历史的商鞅与符号化的商鞅

后现代哲学认为,作品本身根本没有一个客观的本质意义。一个作品一经面世,它的作者就丧失了对它的阐释权。话语霸权的取得关键在于谁能想方设法理论翻新。有鉴于此,我们必须清醒地意识到历史的商鞅与符号化的商鞅同时存在的这样一个客观事实。从战国时代的韩非,一直到二十世纪七十年代的“批林批孔”、“评法批儒”运动,中国历史在每一次重大转折关头,商鞅的“亡灵”总是一再被人请出,或讴歌、或诋毁、或谠论、或谵语。凡此种种,实际上都是为了便于在“托古改制”的幌子下演出一幕幕“世界历史的新场面”。商鞅已经符号化了,商鞅已经成了一种象征、一种譬喻,一个时翻时新的寓言故事。

Historical ShangYang And Coded ShangYang

Postmodern philosophy holds that work itself hasn't objective essence meaning at all. Once a work comes into the world,the author lose the right to interpret the work. Gaining hegemony of discourse depend on that whether or not you be able to try every means to renew your theory. In view of this, we must be consicious clearly of the objective fact that historical Shan-gYang and coded ShangYang exist simultaneously. At every critical turning point of Chinese history,from HanFei to "Pi Lin Pi Kong","Ping Fa Pi Ru" in 1970', ghost of ShangYang was visited repeatedly to be eulogized, be slandered, be talked ontra-geously or be driveled. In fact,all of these only make it convenient for them to perform"New phase of world history" under the cover of "chage system under the ancient's name",ShangYang has been coded,ShangYang has became a symbol,a metaphor,a fable that regenerated with rewriting.