《马丁·路德年谱》的编撰与中西史学融合的路径

1517年,马丁·路德发动宗教改革,改变了西方的历史,同时备受争议。西方学术界对路德已经进行深入的研究,出版了很多传记和编年著作,但目前仍缺乏一部完全按年月日的时间顺序展现路德生平和著作及宗教改革的背景与过程的著作,即使如最权威的《路德全集》魏玛版也没有按原计划贯彻完全按时间排列路德著作的理念。本文提出,可以尝试用逐年逐月逐日地将背景、生平和著作年表与概要结合起来的中国传统史学方法———年谱来解决这个问题。本文将阐述编撰《马丁·路德年谱》的结构和方法,从而探索中西史学融合的新路径。     

Mini-Remnants of Three Empires: Governing West Indian Dependencies

The remnants of three almost forgotten empires (British, French and Dutch) in the North Eastern Caribbean provide some remarkable contrasts in styles of governing, notwithstanding a good deal of common ground among the resident communities. Two of these remnants actually share a single island, and the third, on another small island, is not far away. Problems and issues are identified, and a solution suggested for overcoming some of them.     

在马丁·伊登的背后

美国作家杰克·伦敦在其自传体小说《马丁·伊登》中 ,根据自己的亲身体验塑造的主人公马丁·伊登是作家超人思想的显现 ,也是作家的”自画像” ,更是一曲知识分子的精神悲剧。这一超人形象的深刻内涵 ,从价值上的自我肯定 ,道德上高尚与卑劣的取舍和蔑视同情的硬汉精神这三个方面得以体现     

An industrial application of meta-evaluation

This article describes the efforts of an industrial training organization to increase the number and to improve the quality of “follow-up” evaluations (i.e., evaluations in terms of post-training job performance). Efforts included an analysis of the problems encountered in evaluating training, development and implementation of corrective actions, and an evaluation of the corrective actions. The project illustrates the process of “meta-evaluations.”     

论张祥龙美学观对现象学的接受

为了实现现象学方法的美学开展、接续并发展中国现代意境美学传统,张祥龙在深入接受现象学思想的基础上建构起自己的美学观。其“美感论”中的“美感体验论”接受了胡塞尔的“直观”说和海德格尔的“体验”说,“美感居中论”接受了胡塞尔的“意向性构成”思想和海德格尔的“视域构成”思想;其“审美对象论”接受了胡塞尔和海德格尔的“现象”思想。张祥龙对现象学思想的接受具有准确深入、中西会通的特点,其接受意义有二：就目的言,他通过接受现象学思想既建构了具有中国特色的现象学美学理论,又接续并发展了中国现代意境美学传统;就方法言,他的接受与建构实践为如何融通中西美学资源进行理论创新作出了示范。     

真伪之辩——基于新近材料的“海德格尔事件”核心问题研究

新近出版的《海德格尔兄弟通信集》为“海德格尔事件”研究的突破性进展提供了非常重要的文本资料，为澄清诸多疑难问题提供了一个关键契机。受此推动，本文将对“海德格尔事件”的核心问题展开追问:海德格尔在校长任职动机问题上的自我辩护是谎言还是事实?胡戈·奥特在其研究中批评海德格尔的辩护乃是撒谎，这一判断以种种变式影响着今天的《黑皮笔记》研究;但依据更多材料和更严谨的分析，可以看出奥特这一具有重大影响力的研究工作存在严重漏洞，扭曲了事实，而多年来一直被质疑的海德格尔自我辩护反倒符合事实。这一发现不仅揭示出了重新全面解读“海德格尔事件”的必要性，而且推动着我们去沉思相关论战一再爆发的深层原因，这将有助于我们走上真正的疑难澄清之路。     

从“本真的历史”到“效果的历史”——论《真理与方法》对海德格尔早期历史观的改造

海德格尔的"本真的历史"概念因其内在的矛盾而被伽达默尔弃之不用。在接受胡塞尔的生活世界学说以及意向性中的"先天相互关联"思想的基础上,借助于约克伯爵在黑格尔的精神现象学和胡塞尔的先验主体性现象学之间所架设的桥梁,伽达默尔成功地清除了黑格尔哲学中生命概念的形而上学色彩并将历史性的维度植入其中,从而完成从基础存在论的"本真的历史"向诠释学的"效果的历史"的转变。海德格尔早期历史观中的革命性意义及其新的突破方向也因此得到清晰的彰显。     

On the Erasure of race in control culture discourse: a case study of Trayvon Martin’s role in the Black Lives Matter movement

ABSTRACT

In this paper, we analyze an emergent cultural clash between: (a) how media outlets and other control culture institutions have portrayed events related to Black Lives Matter, and (b) the complex reality of Black Lives Matter movements as they have developed through embodied, intersectional, and always socially situated forms of direct collective action. In focusing specifically on American mainstream media coverage of the killing of Trayvon Martin, we argue that, given the history of white supremacy in America, such journalistic accounts generally fail to provide an adequate socio-historical context for emergent social movements in the vein of Black Lives Matter. In framing such movements, at worst, as anti-American terrorist organizations, though more regularly as social constellations of misplaced anger, American control culture institutions have consistently reinforced a certain set of logical contradictions found across broader discussions about race throughout the history of America. Finally, drawing on the theory of play proposed by Gregory Bateson, we outline how a form of subverting mainstream journalistic framing techniques is enacted and embodied creativity through the communally oriented tactics successfully deployed by social movements like Black Lives Matter.     

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.     

技术与真理--海德格尔的真理观

海德格尔从批判西方传统的符合论真理观出发，提出了他的存在论真理观。海德格尔把技术纳入到其存在论的思想框架中，认为技术是一种产出，技术的本质在于解蔽，技术是真理的发生方式。技术因而在存在论意义上与艺术和真理具有本质的同源性。但是，作为“集置”的现代技术却是对存在的僭越和对真理的伪装，使技术与艺术又有着明显的区隔，它因而需要依于本源而居的艺术以及作为艺术之本质的诗的救渡。