The philosophical horizon of this essay is theoretically comparative and hermeneutically dialogic. Its main philosophical and theological tonality expresses, in first person and through three discursive moments, the d...The philosophical horizon of this essay is theoretically comparative and hermeneutically dialogic. Its main philosophical and theological tonality expresses, in first person and through three discursive moments, the differentiated fusion of horizons between phenomenological and grammatical description and understanding of experience. After a philosophical overture-outlining the ethos of the dialogic problematic and situating it within the contemporary diverse and dialogic dynamic of phenomenology-I will expose the consistent, possible modalities of convergence between Husserlian phenomenology and Wittgensteinian grammar of the mystical shapes of experience. The tense, responsorial dialogue among Husserl, Heidegger, Levinas, and Wittgenstein＇s styles of thinking, far from being anymore limited to the debates between the analytical and phenomenological, will be considered from the crossed categorial spaces of Austrian philosophy and German culture in general. In a second section, I will show how the styles of phenomenology today are advancing into a cautious micro-logical grammar of comparative inquiry. This thematization will first consider some precise semantic clarifications： Experience, the mystical, extasis, evidence, and truth; in a second section, the theoretical levels of grammar and phenomenology of mystical experience are heralded in the context of the Christian theological dialogue, where I emphasize the rebirth of French theological thinking and dialogic transcendence, beginning with Maritain and de Chardin to Marcel, de Lubac, Levinas, and Marion. Finally, I consider the aesthetic expressions of mystical experience, both from the visual and musical dimensions. I will conclude this talk by highlighting theological perspectives drawn from my research in musico-philosophical problematics, through an awakening to the resonance of Being and the Divine in sonic and musical life. Through a theology of the musical λογοζ, the grammar of mystical experience reveals the sacramentality of music and the mystery of silence展开更多
French philosopher Gabriel Tarde is known as a philosopher who describes sociology ontologically with an integrated approach and mostly by means of metaphysical interpretations. Opposing his coeval Durkheim＇s “socia...French philosopher Gabriel Tarde is known as a philosopher who describes sociology ontologically with an integrated approach and mostly by means of metaphysical interpretations. Opposing his coeval Durkheim＇s “social fact”, Tarde claims that this notion constitutes a methodological problem and the term “social” of Durkheim＇s crowds out “variability of relations”. According to him, determinants in social relations are more general and dynamic notions, such as： “change”, “contrast”, and “adaptation”. In this respect, not quite celebrated in his era, this philosopher is widely known as a metaphysician as well as a sociologist. His metaphysical ideas are clearly visible in various sections of his works, where he described with inspirations from natural phenomenon. Descriptions and analysis on natural phenomena constitute the greater part of his works. He points out similarities between the universe and the world of men in terms of functioning. Presenting these similarities, Tarde seems to reject any division between the men and the nature built up by “positive philosophy” and modern understanding. With his natural descriptions and concepts he inferred from these descriptions, such as“contradiction” and “harmony”, he almost tries to re-establish the bonds between the nature and the social life. Tarde＇s perception of holistic being and his ideas of “contradiction” and “harmony” in nature, are very close to the most basic axioms of the traditional Chinese thought. As a matter of fact, Tarde denotes these similarities in his novella called “Fragment d＇histoire future （Underground Man）”. It is also an example to display an “East-West encounter” on a fictional plane.展开更多
The incredible extent of current environmental destruction justifies the modern concern to resist the alienated view of nature as a resource to exploit a totality of dead and meaningless objects, a totally disenchante...The incredible extent of current environmental destruction justifies the modern concern to resist the alienated view of nature as a resource to exploit a totality of dead and meaningless objects, a totally disenchanted world. In this spirit, modern philosophy tries to take nature seriously by recapturing a sense of nature＇s intrinsic value. Hegel respects nature to the extent that it bears the trace of the human mind, to the extent that it is forced ＂to speak the voice of reason.＂ Although there are grounds for being critical of the Hegelian project, especially because Hegel remains silent on the issue of our duties towards nature for the sake of nature and his argumentation serves the primordial desires of human reasoning and not the rights of nature itself, it is suggested that no matter how much inauthentic and incomplete is the recognition that the human mind acquires in its dialectical confrontations with nature. Hegelian phenomenology grants the human mind with a remarkable degree of self-certainty, necessary for all its subsequent educational enterprises.展开更多
This paper introduces the film ＂Kung Fu Panda,＂ which contains the elements of Chinese culture and Western culture, respectively, from the philosophical thinking, animal image, folk life and expression of Chinglish ...This paper introduces the film ＂Kung Fu Panda,＂ which contains the elements of Chinese culture and Western culture, respectively, from the philosophical thinking, animal image, folk life and expression of Chinglish and etiquette introduced Chinese elements, from individualism, fatalism and character introduced western culture reflected in the movie.The success of the film in the world shows that the new trend of the integration of Chinese and Western culture in the context of globalization. At the end of the paper, it gives the inspiration of the film ＂Kung Fu Panda＂ to the Chinese culture communication.展开更多
文摘The philosophical horizon of this essay is theoretically comparative and hermeneutically dialogic. Its main philosophical and theological tonality expresses, in first person and through three discursive moments, the differentiated fusion of horizons between phenomenological and grammatical description and understanding of experience. After a philosophical overture-outlining the ethos of the dialogic problematic and situating it within the contemporary diverse and dialogic dynamic of phenomenology-I will expose the consistent, possible modalities of convergence between Husserlian phenomenology and Wittgensteinian grammar of the mystical shapes of experience. The tense, responsorial dialogue among Husserl, Heidegger, Levinas, and Wittgenstein＇s styles of thinking, far from being anymore limited to the debates between the analytical and phenomenological, will be considered from the crossed categorial spaces of Austrian philosophy and German culture in general. In a second section, I will show how the styles of phenomenology today are advancing into a cautious micro-logical grammar of comparative inquiry. This thematization will first consider some precise semantic clarifications： Experience, the mystical, extasis, evidence, and truth; in a second section, the theoretical levels of grammar and phenomenology of mystical experience are heralded in the context of the Christian theological dialogue, where I emphasize the rebirth of French theological thinking and dialogic transcendence, beginning with Maritain and de Chardin to Marcel, de Lubac, Levinas, and Marion. Finally, I consider the aesthetic expressions of mystical experience, both from the visual and musical dimensions. I will conclude this talk by highlighting theological perspectives drawn from my research in musico-philosophical problematics, through an awakening to the resonance of Being and the Divine in sonic and musical life. Through a theology of the musical λογοζ, the grammar of mystical experience reveals the sacramentality of music and the mystery of silence
文摘French philosopher Gabriel Tarde is known as a philosopher who describes sociology ontologically with an integrated approach and mostly by means of metaphysical interpretations. Opposing his coeval Durkheim＇s “social fact”, Tarde claims that this notion constitutes a methodological problem and the term “social” of Durkheim＇s crowds out “variability of relations”. According to him, determinants in social relations are more general and dynamic notions, such as： “change”, “contrast”, and “adaptation”. In this respect, not quite celebrated in his era, this philosopher is widely known as a metaphysician as well as a sociologist. His metaphysical ideas are clearly visible in various sections of his works, where he described with inspirations from natural phenomenon. Descriptions and analysis on natural phenomena constitute the greater part of his works. He points out similarities between the universe and the world of men in terms of functioning. Presenting these similarities, Tarde seems to reject any division between the men and the nature built up by “positive philosophy” and modern understanding. With his natural descriptions and concepts he inferred from these descriptions, such as“contradiction” and “harmony”, he almost tries to re-establish the bonds between the nature and the social life. Tarde＇s perception of holistic being and his ideas of “contradiction” and “harmony” in nature, are very close to the most basic axioms of the traditional Chinese thought. As a matter of fact, Tarde denotes these similarities in his novella called “Fragment d＇histoire future （Underground Man）”. It is also an example to display an “East-West encounter” on a fictional plane.
文摘The incredible extent of current environmental destruction justifies the modern concern to resist the alienated view of nature as a resource to exploit a totality of dead and meaningless objects, a totally disenchanted world. In this spirit, modern philosophy tries to take nature seriously by recapturing a sense of nature＇s intrinsic value. Hegel respects nature to the extent that it bears the trace of the human mind, to the extent that it is forced ＂to speak the voice of reason.＂ Although there are grounds for being critical of the Hegelian project, especially because Hegel remains silent on the issue of our duties towards nature for the sake of nature and his argumentation serves the primordial desires of human reasoning and not the rights of nature itself, it is suggested that no matter how much inauthentic and incomplete is the recognition that the human mind acquires in its dialectical confrontations with nature. Hegelian phenomenology grants the human mind with a remarkable degree of self-certainty, necessary for all its subsequent educational enterprises.
文摘This paper introduces the film ＂Kung Fu Panda,＂ which contains the elements of Chinese culture and Western culture, respectively, from the philosophical thinking, animal image, folk life and expression of Chinglish and etiquette introduced Chinese elements, from individualism, fatalism and character introduced western culture reflected in the movie.The success of the film in the world shows that the new trend of the integration of Chinese and Western culture in the context of globalization. At the end of the paper, it gives the inspiration of the film ＂Kung Fu Panda＂ to the Chinese culture communication.
