试论朱谦之的文化形态学
发布时间：2019-05-09 14:32
【摘要】：面对中国文化在近代遭遇的危机，在对斯宾格勒与汤因比文化形态学批判地吸收基础上，朱谦之建立了自身的文化形态学体系，从而在理论上处理了中国文化命运及其未来形态的问题。本文将朱谦之的文化形态学分为“己他关系”和“文化与文明”两个部分进行研究： 首先，就“己他关系”而言，，朱谦之在运用斯宾格勒“观相”法之整体“俯瞰”和同源“类比”过程中，综合改造了黑格尔的“三段论”和孔德的“三阶段法则”，形成了他的“文化四形态”，将文化分为宗教、哲学、科学、艺术四种形态，其中除了艺术作为世界文化的综合协调之外，其余三种文化形态分别对应印度（宗教）、中国（哲学）、西方（科学）。此三种文化形态在各自纵向文化发展过程中，经过“己文化”与“他文化”的独立、传播、渐趋融合，最后殊途同归地趋向艺术文化时期，而此时的艺术文化则包容了前三种文化形态，由此达到文化的“和而不同”。 其次，朱谦之运用文化形态学的方法，对文化与文明及其关系进行层层剖析，论证了中国文化不但现在没有“僵死”，而且将来也不会灭绝，中国文化具有绵延的文化时间和广阔的文化空间。他认为，“古而不亡，老而不死”的中国文化终将复兴，并且，在经历科学文明的洗礼后更会迸发出非凡的创造性，再次绽放出灿烂辉煌的生命力。 朱谦之文化形态学指向的是中国文化形态的自我更新，他以为中国文化通过自觉、主动地融摄西方文明而可向一更高形态发展。
[Abstract]:In the face of the crisis encountered by Chinese culture in modern times, on the basis of critically absorbing OswaldSpengler and Toynby's cultural morphology, Zhu Qianzhi established his own cultural morphological system. Thus, it deals with the fate of Chinese culture and its future form in theory. In this paper, Zhu Qianzhi's cultural morphology is divided into two parts: "self-relationship" and "culture and civilization". First of all, as far as the "self-relationship" is concerned, In the process of using the whole "overlooking" and homologous "analogy" of OswaldSpengler's "observation" method, Zhu Qianzhi comprehensively transformed Heger's "three-stage theory" and Kong de's "three-stage law", and formed his "four forms of culture". Culture is divided into four forms: religion, philosophy, science and art. In addition to the comprehensive coordination of art as the world culture, the other three cultural forms correspond to India (religion), China (philosophy) and the West (science). In the process of their respective vertical cultural development, through the independence, dissemination and integration of "own culture" and "other culture", these three cultural forms tend to move towards the period of art and culture in the same way. The art and culture at this time include the first three forms of culture, thus achieving the "harmony but difference" of culture. Secondly, Zhu Qianzhi used the method of cultural morphology to analyze culture and civilization and their relationship layer by layer, and demonstrated that Chinese culture is not only not "rigid" now, but will not die out in the future. Chinese culture has a continuous cultural time and broad cultural space. He believes that the Chinese culture of "ancient times will not die, old but not dead" will eventually be revived, and after the baptism of scientific civilization, it will burst out extraordinary creativity and bloom its brilliant vitality again. Zhu Qian's cultural morphology points to the self-renewal of Chinese cultural form. He thinks that Chinese culture can develop to a higher form by consciously and actively integrating western civilization.
【学位授予单位】：苏州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：G02
本文编号：2472835
[Abstract]:In the face of the crisis encountered by Chinese culture in modern times, on the basis of critically absorbing OswaldSpengler and Toynby's cultural morphology, Zhu Qianzhi established his own cultural morphological system. Thus, it deals with the fate of Chinese culture and its future form in theory. In this paper, Zhu Qianzhi's cultural morphology is divided into two parts: "self-relationship" and "culture and civilization". First of all, as far as the "self-relationship" is concerned, In the process of using the whole "overlooking" and homologous "analogy" of OswaldSpengler's "observation" method, Zhu Qianzhi comprehensively transformed Heger's "three-stage theory" and Kong de's "three-stage law", and formed his "four forms of culture". Culture is divided into four forms: religion, philosophy, science and art. In addition to the comprehensive coordination of art as the world culture, the other three cultural forms correspond to India (religion), China (philosophy) and the West (science). In the process of their respective vertical cultural development, through the independence, dissemination and integration of "own culture" and "other culture", these three cultural forms tend to move towards the period of art and culture in the same way. The art and culture at this time include the first three forms of culture, thus achieving the "harmony but difference" of culture. Secondly, Zhu Qianzhi used the method of cultural morphology to analyze culture and civilization and their relationship layer by layer, and demonstrated that Chinese culture is not only not "rigid" now, but will not die out in the future. Chinese culture has a continuous cultural time and broad cultural space. He believes that the Chinese culture of "ancient times will not die, old but not dead" will eventually be revived, and after the baptism of scientific civilization, it will burst out extraordinary creativity and bloom its brilliant vitality again. Zhu Qian's cultural morphology points to the self-renewal of Chinese cultural form. He thinks that Chinese culture can develop to a higher form by consciously and actively integrating western civilization.
【学位授予单位】：苏州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：G02
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