牟宗三真的“误读”康德了吗？——就“智性直观”与邓晓芒老师商榷

康德哲学的目的论指向以意志自由、灵魂不朽、上帝存在三大“悬设”为前提的“人是目的”和“道德神学”。牟宗三在深刻理解康德哲学的人学意义后,从道德形而上学的角度对“智的直觉”及其创造性作出了自己的理解和阐释:道德本体不仅是理论的设定,更是具体的实在;由本心仁体发出的直觉就是具有创造性的智的直觉,是“存有论的实现原则”;人类可以凭借“智的直觉”贯通现象界与物自体。     

康德与王国维审美启蒙论的情性论分歧

作为中西方现代审美启蒙观念的奠基人,康德和王国维关于人类情性教化的具体思路却未尝相同。在晚年康德笔下,“黏液质情性”的地位超过了“黑胆汁质”情性,其中体现出其以禁欲主义的无功利化审美方案疗治忧郁情性的动机。相比起康德的方案,王国维在相信“不可爱”的人性论现实的同时,更渴望保留“可爱”的人生理想和生命激情。出于这一动机,王国维借助叔本华的学说,提出关于“势力之欲”的生存本体论,从中发展出一套用良性嗜好取代恶性嗜好的务实的情性疗治方案。     

《启蒙辩证法》批判康德启蒙理性的独特视角——以“康德同萨德”命题为切入点

霍克海默和阿多诺在《启蒙辩证法》第二篇附论中认为,萨德的小说《朱莉埃特》中的主人公朱莉埃特和康德在哲学中塑造的启蒙者是一致的,这便是“康德同萨德”(Kant with Sade)①命题的由来。针对这一命题能否成立的问题,国内外学者产生诸多争议。大卫·詹姆斯是反对派的代表人物,他站在文献学的立场上认为理性在康德那里有同一性和批判性双重属性,而理性的批判性防止了启蒙理性退化为知性②。然而,这一反对意见忽视了《启蒙辩证法》批判启蒙理性的独特视角。实际上,《启蒙辩证法》不仅是从启蒙自身的属性出发批判康德启蒙理性的,而且还将启蒙理性置于资本主义社会的视域之中。正是由于启蒙理性和资本主义工业生产紧密地结合在一起,才使得理性的批判性在强大的资本主义生产方式面前丧失了力量。     

The Image

Abstract

The concept of ‘the image’ can be given historical, conceptual, aesthetic and moral specifications. This essay sets out some of the scholarly issues in the dense semantic field of ‘the image’. In particular, the essay considers how the meaning of the image is often determined in relation to the opposition between sensible form and intelligible idea. Specific attention is given to Kantian aesthetics, which inaugurates a specific way of understanding the sensible form as a mode of processing moral ideas.     

Interpretation after Kant

Abstract

After tracing the rise in interest in the phenomenon of interpretation to events in the early post-Kantian period, I argue that this development is highly relevant to understanding contemporary philosophy's methodological status and its relation to fields such as science and literature. I argue that much of recent philosophy is best understood in terms of an "interpretive turn" that has now provided philosophy with a modest but valuable and distinctive role. I illustrate the procedure of philosophy in this key by critically appropriating ideas about interpretation advanced by Harold Bloom and Richard Rorty, and by using hints about the role of history that arise from discussions of Kant's notion of genius.     

The Moral Efficacy of Aesthetic Experience: Figures of Meaning in the Moral Field

Abstract

This paper proposes to analyse the process that makes paths of action meaningful. It argues that this process is one of "figuration". The term "figuration" intends to outline how the experience of moral meaning is one that already positively marks out a field and to identify and analyse the mechanisms used for such marking and selection. It is my contention that these mechanisms predate the persuasion to a moral path; they are the process through which this path is constructed as meaningful. This thesis is elucidated through an analysis of the tactics of meaning in Kant's moral theory. Kant turns to aesthetics as a means of corroboration for his moral theory, but he also attempts to limit the scope of the interactions between his aesthetic and moral theory. For instance, when he writes on the topic of form in aesthetic taste or outlines the technical specifications of aesthetic judgment, it is arguably the arcane peculiarities of his system that are met. For this reason, Kant insists on the merely analogical relations between beauty and morality. However, it is also possible to see how certain aspects of Kant's aesthetic theory execute wider, and potentially more important, functions for his practical philosophy, such as providing meaningful orientation for the ascetic moral attitude of his duty-ethics. In this respect, certain figures of Kant's aesthetic theory may well be viewed as complementing the dependence in his moral philosophy, in the important sections on moral pedagogy and methodology, on appeals to heroic models and stories as ways of shaping and inculcating the moral disposition. This paper considers these aspects of interaction between Kant's aesthetic and moral philosophies as both (1) a problem for the consistency of his philosophy given his avowed exclusion of aesthetic and religious elements of meaning in his duty-ethics; and (2) as a case study for the new, schematic analysis of "moral figuration" outlined in the paper.     

谈康德对上帝观念的批判

康德的思想主旨是树立理性科学和自由的权威。在《纯粹理性批判》中,他从先验唯心论出发,铲除了上帝在自然中的地位;在《实践理性批判》中,他把上帝贬为理性的假设,他的生平和理论渗透着反叛的精神、革命的精神。     

论康德的"普遍历史的理念"

康德历史学的思想,是具有批判哲学特色的历史哲学,开创了在人类理性范围内理解历史终极目的之先验理性历史哲学的先河."普遍历史的理念"是康德历史哲学中一个极为重要的概念,对它的详尽梳理,可以帮助人们透彻洞悉康德历史哲学的独特品格,彰显掩藏其中的实践智慧.     

Contempt,Community, and the Interruption of Sense

In the early modern period, contempt emerged as a persistent theme in moral philosophy. Most of the moral philosophers of the period shared two basic commitments in their thinking about contempt. First, they argued that we understand the value of others in the morally appropriate way when we understand them from the perspective of the morally relevant community. And second, they argued that we are naturally inclined to judge others as contemptible, and that we must therefore interrupt that natural movement of sense-bestowal in order to value others in the morally appropriate way. In this paper I examine in detail the arguments of Nicolas Malebranche and Immanuel Kant concerning the wrongness of contempt, emphasising the ways in which they depend on conceptions of community and of the interruption of moral sense-bestowal. After showing how each of these arguments fails to comprehend the nature and the wrongness of contempt, I argue that we can find the resources for a more adequate account in the work of Jean-Luc Nancy, and specifically in his reflections on ontology and on the meaning of community.     

Women on the Edge of Modernity

Feminism has long been committed to a critique of stereotypic examples of women in patriarchal discourse and has been keen to see what it could offer by way of alternatives. Yet to suggest that alternatives are possible raises the question of whether feminism itself can altogether avoid the trap of turning women into stereotypes, turning the specific example of woman into a universal model, in its own efforts to represent women. Communication demands the particular; it is not possible to refer to everything at once. At the same time, judgements that arise from the use of those particulars are always to some extent faulty - inaccurate or incomplete, too particular or too general. This applies as much to aesthetics (models of beauty) as it does to politics (another matter of representation). What is at issue here is the entire problematic of inclusion and exclusion, whether in politics or aesthetics. Focusing on the significance of Kant's reliance on woman as an example in the Critique of Judgement , Elam argues that it would be a mistake to dismiss all aesthetic discourses of beauty as ploys on the part of patriarchy to keep women for men's eyes only. The Critique of Judgement stands to be useful to feminism because it demonstrates that the problem of the example cannot be solved by striving for the perfect representation of woman - either an inclusive aesthetics or a fully representational politics - or even by overcoming the use of examples altogether. Rather, taking 'woman' as an example stages both aesthetic and political questions about representation that call attention to the challenges feminism faces in its attempt to form political communities.