蕺山言「性」的哲學涵義

法鼓佛學學報, 2008

This article takes various expressions using the Chinese term "speak" (shuo) as the basis for its investigation of Nāgārjuna's linguistic strategy. These include speak, unspeakable, unspoken, and spoken by prajñapti in the Chinese version of the Mūlamadhyamakākarikā. I first point out the two background causes that make the Buddha withdraw from preaching and remain in silence: the profundity of the Dharma and the limits of people's capacities. In response, the Mūlamadhyamakākarikā seems to reveal a two-sided strategy, i.e., confirmation and negation. On the one hand, it emphasizes the unspeakable to get rid of people's attachment, until at last all prapañcas have ceased, and one arrives at the unspoken. On the other hand, Mūlamadhyamakākarikā positively approves of the conventional truth and prajñapti to express that conventional linguistic cognition is necessary. The Mūlamadhyamakākarikā's theory of pratītya-samutpāda and śūnyatā, therefore, reveal double the aspects of negation and confirmation in Buddhist Philosophy and lead people to the way of nirvāṇa.

《玄奘佛學研究》25期, 2016

摩登伽女的故事歷來都是漢傳佛教警戒男修行者遠離美色誘惑的 典型，她也成為情欲魔女的象徵。民國16 年溥緒（1882－1933）（清逸 居士）創作《摩登伽女曲本》，由京劇名伶尚小雲於北京新明戲院演出， 引起轟動。民國22 年，這個印度來的故事被印度泰戈爾（1861－1941） 創作成歌舞劇《昌達爾姑娘》，再改編為《昌達爾姑娘歌舞劇》搬上劇 場公演，至今仍表演不輟。同時代的二個劇本都能移動傳統視角，正視 摩登伽女自身，卸去僵化的魔女形象，但又各自呼應著自己的文化土壤 與時代關懷，呈現不同主題寓意：一者關注她的情愛與修悟，以色幻悟 道為精神；一者關注她的啟蒙與平等，以實踐平等新生為精神。 在溥緒筆下，摩登伽女具有端莊美麗，專情高潔的形象，有傳統文 學的杜麗娘之傷春幽情、賈寶玉之色空悟道，又有《西遊記》魔考誘惑 的情節。故事關注情愛與修悟，在情愛美色的貪執中，徹悟不淨與如幻， 並輔以平等慈悲之懷。 而泰戈爾的歌舞劇，藉此抒發對印度種姓不平等制度的批判。他筆 下的摩登伽女言語靈動，活潑熱情，從不平等的種姓思惟中被啟蒙新生 後，自我作主，勇敢追愛，這份蘊含「愛」的新生，歸向阿難與佛陀所 象徵的平等慈悲，隱含泰戈爾「在愛中徹悟」的梵愛合一路徑。 就女性視角詮釋的二個路徑「情欲主動」、「速證果位」觀察，溥緒 以專情高潔之主動來詮釋其「情欲主動」，並以消融情欲而得悟，雖然 能呈現她因情而悟，但並無深刻描寫其「速證果位」。泰戈爾則完全沒 有著墨「速證果位」，主力全在「情欲主動」上，這份主動來自平等的 啟蒙，情欲化為自主勇敢去愛，與泰戈爾「梵愛合一」的宗教哲學呼應。 關鍵詞：摩登伽女、阿難、溥緒、泰戈爾、昌達爾姑娘 In Chinese Buddhism, the story of Matangi's daughter has been taken as a warning for male Buddhists to keep away from the temptation of lust, and Matangi's daughter has become a representative of femme fatale. In 1927, Pu Xu (1882-1933, art name Qing Yi Ju Shi) composed a tune of ＂Matangi's daughter＂, starred by Shang Xiao-yun and caused a sensation in the Xinming Theater in Beijing. Then in 1933, this Indian story was written as a musical drama ＂Chandalika＂ by the respected Indian writer Rabindranath Tagore, and be readapted and played in theaters until now. These two scripts of the same era both change the point of view toward female by facing up to this character and getting rid of the stereotype as a femme fatale. What's more, they reflect to their own cultural soil and contemporary concern, and present two different theme implications: the former focuses on her love and enlightenment, taking enlightenment from form & vision as the essence; the later focuses on h...

東吳中文研究集刊 第11期, 2004

隨著地下文物的出土，尤其是簡帛佚籍的發現，使得思想史的研究得以展開新頁。如過去學者所討論的「五行」，對於《荀子．非十二子》中「案往舊造說，謂之五行」的批評，受於資料限制，往往不得其解。等到馬王堆帛書與郭店楚簡〈五行〉篇出土後，這問題才得到大致的解決，並抽繹出儒學中，子思、孟子一系的發展。郭店楚簡另有一篇〈太一生水〉，其蘊含的宇宙生成、名實關係、天地形狀與古老的自然、數術觀念，俱與道家學說有相通之處。本文便取先秦至前漢的道家典籍加以比較，尤其是《老子》一書，最後並歸結其思考模式的特色，以期能對當時道家思想的樣貌有更深一層認識。

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本文在方法論上嚴謹依循「澄清概念」、「釐清判準」，以及「建構系統」三條原則，透過對先秦儒家原典的全面分析，探討「聖」、「聖人」及「聖人之道」等重要概念的豐富內涵，闡明「君子之道」與「聖人之道」之間適當的義理關係，並藉由先秦儒家「聖人觀」的基本理解進一步釐清其人性論與其「道統意識」的確切指涉，從而對先秦儒家之「道」展開系統性的界說。為了達成這些研究目的，本文著手回應下述四項核心問題：一，先秦儒家所謂的「聖」及「聖人」到底實指什麼？換言之，「聖人」的標準何在？二，如何界定「君子」（「君子之道」）與「聖人」（「聖人之道」）之間的適當關係？三，能否藉由先秦儒家「聖人觀」的分析反思其共通的「道統意識」？四，先秦儒者所主張的「聖人觀」與其人性論能否取得意義上的融貫？經由本文對《論語》、《孟子》以及《中庸》之「聖人觀」的解析，以及對先秦儒家「道統意識」的重新界定及再詮釋，我們得出以下三點結論。 其一，有關儒家「聖人」的定位問題，「聖人」是在某君子離世以後作為後世君子所敬仰和追念的道德典範而獲得的尊稱；它既是對君子一生道德事蹟的肯認與嘉定，也是作為後世君子所學習與效法的垂世典範。其次，「聖人之道」與「君子之道」不是彼此對立，各自為政的兩個概念，而實為一對相互證成、交相輝映的概念：「君子之道」以達成「聖人之道」為其終極目的，「聖人之道」必須藉由「君子之道」的具體開展而呈現其意義。具體來說，「聖人之道」透過聖人教化的形式構成一連接異代儒者的「意義場域」，而在此特殊的意義場域中，君子或聖人之徒將以歷代聖人的道德事功及人格典範為其自身行道的參照系。此「意義場域」之所以可能，關鍵在於先秦儒家一貫主張的「聖凡同心」之要義——每個人都有可能透過自身的立志和實踐而與「聖人之道」相契合，而「聖人之道」亦有義務光照每個人的成聖之路 。如此一來，「聖人之道」與「君子之道」即為同一個「道」的兩種面向，而這兩種面向經常是相互交涉的——沒有「君子之道」對「聖人之道」的期許與追求，「聖人之道」將淪為空洞懸浮的理念；沒有「聖人之道」的範導作用，「君子之道」將難以完成其自身的拓展。 其二，本文承接前面對先秦儒家「聖人觀」所展開的分析，試圖藉由一個概念的提出凸顯先秦儒家「聖人觀」的共同意識與關懷，並且將散漫於各先秦儒家經典的「聖賢論述」統合在一嚴謹的理論架構之中。這個概念即為「道統意識」。先秦儒者的「道統意識」...

文化創意產業研究學報, 2015

The primary step of navigating film theme is to excavate the ideographic composition of the film, to clarify the structural context, to indicate the entire film scaffold interwoven, and then from the whole context to explore deeper signification. This article first based on the concept of narrative analysis of the structuralism dissects the interaction between different approaches in the narrative process of the movie "3-Iron", how the narrative fabrics through the view point screen and compose the story, and its different connotation in the text structure. Then, according to the concept of freedom of existentialism and the decentralization of post modernism, this research probes into the text which reflects the crisis of modern family, the eagerness and escape of people for home, the dependence and exclusion of social norms, and the concept of freedom of people who live in the social space as the reference of discourse.

人文中國學報, 2021

2013

How did people in the Han (漢) Dynasty project their attachment to and imagination of hometown? What does this “hometown”refer to? These are the two questions which this thesis wants to ask. This thesis especially emphasizes the political context which personal feelings depend on and tries to explore how people in the Han Dynasty removed themselves from the indulgence and restraint of homesickness. How did an individual still keep different ways of emotional expression while sharing the same homesick atmosphere? The exhibition of these differences is called agency in this thesis. Chapter One explores how Liu Bang(劉邦) and Xiang Yu(項羽) felt homesick and their different relations and reactions to“hometown” according to the examples of choosing capital cities. What is involved includes not only emotional aspects but political calculations and rational reasoning. The two’s every decision was to seek for a balance between attachment with hometown and political calculations. In addition, th...