原文釋經#5 《路 4:18-19》- 你的宣講有能力恩膏嗎？

hilbert ong

原文釋經#5 《路 4:18-19》- 你的宣講有能力恩膏嗎？

Abstract

透過用原文釋經，來研究《路加福音4:18-19》，來理解聖靈降臨在耶穌之後，是為了讓聖靈可以恩膏耶穌有能力去宣告天國的好消息；更差派耶穌去宣講釋放、宣講醫治、用釋放來差送受壓制的人，宣講神的悅納年。

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」...

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...

This dissertation begins with Michael Foucault's classic explanation of "biopower". For Foucault, the reason why life asserted itself as the ultimate point of reference in the modern age is that the operations of power increasingly abandon the mode of sovereignty whose rationality consists in "power against power", performed in spectacular rituals with the right to take life as ultimate reference. Instead, the mode of biopower maintains itself by the productive effects of powers circulated in different partial mechanisms, the processes of materialization from partial mechanisms to global strategy and the economy and transfer between power technologies within the whole dispositif. According to the three highly theoretical methods of genealogy, the dissertation reconstructs the discourse of war in Foucault: war as the principle of social organization, the mutual deciphering among patterns of war in discrete discourses, and lastly, the displacement from war to government. From the threads of genealogy to the clarification of discourses of war, the correspondence in empirical reality is a new political domain to which Jean-Jacques Rousseau attempted to bind by sovereign and law. In this new political domain which was named "the police" in 18 th and later Foucault referred to as "the government". In this new domain, there are multiple objects for government, which could be generalized as "population", there is no single principle for effective government, only the general term "governmentality", and "dispositif of security" in this new domain avoids the conflicts and depletion between governmental mechanisms. In the replacement of raison d'etat with the liberal creeds in rationality of government, there emerged new objects as population, new principles as governmentality and new political rationality as security. In Foucault's highly experimental exploration of the implication of biopolitics, the physical bodies gradually recede, or, in the networks of dispositif, which perfectly achieve the exchange of life and death, they could come on the biopolitical scene in new forms, that is why "neoliberalism as the birth of biopolitics". This dissertation responds to Esposito's interrogation of Foucault if the distinction between sovereign and biopower with discrete effects of death and life would be conceptually inaccurate. However, in the elaboration of biopolitical antagonism between Empire and Multitude

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原文釋經#5 《路 4:18-19》- 你的宣講有能力恩膏嗎？

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