Ideation and Appropriation: Wittgenstein on Intellectual Property

This paper provides a critique of the contemporary notion of intellectual property based on the consequences of Wittgenstein's “private language argument”. The reticence commonly felt toward recent applications of patent law, e.g., sports moves, is held to expose erroneous metaphysical assumptions inherent in the spirit of current IP legislation. It is argued that the modern conception of intellectual property as a kind of natural right, stems from the mistaken internalist or Augustinian picture of language that Wittgenstein attempted to diffuse. This view becomes persuasive once it is shown that a complete understanding of the argument against private language must include Wittgenstein's investigation of the role of the will in the creative process. It is argued that original thought is not born by decree of the will, but engendered by a public context of meaning and value. What marks a person as a genius is, therefore, according to Wittgenstein, not some sovereign capacity of conceptual world-making, but merely a propitious dose of intellectual courage. This revised version was published online in July 2006 with corrections to the Cover Date.     

美学——哲学的最高形态

美学长期在"形而上学"和"形而下学"压制之下,丧失了自身的特质.美学研究应当回到生存世界本身,研究人类生活的感性形式.这正是传统哲学无能为力的领域.所以,美学是从传统哲学止步之处发轫的.纵观美学史,从柏拉图将美学定义为最高形态的学问,到现代美学学科的形成,美学的要义与精髓正表现为其研究的是哲学中的最大难题.美学探索生活世界的根基,是一门超越传统学科的"元学".因而,美学的发展也引发了哲学思维的剧变,哲学的"基本原理"由美学构成,美学真正成为了哲学的最高形态.     

论理学家“气象”说的美学意蕴

“气象”是一个兼具文学、美学与文化品格的范畴。与文学家主要把“气象”运用于文学创作、主要指诗歌的整体艺术风貌不同,理学家则多指作品中所透露出的作者的人格精神,提倡孔颜式的脱略世故、超然于富贵功名之外的精神风貌。因此,重视“气象”,充分体现“圣人气象”的“寻孔颜乐处”成为了宋明理学的核心问题,而熟观圣人之气象是实现“学至圣人”修养目标最重要的方法。     

论中国古典文艺美学思想发展的五大阶段

中国古典文艺美学思想发展的基本历程主要分五大阶段:一是以《尚书》所提出的美学话语作为历史的(也是逻辑的)起点阶段;二是以先秦至东汉为中国文艺美学思想的奠基阶段,标志是产生了作为中国文艺美学思想之根基的儒、道两家学说,初步确立了中国文艺美学的特有概念、命题及其话语模式;三是以魏晋以降为中国文艺美学思想的自觉阶段,标志是出现了较为专门而独立的文艺美学思想形态,将关注的焦点从文艺的伦理功能转向文艺自身的审美意义;四是以唐宋之际为中国文艺美学思想的成熟和深化阶段,体现出由综合而成熟、由转型而深化的两大特点;五是以元明清为中国文艺美学思想的近代蜕变和古典总结相互碰撞交织的阶段。     

论艺术和技术的逻辑联系

技术必须遵循客观的自然法则和刻板的机械模式，这些与艺术不断地怀疑与否定的自由天性和个性喜好是相互排斥的，因而技术发展势必带来对艺术的负面影响，甚至迫使某些艺术类型的解析；另一方面，技术发展导致新的艺术种类的诞生和繁荣，导致艺术的形式、内容乃至于审美观念的巨大变革，促使艺术走向一个无法预料的全新境界。     

重温姚斯与20世纪中国文学史的重写

文章重温20世纪80年代以来传入中国的姚斯及其学术思想，用成语“一波三折”简要地概括其学术思想及发展，同时发掘出他作为文学史家受到忽视的事实，以此对20世纪80年代绵延至今的“重写文学史”讨论做出反思，并提出重写20世纪中国文学史的若干建议和设想。     

森鸥外早期的美学活动

森鸥外是明治时期的文学大家。从德国回到日本后,森鸥外开始了丰富多彩的文艺活动,引进和宣传西方美学是重要内容之一。将德国哈特曼的理论作为＂武器＂,与外山正一辩论、翻译改编哈特曼等西方美学家著作,构成森鸥外早期美学活动的主要内容。     

Towards a Feminist Aesthetics of Melancholia: Kristeva,Adorno, and Modern Women Writers

Abstract

Melancholia is a hybrid concept, deployed in feminist and philosophical theories politics and aesthetics, but "properly" belonging to neither. This heterogeneity of melancholia as both an aesthetic and a political category allows us to interrogate the interrelationship between gender politics and aesthetics without, however, abolishing their differences. Reinterpreted in the context of a feminist aesthetics, melancholia not only points to art's origin in the unjust and gendered division of labor and power but also to the ethical and political task of art to bear witness to the mute suffering of women cut off from the signifying possibilities of language. Moving beyond the entrenched oppositions between historicism/subjectivism, subject/object, or formalism/materialism, my own approach to an aesthetics of melancholia in women's modern novels stresses unpredictable, conflicting migrations of pain between subjects and objects, political oppression and autonomous art, language and affect.     

英汉翻译教学的审美之兴

翻译教学和实践离不开美学。当代中国美学的理论转型为“翻译美学”的建立作了理论上的铺垫。“兴”是“审美的存在状态”,是标示审美活动区别于其他所有活动的最本质的东西,是审美活动的“本质”。没有审美活动的翻译是不存在的。对“兴”这一不能再还原的基本事实的描述和反思构成了现代美学的核心内容,也应是英汉翻译美学的核心内容。作为方法论的中国美学在英汉翻译教学和实践中自然地起着支配作用。     

Young Estonia and The Early Twentieth-Century Cultural Utopias

This article examines aesthetic and social ideals in the early texts (1904–1908) of one of the first integral Estonian cultural movements – Noor-Eesti (Young Estonia). The aspirations of Young Estonia can be mapped by means of two principles of culture-making: a utopian one that seeks to change society as a whole, and a monadic one that focuses on the individual. The ideal of the Young Estonia movement is characterized by harmony and entirety – a kind of unity of social classes and cultural spheres, as well as the text and its parts; hence the connections between the arts and society (i.e., the belief that through the development of the cultural sphere, the whole of society develops as well).