲撞.     

关于克里普克模态性的一个自然主义解释

The Kripkean metaphysical modality (i.e. possibility and necessity) is one of the most important concepts in contemporary analytic philosophy and is the basis of many metaphysical speculations. These metaphysical speculations frequently commit to entities that do not belong to this physical universe, such as merely possible entities, abstract entities, mental entities or qualities not realizable by the physical, which seems to contradict naturalism or physicalism. This paper proposes a naturalistic interpretation of the Kripkean modality, as a naturalist’s response to these metaphysical speculations. It will show that naturalism can accommodate the Kripkean metaphysical modality. In particular, it will show that naturalism can help to resolve the puzzles surrounding Kripke’s a posteriori necessary propositions and a priori contingent propositions. __________ Translated from Zhexue yanjiu 哲学研究 (Philosophical Researches), 2008, (1): 18–26     

儒家哲理特征与文化间对话——普遍主义还是非普遍主义

Confucianism is a rather typical non-universalism, even though it does believe that its own doctrines are indeed the ultimate truth, and denies the validity of any higher, universalist meta-standard. Therefore, when facing the contemporary culture intercourse, Confucianism advocates genuine discourse: It rejects any cultural conflict to-the-death, refuses to engage in universalist competition and antagonism, and maintains a mutually-beneficial interaction with other cultures. However, it also adheres to a “free-to-terminate-relations” principle, which implies that any side is free to terminate, at any time, all potential and actual interactions, whenever it feels that its original cultural vitality is threatened. In other words, cultural interactions must only occur when the cultural uniqueness and independence of all participating sides is guaranteed.     

"中国哲学"本土化叙事的展开与生成

Independent narration in Chinese philosophy has gone through the process of interpretation, critical differentiation, dialogue, and original thought, and so is a creative activity that surpasses the conjunctive pattern of universality and particularity. In modern Confucian studies, there has always been a tension between philosophical and historical explanations, which suggests a tension between ecumenical and indigenous experiences. Critical differentiation itself only has methodological significance, and is not a goal in itself. China’s development and strength has encouraged China to engage in philosophical dialogue with the West. It is the task and direction of future philosophical creativity to face the contemporary existence, re-construct Confucianism’s relationship with modern life, and respond in a metaphysical and positive manner to the challenges imposed by modernity.     

说服和宣传

究竟是一个过程还是两个过程？ 说服,宣传和修辞术 无论就日常语言而言、还是就社会科学而言,诸如“说服”、“宣传”和“修辞术”这样的术语都是被人们当做可以互换的术语来使用的。人们以某种方式认为它们就是沟通的方式,而就他们所讨论的争论点而言,沟通的目的则是影响和改变其他人的想法。     

浅析意象特征在传统人物画中的体现

从画论与绘画作品中都可以看出中国人物画造型的意象特征,中国人物画的造型并不是客观对象的模仿,而是画家的心中之象.它不但受时代审美意识的影响,而且和画家的审美理想有着直接的关系.画家要在尊重客观物象基本特征的前提下,注重主观情感的传达,其造型是经过了画家概括、剪裁、夸张以至变形等意匠经营的结果,它更真实地表现出对象的神.     

谈油画的色彩语言

引言 "一幅画的整个创作过程是统一的,从确定主题思想.安排构图、描写内容,一直到形与色的表现应该是相互联系的.色彩作为绘画表现的因素之一,在正确的运用下,能够明确构思,加强主题的感染力,影响观众的情绪."[1]重视色彩的应用是整个创作过程中的一个重要方面,色彩是油画的第一语言,色彩应用的成功与否,直接影响到作品的质量.