《戏中的生命》:日本美学中的儒家自我探索

IF 0.2 0 PHILOSOPHY
Yi Chen, Boris Steipe
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引用次数: 1

摘要

摘要:几千年来,儒家国家学说作为强调等级和义务的规范性行为准则,塑造了亚洲文化。然而,作为礼仪、仪式或一般的文化语法的“l”的核心前提是真实性,而真正的尊重是无法被命令的。如果“l”是优雅的呢?汉斯-乔治·伽达默尔(Hans-Georg Gadamer)分析说,游戏是一种视界的融合,被吸收到同一事件中,在审美体验中共同构成主体和客体,并消解它们的二分法。我们在这个框架中考虑日本美学的例子,以深入了解儒家的关键概念:使关系不与自治相冲突的价值观;文化自强的参考点;社会组织:实行互惠的社会组织;以及这需要的基本姿态。茶和茶的哲学极其简单,桂理宫的美学精致阐明了相遇时情感共鸣的原则,这是认知、伦理和美学视野融合的基础。这一观点揭示了儒家哲学体系的关系前提如何需要对相互性的本体论承诺。这确实是伦理学,但既不是特殊主义,也不是一般主义;在美学维度上,它是在游戏中自我实现的感知模式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Vital Lǐ 禮 in Play: Exploring the Confucian Self in Japanese Aesthetics
Abstract:Confucian state doctrines have shaped Asian cultures for millennia as prescriptive codes of conduct with an emphasis on hierarchy and obligation. Yet a premise at the core of lǐ (禮)—understood as propriety, ritual, or generally a cultural grammar—is authenticity, and authentic respect cannot be commanded. What if the lǐ were to be elegant instead? Hans-Georg Gadamer analyzed play as a fusion of horizons that are absorbed into the same event, co-constituting subject and object in an aesthetic experience, and dissolving their dichotomy. We consider examples from Japanese aesthetics in this framework to give depth to key Confucian concepts: the values that enable a relationality that is not in conflict with autonomy; the points of reference for self-improvement through culture; a social organization that enacts reciprocity; and the essential posture this requires. The radical simplicity of the philosophy of tea, chanoyu, and the aesthetic refinement of the Katsura Rikyū palace illuminate the principle of emotional resonance in encounters, which underlies the fusion of cognitive, ethical, and aesthetic horizons. This view reveals how the relational premise of the Confucian philosophical system entails an ontological commitment to mutuality. This is indeed ethics, but neither particularism nor generalism; in its aesthetic dimension it is the mode of perception of a self fulfilled in play.
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