海德格尔“存在”思想在教育方法中的寓意及其入路

教育的本质源始于人,而人具有"存在"的性质,由此人的"存在"问题构成了教育研究的核心。海德格尔的"存在"思想建构的是一种反思性方法,"存在"的"在世存有"超越了传统教育形上学的二元对立困境,通过"存在"思想在教育方法上的运思、教育研究者的"存在"反思与确立"存在"思想在教育方法上的优先性三重入路来耕犁出以"存在的存有论"为枢轴的教育方法,教育方法必须对人的"存在"样态有所把握与理解,才能澄明教育研究在"人成为人"的过程中所展现出的理论基础与实践策略。     

也谈马克思主义美学和“实践存在论美学”的方法论问题——兼与董学文先生商榷

董学文先生的批评文章曲解海德格尔与实践存在论美学的关系,力图把实践存在论美学的基础——马克思存在论思想曲解为海德格尔的存在论思想,并力图以唯心主义和存在主义来定位海德格尔学说,以此排斥实践存在论对海德格尔学说的有益吸收,这在学理上是站不住脚的,而且董学文先生对存在论概念的理解存在着诸多错误,如把存在论归为唯心主义,认为存在论是反认识论的,把存在论与世界观和宇宙观概念相混淆。在对马克思主义解读问题上排斥任何从新的视角上的理论探索,这本身就不符合马克思主义。     

海德格尔论对哲学的两种“误解”——海德格尔《形而上学导论》研读手记

海德格尔在《形而上学导论》中重点分析了对哲学的种种流行误解之中的两种误解,认为这对于弄清当今以及将来的哲学状况十分重要。这两种误解的实质一是对哲学的形而上学的理解;二是对哲学的技术性的要求。前者使哲学成为追问和确立根据的科学,最终使哲学终结于科学之中;后者则使哲学技术化,以计算为特征。这两种哲学实际上是传统哲学存在的两种形态。海德格尔以此提出以"思想"代替"哲学"作为一种新的哲学形态,以消除对哲学误解的根本途径。     

海德格尔与计算机————兼论当代哲学与技术的理想关系

一般认为,现代哲学与技术实践是分离的,这种未经反思的信念之所以为人接受,原因在于哲学总是作为技术实践的背景而存在。人们只有在技术难题无法通过技术手段克服时,才有可能去反思它背后的哲学假设。计算机与哲学的距离似乎是最遥远的,然而潜藏在计算机科学和技术深处的是传统的哲学信念———世界的可表征性和主客的二元分立。当科学家们想要弄清知识表征难题的根源时,传统的哲学信念才开始得到严肃反思和摒弃。海德格尔凭借他对传统哲学的深刻批判而进入到计算机领域中。在海德格尔式的设计进路中,最具代表性的工作是:存在主义设计、指示表征设计、具身交互设计。它们说明,哲学不只是技术实践的批判者和局外人,还可以成为参与者和推动者。     

The internal death of Japanoise

Japanese noise music (Japanoise) has strong associations with death. In the early stages of Japanoise’s development, practitioners would often make reference to eroticism, violence and death in their performances and album artwork to help visualise the “excess” of their sound. The discourse of Japanoise also draws on these associations, through concepts such as disembodiment, to help frame this transgressive enterprise. Death becomes a way of visualising and conceptualising a subversive style of music that attempts to leave the world of limits and meaning. Paul Hegarty and Eugene Thacker both account for Japanoise in these terms. Although death is only implicit in their writing, it will be argued that this understanding of death is essential to what Hegarty means by failure and what Thacker means by disembodiment. This paper will show how, for both theorists, death names a paradoxical yet extreme form of possibility that enables Japanoise to test limits. However, the problem with this understanding is that it holds Japanoise to a limited framework. It essentialises the concepts of negativity and subversion to the economy of Japanoise. This paper will argue that Japanoise cannot be limited to these concepts if it hopes to be more than an oppositional form of music and a tired form of transgression. This requires that its relationship with death not be reduced to a form of production or act of will. By arguing that Hegarty and Thacker’s accounts of noise can be read as Heideggerian, this essay will critique this understanding by drawing on Maurice Blanchot’s account of death. This critique will show how a different understanding of death enables a more nuanced understanding of Japanoise.     

Exploring Heideggerian hermeneutic phenomenology: A perfect fit for midwifery research

BackgroundHeideggerian hermeneutic phenomenology has been used widely to understand the meaning of lived experiences in health research. For midwifery scholars this approach enables deep understanding of women's and midwives’ lived experiences of specific phenomena. However, for beginning researchers this is not a methodology for the faint hearted. It requires a period of deep immersion to come to terms with at times impenetrable language and perplexing concepts.ObjectivesThis paper aims to assist midwives to untangle and examine some of the choices they face when they first come to terms with an understanding of this methodology and highlights the methodology's capacity to reveal midwifery authenticity and holistic practice.DiscussionThe illumination of a selection of various concepts underpinning hermeneutic phenomenology will inform midwives considering this methodology as suitable framework for exploring contemporary midwifery phenomena.     

海德格尔之路

海德格尔独特的人生之路,造就了海德格尔独特的哲学之路,造就了海德格尔独特的艺术之路。海德格尔追寻人生之路、哲学之路、艺术之路,都只为追寻"存在"之路。     

“反思”对“形式指引”——胡塞尔与海德格尔之方法的比较

为了原初地把握变动不居的生活之流,胡塞尔和海德格尔分别提出了＂反思＂和＂形式指引＂的方法。它们之间是＂对＂（versus）的关系。但也正因如此,它们为我们提供了做生活现象学的两种可能性和重要启示。     

“正是终有一死者更早达乎深渊”——海德格尔诗人之天命观刍议

海德格尔的诗人之天命观是其诗学领域中的一个重要维度,内含着诗人之“世界”、诗人之“返乡”及诗人之“倾听”,隐含着对传统艺术理论的反动和纠正。蕴涵着哲学与诗学的融通。关注诗人之天命,旨在以“它者”的视角,消解传统艺术理论中对创作主体认知的僵化和凝固。     

Social work as art revisited

In this article we revisit 'social work as art', noting that it is just over 20 years since England's book on the subject provided a direction for the profession's early defence against empiricism. Those who picked up the ball handed to them by England tended to focus discussions of social work's 'art' on its soft side, embedding it in notions of 'creativity', 'meaning', 'self-expression', 'intuition' and 'quality', all of which were said to characterise the 'aesthetic dimensions' of social work practice as a counterpoint to the rising tide of hard empiricism, proceduralism and managerialism. Within these 'aesthetic dimensions', proponents of social work as art sought to resolve tensions through advocating a value-based 'artistic' approach to care. Against this we argue that art is struggle and resolution, soft and hard, joy and grief. Further, we posit that social work's art lies not in the social worker as artist but rather in social work as the 'work' of art, which is implicitly a 'non-productivist' endeavour. In a fundamental sense we argue that it is the art of social work and not the social worker that assembles what is practice, that provides bounds and lets everything stand in relation to everything else. This enables us to construct a speculative 'radical agonistics' for social work that draws attention to the relation between art, truth and event. In so doing, we substitute a subjectivist reading of social work as art with an ontological analysis drawing on Heidegger's phenomenology, supplemented by the work of Alain Badiou, to cast social work as art first, as artistic attunement, and second, as an art in the service of a politics of liberation.