东西文化视域交融中的海德格尔研究——评张祥龙的《海德格尔传》

海德格尔是举世公认的二十世纪最有影响、也最晦涩的哲学家之一.其哲学深邃博大、恣肆汪洋,无论是哲思视野还是概念术语都迥异前人,且其思想在不同时期各呈现出别具一格的风貌,这些都使得海氏哲学象云雾弥漫的山峦,让人难窥其真面目,为之作传诚非易事.然张祥龙先生的力作<海德格尔传>却很好地完成了这一艰难的工作.

海德格尔与民族(Das Volk)问题研究

不同于流行的实证主义,尤其不同于纳粹学者建立在生物学基础上的种族主义,海德格尔对民族本质的思考,着眼于其存在论的内涵。民族一方面是人返回其本质时的一种生存状态,同时也是与他人在一个共同体内命运相关的生存状态。这个意义上的民族不是自然而然形成的,而有赖于人的决断。艺术活动在唤醒人的民族意识或使得民族成其自身的过程中具有重要意义。

卢卡奇的海德格尔批判及其反思——基于对《海德格尔重生》的考察

《海德格尔重生》在当代思想史中的效应虽远不及它的批判对象《关于人本主义的书信》,但着眼于马克思与海德格尔思想在当代西方马克思主义领域中的因缘交汇,作为卢卡奇首次正面直击海德格尔的文本,《海德格尔重生》值得特别重视。通过阐释这一文本中卢卡奇批判海德格尔的立场和观点,并从海德格尔思想的角度审视这一批判,本文表明,除了隐微地承认,卢卡奇由点及面地否定了海德格尔从《存在与时间》到《关于人本主义的书信》中的思想。这种从政治定性出发、将《关于人本主义的书信》视作前法西斯主义自我辩护的哲学批判,在相当程度上错失了海德格尔思想的内核,最终走向对海德格尔思想之为精致唯心主义的当代哲学"第三条道路"的判断。

沉思与寂静:韩炳哲论海德格尔之“心”

《海德格尔之心》中韩炳哲对海德格尔的阐释,并不完全属于正统学院派海德格尔研究的范畴,但这些阐释贯穿韩炳哲此后的诸多作品。韩炳哲看到,海德格尔之“心”民既是克服形而上学主体性之经济和计算图景的隐喻,也是一种非形而上学的思维方式;但是早期海德格尔存在之“心”的情绪与声音仍然带有主体性的痕迹,他克服形而上学的努力并没有超出形而上学的范畴。韩炳哲认为,海德格尔试图通过“思”“痛苦”与“畏”等概念跨越形而上学的门槛,但未能成功,并且他的很多概念在现代绩效世界面前已经失去了阐释效力。因此在韩炳哲笔下,一方面,社会批判理论巫函需对《存在与时间》进行“数字化升级”;另一方面,克服形而上学的可能性仍然存在于海德格尔提出的“怯”“沉思”与“寂静”等概念之中。

瞬间与无性——海德格尔关于《巴门尼德篇》第三条进路的存在论阐释

在法兰克福的马尔库塞档案馆中保存着《海德格尔,柏拉图:〈巴门尼德篇〉》研讨班记录,它记录了海德格尔在1930-1931年冬季学期和1931年夏季学期关于柏拉图《巴门尼德篇》的研讨班内容。然而,这份记录却并未被《海德格尔全集》第83卷的编者马克·米查尔斯基收录其中,就连海德格尔本人后来也几乎从未提及上述两次研讨班,这已是学界一段公案。在《海德格尔,柏拉图:〈巴门尼德篇〉》中,海德格尔全面阐释了《巴门尼德篇》的主要内容,尤其是“第三条进路”(155e4-157b5),最后得出结论:“瞬间作为动静转变的发生通道和时间视域的绽出开端,同时具有无性”。与海德格尔后期对柏拉图的存在之历史定位相照,上述结论展现了他20世纪20-40年代对柏拉图理念学说的复杂态度,并迫使我们重新审视海德格尔前后期关于柏拉图思想阐释的整体进路。

Affirming Art： Heidegger and the Sense of a Beginning

This essay offers a philosophical perspective that, in breaking with both the open and surreptitious dialectical method still so prominent in academic discourse, follows Heidegger in trying to conceive of a radically non-dialectical manner of approaching affirmation, negation, and neutrality. As with Heidegger, this is attempted through a turn towards art and the ＂emancipated contingency＂ that characterizes much creative production. In contrast to action and production within the knowledge economy, the creation of the artwork concerns a knowing of unknowingness （described by Maurice Blanchot as the neutral） that demands a rethink of action in relation to truth and errancy. Indeed, the very working of the work of art is conceived here as a truth that is precisely ＂set to work＂ （Heidegger） by errancy. Through a consideration of the essential difference between choice and decision and the different ＂beginning＂ of art that this suggests, the essay concludes with some reflections of the theme of art＇s fascination and the and the affirmation of the unknown.

The Tree of Death and Eternal Life

The ＂Tree of Death＂ is a metaphor I use to unlock my Christian assumptions on how the dead attain eternal existence in the afterlife state. The tree＇s unconcealedness, in this life and presumably the next, along with the moral habits an agent develops in this life explain the obstinacy of the dead, that is, how the agent＇s irrevocable decision to side with the God of Abraham, or not, is possible. For that to be the case, the existential relationships that generate personal identity in this life must accompany （individuate） the subject in the next life. In Christian philosophy, the person-making process mirrors the relationships of the Blessed Trinity. While Martin Heidegger is not a Christian philosopher, his view on truth and being＇s unconcealedness provides a useful piece of the argument to continue the Thomistic case for personal immortality. Heidegger is not a catholic philosopher, but the focus he places on being＇s unconcealedness is consonant with the focus Thomas Aquinas puts on the intelligibility of being. While Heidegger＇s discussion of being is rooted in Dasein＇s finitude, the Thomistic interpretation of being situates unconcealedness within the perspective of God＇s creative act. His vision resets the possibility of applying Heidegger＇s fundamental ontology beyond temporality. The paper develops through a discussion of the Tree＇s ＂branches, trunk, and roots＂ to conclude that the Christian perspective transforms Heidegger＇s view of death into ＂the ultimate possibility of possibility.＂

Cassirer on the Syntax of Being

This paper examines the expression of being from the syntactic perspective in the framework of Cassirer＇s philosophy of language in his Philosophy of Symbolic Forms. It first introduces the debate about the validity of the question of being between the logical and ontological perspectives, represented by J. S. Mill＇s attempt to annul the question and Heidegger＇s counter argument. It then moves to the syntactic perspective by using Aquinas＇ statement that in every apprehension being should be present, and then reconsiders the function of copula in a sentence. The main part of this article follows Cassirer＇s argument by picking up the so-called ＂war of the giants＂ between the Heraclitean flux and the Parmenidean immovable being in the context of language in Plato＇s three dialogues, namely Cratylus, Theaetetus, and Sophist. It then moves on to Cassirer＇s Kantian scheme of analysis to handle the Platonic question, and argues that words and sentences are different moments of unit formation in our consciousness. It concludes with Cassirer＇s argument of the priority of sentence over words, and that the concentration merely on the copula is a limited approach to the question. The purpose of this paper is to show Cassirer＇s contribution to the problem of being by shifting the attention from semantics to the syntax and by breaking new ground from neo-Kantianism, and offers an approach to understand the role of language in our knowledge of the objective world which is neither purely nominal nor realist.

Cognition Embodied in Buddhist Philosophy A Comparative Reflection of D6gen and Heidegger

Contrary to occidental philosophy, oriented to grasping and solidifying the principles of essential being （ontos on）, Buddhism seeks to understand the aspect of our existence that experiences suffering in life. In the East Asian languages Human beings are described as Inter-Beings in that they are enveloped by the topos of life and death. From breath to breath, our life is bound to the moments of emerging and vanishing, being and non-being in an essential unity. D6gen＇s philosophical thinking integrated this conception with the embodied cognition of both thinking and acting self. In the phenomenological point of view, Heidegger （1927; 1993） emphasizes Being as bound to fundamental substantiality, which borders at the Ab-grund, falling into nothingness. With D^gen, the unity-within-contrast of life and death is exemplified in our breathing, because it achieves the unity of body and cognition which can be called ＂corpus.＂ In perfect contrast, the essential reflection for Heidegger is that of grasping the fundament of Being in the world, which represents the actualization of a Thinking-Being-Unity. The goal of this comparison is to fundamentally grasp what is the essentiality of being, life, and recognition （in Japanesejikaku f~ ~） bound to embodied cognition in our globalized world.

Kosik＇s Dialectics of Concrete Totality

Setting out from the categories of totality and histori（ci）sm in Kosik＇s Dialectics of the Concrete, we look at the relationship between theory and praxis： empty, abstract totality versus concrete, reified and alienated practice （Lukacs, Habermas, Honneth）; a bad totality, in which the real polydimensional subject is replaced by the one-dimensional, mythologized, fetishized, and economistically reduced ＂subject＂ of consummation （Marcuse, Baudrillard）. The dialectics of concrete totality implies a marxistic critique of the ethical and juristic universalism, in the context of the ＂positive＂ side of globalization and political unilateralism, as a concrete, militant, hegemonistic, post-colonial, and neo-imperial practice （Apel, Habermas, Chomsky, Zinoviev）; globalization as totali（tari）zation, the ＂last man,＂ the ＂end of history,＂ and the ＂end＂ of dialectics in its neo-liberal, eschatological, empty ideological ＂realization＂ （Hegel, Marx, Fukuyama, Arendt）; the totality of the （invariable） being as a pseudo-concrete and pseudo-dialectical ontologistic speculation （Heidegger）： A ＂return＂ to a concrete history and a return of the ＂positive＂ dialectics as a critical awareness, mind, and method in the discourse ＂game＂ of human＇s cognitive, creative, and practical powers. The assumption of Kosik＇s humanism is a synchrony of nature and history in the ＂absolute＂ totality of human＇s concrete existence （Lukacs, Goldmann, Adorno, Sartre, Kosik）.

A Comparative Study of Taoist and Heideggerian Concepts of Nature From Perspectives of Technology and Deep Ecology

With the theory of existentialism, hermeneutics and phenomenology, this paper carries out profound exploration in a comparative study of Heidegger and Taoist＇s concept of nature and the significance of understanding it. It not only plays an important role in comparison and analogy of eastern culture and western culture in the aspect of civilization and cultural communication, but also helps to take advantage of their theories to support the environmental-friendly movement. Moreover, the text also investigates some controversy in this field and how to solve the problems as well as the meaning of solutions. Both of the theories are significant for deep ecology for their opposing modern technology＇s generally reductionistic and materialistic view of nature.

The Radical Character of Art and the Pedagogical and Political Value of the ＂Sublime＂ in Adorno＇s Aesthetic Theory

The critical nature of artwork is owed, according to Adorno, to the fact that it opposes its assimilation by reason and that it does not yield to the imposition of its established principles. This character which Heidegger, too, through a paradoxical convergence with Adorno, and in opposition to Lukacs, recognizes as its ontological component, permits the work of art to represent a force of resistance to dominance in general, in the prospect of the salvation of a humanized society. As such, it makes possible the radical rejection of political and, pertinent to it, pedagogical activity, when converted into primarily authoritiarian activity. Such a responsibility does art assume, according to Adorno, when it represents a spirituality, which is embodied in exemplary fashion both in the work of art itself, making the experience of the sublime possible, and in the aesthetic of the sublime, which is concentrated intensively on whatever remains unapproachable through concepts. In this way, we could say that the aesthetic of the sublime is converted into ＂first philosophy,＂ in the sense that it provides the rule for every theoretical approach. Concurring with this reading of Adorno, we consider how the sublime, as shown in the context of his aesthetic theory, is governed, furthermore, by a paideutic principle of exceptional significance, which we must necessarily activate through aesthetic education, so that western man may understand that he must uproot himself from the nihilistic social context in which he lives, rupturing the delusion of his omnipotence. In a world governed by a permanent crisis of democracy in public and private life, since the weakening of political imagination unites with the retreat from political ethos and an generalization of the unprecedented will for dominance, we consider this aesthetic theory to be exceptionally essential and useful to us both as pedagogical theory and as political theory, since it allows us to understand that the experience of the sublime through art is in opposition to this condition of destruction, and indeed represents the ideal of justice.

An Unlikely Marriage： Theorizing the Corporeality of Language at the Crossroads of Thoreau, Heidegger and the Botanical World

This paper examines the relationship between language, particularly language that expresses aesthetic experiences of plant life, and corporeality. The theorisation of language is a keystone towards conceptualising participatory relationships between people and the botanical world. A comparative reading of the works of Henry David Thoreau and Martin Heidegger provides a framework for approaching language as embodied participation. Despite political differences, Thoreau and Heidegger shared a mutual conviction about the generative powers of language. Thoreau＇s literary practice partly involved immersion in places such as swamps and forests. Fittingly, Heidegger＇s explication of Rilke＇s concept of＂the Open＂ mirrors the participatory aesthetics of Thoreau. Both thinkers looked towards the capacities of poetics to galvanise the evolution of language. In response to the increasing dissection offered by contemporaneous theories of linguistics, Thoreau and Heidegger held the notion of language as a body in itself, one brought to life through immanence between sensuous bodies in the world. For each theorist, language was both bodily and a body. Their works evidence that multi-sensorial encounters with the natural world can be captured in language. The body of language may be engaged with as a whole living phenomenon rather than a dissected corpse as this comparative reading of Thoreau and Heidegger will intimate.

Heidegger on Discourse and Idle Talk

The present article focuses on Heidegger＇s productive appropriation of Aristotle＇s rhetoric. It pays special attention to the lectures of 1924, Basic Concepts of.4ristotelian Philosophy, and its later influence on the phenomenon of idle talk exposed in Being and Time. First, a brief overview is given of Heidegger＇s early rediscovery of Aristotle＇s political and practical writings. Second, special attention is given to his ontological reading of Aristotle＇s practical and political writings, focusing on the sphere of communicability and publicness inherent to opinions. And third, the paper describes the positive and negative aspects related to the phenomenon of idle talk sketched out in Being and Time, a phenomenon which condensates a good portion of his early interpretations of Aristotelian rhetoric.

Responsibility for Life： A Descriptive View on Hans Jonas＇ Ethics

Among the few philosophers who dedicated philosophical reflection on the problem of technology, Hans Jonas would be the leading one. Still in a close affinity with Martin Heidegger, his teacher, Jonas argued that modem technology bore some annoying characters. In line of this anxiety, Jonas suggested the importance of protecting life as an integral part of the ethical project he intended to build. Departing from his basic notion that human life is never separated from other organic life, Jonas has opened a wider space for ethical responsibilities towards life of the whole cosmos. In what sense is his notion of the responsibility towards the whole life should be understood is one of the aim of this paper. Baring in mind that Jonas developed his concept on life and human responsibility towards it as an argumentation against the development of technology, the social context in which modem technology finds its root is worthed to be discussed. It is concluded that separating ethics from ontology as many theorists and philosophers did so far has strengthened the old notion of human autonomy with its defects, and by that, the destruction of life seemed to be accepted as a consequence of it.

Lived Music Multi-dimensional Musical Experience： Implications for Music Education

Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne＇s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.

张祥龙：儒家不会以西方为模板来强迫自己就范

-张祥龙当代“大陆新儒家”代表性人物。曾任北京大学哲学系教授，现任山东大学儒学高等研究院教授。著有《海德格尔思想与中国天道》、《海德格尔传》、《从现象学到孔夫子》、《思想避难：全球化中的中国古代哲理》、《孔子的现象学阐释九讲——礼乐人生与哲理》、《先秦儒家哲学九讲》、《拒秦兴汉和应对佛教的儒家哲学》、《复见天地心》等。