本文選題：價值根源 + 對象化　； 參考：《北京師范大學(xué)》2005年博士論文

【摘要】：價值根源即“非對象化”意義上的價值觀。真正的“價值根源”意味著人的“置身其中”。 在西方,從蘇格拉底到康德、尼采,在價值根源問題的解決上皆有缺憾。徐復(fù)觀因其豐富獨特的人生經(jīng)歷和對于中國傳統(tǒng)文化中孔、孟、宋明理學(xué)之“心學(xué)”傳統(tǒng)的繼承,而將“心性”把握為價值根源�！靶男浴奔慈擞刹粩嗟膶嵺`工夫向“內(nèi)”“回轉(zhuǎn)”,而在自身現(xiàn)實生命中顯發(fā)出自律、超驗的“不容自已”的精神境界。在徐復(fù)觀那里,心性分為儒學(xué)意義上的以“道德”為內(nèi)涵的“心性”和老莊意義上的以“虛無”為內(nèi)涵的心性。 徐復(fù)觀的“心性”雖然向價值根源邁進(jìn)一大步,但仍不是真正的價值根源,因為徐復(fù)觀的“心性”之超驗是一種“內(nèi)在超越”。“內(nèi)在超越”的本質(zhì)即是將超越境界視為“預(yù)設(shè)”,而“預(yù)設(shè)”乃是個體私人意欲“對象化”的投射。這種個體私人意欲的內(nèi)涵,在徐復(fù)觀的“心性”語境中是一種個體政治意欲。凋零的政治殘夢化為政治意欲滲透在徐復(fù)觀的“心性”中,導(dǎo)致了“心性”在最細(xì)微處的“對象化”,失去了價值根源的深徹性。 為了尋求真正的價值根源,我們從徐復(fù)觀的“心性”前進(jìn)一步:與徐復(fù)觀從“工夫”中向“內(nèi)”“回轉(zhuǎn)”相反,我們將“工夫”體驗為“敬畏”,在工夫之“敬畏”中循“畏”去“遠(yuǎn)”,在去“遠(yuǎn)”的廣大境界中顯發(fā)出人之克勝私欲的人之“無”:境界的“遠(yuǎn)”大與人之“無”在根本上保證了人的“置身其中”性,真正的價值根源由此顯現(xiàn)。工夫(敬畏)—去“遠(yuǎn)”—人之“無”—人的“置身其中”,這是一個“遠(yuǎn)”而復(fù)“返”的過程。在中國樂文化中,樂是聲息相通的“自由”交流,但“自由”的本質(zhì)不是其本身,而是對承載此“自由”的“遠(yuǎn)”大境界的開辟。因此,樂的本質(zhì)即是以聲息相通的“自由”性去“遠(yuǎn)”而“返”,對于價值根源作出指引與守護(hù)。在聲息相通之自由交流中的“遠(yuǎn)”而復(fù)“返”,我們稱之為“自由之遠(yuǎn)”。 從“樂”來指認(rèn)“藝術(shù)”的本質(zhì),我們認(rèn)為:藝術(shù)即是在聲息相通的自由之遠(yuǎn)中對于價值根源的指引與守護(hù)。 在“中國藝術(shù)精神”的探討中,徐復(fù)觀認(rèn)為藝術(shù)境界之所以能從“虛無”心性中涌現(xiàn),是因為在“虛無”心性中顯發(fā)出主客之間非因果非前后的根源性關(guān)系。然而問題在于,在此“無己”的“虛無”心性中,主體性凸顯的“想象”卻是核心的生發(fā)機(jī)制,這表明其“虛無”心性并非價值根源。前進(jìn)一步。遵循海德格爾的指引,我們將主體凸顯的“想象”向自由交流的“雙向建構(gòu)”中“回置”。在雙向建構(gòu)中顯發(fā)雙重涌動:自由交流對于境界的“開辟”和人在雙向構(gòu)建之“克己”�！伴_辟—克己”使人“置身其中”,價值根源呈現(xiàn)。在雙向建構(gòu)之“開辟—克己”的意義上,中國傳統(tǒng)山水畫對于價值根源的指引有所局限,而民間藝術(shù)與現(xiàn)代藝術(shù)則意蘊(yùn)豐厚。雙向建構(gòu)之“開辟——克己”即是聲息相通的自由之遠(yuǎn)。 在對《文心雕龍》“文體”觀念的探討中。徐復(fù)觀認(rèn)為“文體出于情性”,而“情性”又是“心性”的向外構(gòu)造,因此,“文體”出于“心性”,并以“氣”為溝通“文體”與“情性(心性)”的橋梁。然而問題在于,因為徐復(fù)觀“心性”本身的對象性,所以其“情性”與“氣”皆是一種個體意欲的獨白,因此其“文體”也必然是一種獨白的話語形式。前進(jìn)一步。個體意欲只有在雙向建構(gòu)的自由之遠(yuǎn)中才能剝除“獨白”性,成為“非獨白”意義上的復(fù)調(diào)個體,復(fù)調(diào)個體的藝術(shù)呈現(xiàn)形成復(fù)調(diào)文體。復(fù)調(diào)文體指向價值根源的開啟。 本文結(jié)論:唯有在呼喚“他者”,開啟“遠(yuǎn)”境的聲息相通之自由之遠(yuǎn)中,人置身其中的價值根源才能得以涌現(xiàn)。藝術(shù)的真諦即在于此聲息相通的自由之遠(yuǎn)中對于價值根源的指引與守護(hù)。
[Abstract]:The source of value is the value in the meaning of " non - objectification " . The true " value of value " means a person ' s " place of life " .








In the West , from Socrates to Kant and Nietzsche , there is a deficiency in the solution of the root cause of value . Xu ' s view is based on his rich and unique experiences of life and the inheritance of the traditional culture of Chinese traditional culture .








Xu Fuguan ' s " heart " is not a real value source , but it is not a real value source because Xu ' s view of " heart " is a kind of " internal transcendent " . The essence of " internal transcendent " is the projection of an individual ' s private intention to " objectify " .








In order to find a real source of value , we are further from Xu Fuguan ' s " heart " to " turning " from " Gongfu " to " turning " from " Gongfu " to " turning " . In Chinese music culture , music is the " free " exchange of people ' s " freedom " , but the essence of " freedom " is not itself , but the essence of " freedom " is not itself , but the essence of " freedom " is " far " and " return " . Therefore , the essence of music is to guide and guard the root causes .








From " music " to identify the essence of " art " , we believe that art is the guiding and guarding of the root cause of value in the far - reaching freedom of voice and interest communication .








In the discussion of " Chinese art spirit " , Xu ' s view shows that the artistic realm can emerge from the heart of " emptiness " because the " imagination " of subjectivity is not the root cause of the non - causal relationship . However , the problem lies in that the " imagination " of subjectivity is not the root cause of the non - causal relationship between the two - way construction .








In the discussion of the concept of " style " , Xu Fuguan argues that " style is emotional " and " emotional " is an outward structure of " heart " . However , because of Xu Fuguan ' s " heart " and " heart " , the problem lies in that the " style " and " qi " are the monologue of an individual ' s desire . However , the problem lies in that the " style " and " qi " are the monologue of an individual ' s desire .








Conclusion : Only in calling the " other person " and opening " far " the freedom of the communication of the sound and interest , the value of the people can emerge . The essence of the art lies in the guiding and guarding of the root causes of the freedom of the communication .

【學(xué)位授予單位】：北京師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2005
【分類號】：J120.9

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