感性学视域下的先秦儒家情感观念研究

发布时间：2018-04-07 17:12

本文选题：先秦儒家　切入点：审美与道德　出处：《南开大学》2014年博士论文

【摘要】：情感是先秦儒学中的重要问题。儒家“性善论”中的人性指的是一种产生仁爱情感的先天潜在动力。“仁道”实际包括两个层次的内容,即仁性和仁情。在正统儒家看来,“仁”是政治道德实践的价值来源和根据,终极根据为仁性,经验根据为仁情。儒家在理论上虽然往往追溯到仁性的形而上学层面,但就价值实践而言,所依凭的根据则主要是经验层面的仁情。“格物致知”是仁情兴发的过程,仁情产生后再由“诚”得到显明和确认,从而为实践行动提供依据。因此,“格物致知”和“诚”是有关道德情感生成的理论。“乐”则被儒家理解为人类价值追求的最终归宿,包括“乐道”、“与民同乐”、“德福之乐”和“养乐”四种类型。感性学(美学)自诞生之日起,便被认为从正面探讨情感对于人的意义的学问。在对先秦儒家情感观念进行具体梳理后,论文对它们所具有的美学内涵及普遍美学意义进行了考察。在先秦儒家情感观念中,“格物致知”和“诚”是审美体验的过程,而“仁”(仁情)则是体验的具体情感内容。儒家将四种“乐”提出来,目的除了鼓励、引领人遵道守礼外,还在于让人不要完全被人生的艰辛、失意、苦难和永无止境的贪求所压倒,而尽量去感受生活的乐趣。“乐”既是审美体验过程又是体验内容。先秦儒家情感观念有助于我们深化理解审美,它让我们意识到,专注的感性活动往往伴随着“良知”的作用。“良知”是一种情感和直觉的感性能力。它对于情境的高度专注和敏锐感受,放在先秦儒家语境中,可以被视为生活审美的一种形态。不过,良知的作用存在于绝大多数审美之中。良知发挥作用时需去除各种来自欲望、习见和惯例等方面的遮蔽,因此具有还原意味。但对于审美而言,无论如何也不能还原成一个虚无、荒诞的世界,这里总有一个良知作为它的依托,来实现意义的充实。先秦儒家情感观念有助于我们深化理解美学与伦理学之间的关系。首先,根据先秦儒家理论的启示,美学和伦理学共享着良知这一重要基础。其次,道德活动的实际过程离不开对道德现场的感性专注,同时也包含着内心的情感体验。这些审美性质是道德自我优化的一种力量。最后,审美、美学与道德、伦理学只具有部分的重合,但彼此都不能完全容纳、取代对方。而这种重合是由审美“内在目的”(专注、敏锐)决定的,在美学研究中考察审美与道德关系问题,其实质是深化对审美本身的认识。
[Abstract]:Emotion is an important issue in pre-Qin Confucianism.The human nature in the Confucian theory of sexual goodness refers to a kind of innate potential motive force for the generation of benevolence."benevolence" actually includes two levels of content, namely benevolence and benevolence.In the orthodox Confucian view, benevolence is the value source and basis of political moral practice, the ultimate basis is benevolence, and the empirical basis is benevolence.In theory, Confucianism often goes back to the metaphysical level of benevolence, but in terms of value practice, the basis on which it depends is mainly the benevolence of experience."knowledge of character" is the process of developing benevolence, which is demonstrated and confirmed by "sincerity", which provides the basis for practical action.Therefore, the theory of "knowing the matter" and "sincerity" is the theory of the formation of moral emotion."Music" is understood by Confucianism as the ultimate destination of human value pursuit, including "Yue Dao", "with the people", "the joy of good fortune" and "nourishing music" four types.Since its birth, sensualism has been regarded as the knowledge of the positive meaning of emotion to human beings.After combing the pre-Qin Confucian emotional concepts, the thesis investigates their aesthetic connotation and universal aesthetic significance.In the pre-Qin Confucian emotional concept, "knowing by objects" and "sincerity" are the process of aesthetic experience, while "benevolence" (benevolence) is the specific emotional content of experience.Confucianism puts forward four kinds of "music", the purpose of which is not only to encourage and guide people to abide by the principles, but also to let people not be completely overwhelmed by the hardships, frustrations, tribulations and endless greed of life, and try to feel the joys of life as much as possible.Music is not only the process of aesthetic experience but also the content of experience.Pre-Qin Confucian emotional concept helps us to deepen our understanding of aesthetics, it makes us realize that the emotional activities often accompanied by the "conscience" role.Conscience is an emotional and intuitive ability.Its high concentration and keen perception of the situation can be regarded as a form of life aesthetics in the pre-Qin Confucian context.However, the role of conscience exists in the vast majority of aesthetics.Conscience needs to remove all kinds of obscurity from desire, habit and convention, so it has reductive meaning.However, the aesthetic can not be restored to a world of nothingness and absurdity. There is always a conscience as its basis to realize the enrichment of meaning.The pre-Qin Confucian emotional concept helps us to deepen our understanding of the relationship between aesthetics and ethics.Firstly, aesthetics and ethics share the important foundation of conscience according to the enlightenment of pre-Qin Confucian theory.Secondly, the actual process of moral activity can not be separated from the emotional focus on the moral scene, but also contains the inner emotional experience.These aesthetic properties are a force of moral self-optimization.Finally, aesthetics, aesthetics and morality, ethics only have partial overlap, but each can not completely accommodate and replace each other.This coincidence is determined by the aesthetic "internal purpose" (focus, keenness). In aesthetic research, the essence of examining the relationship between aesthetics and morality is to deepen the understanding of aesthetics itself.
【学位授予单位】：南开大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：B222

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