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|Other Titles:||To Reveal the Structure of ‘On Music without Feelings’ from Two Kinds of Argument|
|Issue Date:||2016-08-11 16:07:29 (UTC+8)|
|Abstract:||本文藉探討兩種論證揭示嵇康〈聲無哀樂論〉一文之論證結構。此兩種論證，分別為：1. 不可知論證，用以否定聲音可傳遞信息；2. 先驗論證，用以證成性情如何在心無主宰中自顯發出音樂；音樂因而脫離道德規範來理解。只有音樂之不可知論被證成後，嵇康才可以繼續以先驗論證來說明音樂在性情中自然顯發。不可知論乃在破解傳統音樂哲學中視音樂為傳遞價值觀之手段，故此，音樂被視作帶有目的性，既受目的所限制，當然不能顯發其自身。在不可知論證中，嵇康主要是否定由聲到情之間的可認知性，雖然嵇康承認由情可顯發出聲：「用均同之情而發萬殊之聲」，但反對由聲音認知到心與情，反對：「聲音莫不象其體而傳其心」。傳統音樂哲學主張的是「象其體而傳其心」，所象者與傳者，以倫理價值觀為首（還包括戰爭等其它信息），傳統把它視為規範，臧否其它音樂，如鄭聲，因而所有音樂皆在一個被預設的倫理價值理想下來取得位置。嵇康之工作乃證明：若音樂不俱認知性與傳遞性，則音樂本身便不需這預設，而在性情之自顯發中成為可能。嵇康本人乃在由荀子所開啟之由性情發為聲之音樂哲學傳統，但他在揭示由情發為聲中，卻主張由心之無主宰讓性情自顯發而為聲，因而心之無主宰乃音樂自身顯現之先驗性條件，而非傳統理解之倫理價值觀。這是他第二項論證之工作。既然音樂不能傳遞信息，則傳統根本誤解音樂在政治倫理中的地位，即不能作為倫理政治之規範，所以嵇康先即以其不可知論消解其中的糾纏，再以其無主宰心建構道家式的政治觀，並指出傳統在政治上所謂移風易俗也只是第二序的問題，而非根本的。|
In this paper I would like to make the construction of the argument in 〈On Music without Feelings〉 of Jikang clear by means of research for two arguments. The one is an agnosticism which negates music to be able to transfer information; the two transcendental argument which justifies how human nature reveals itself as music in mind without domination. In such understanding music is no longer understood from a viewpoint of moral. Only by the justification of the agnosticism Jikang has ground to say that human nature explores itself as music itself. According to the agnosticism it is very difficult for the traditional philosophy of music to see music as a means for moral value, because music itself can’t reveal as such in the traditional philosophy. In his agnosticism Jikang would like to solute the difficulties in the traditional philosophy of music which sees music as a means to transfer moral value. In such understanding music is necessary seen as something with purposes and determined by it, therefore music can’t reveal itself naturally. The traditional philosophy of music holds the standpoint that music presents its substance and transfers what people think. What is presented and transferred is moral value (and including wars and other information). In tradition people see it as a norm and determine which music is right and wrong, for example Zheng music （鄭音）, and therefore all music can have a position only under the presupposed ideal of moral value. The work of Jikang tries to justify that music can be only possible in the self-appearance of human nature without the stated presupposition, when music has no any knowledge and transfer. Jikang himself stands under the tradition of Sunzi who thinks that human nature explores itself as music, but holds that mind without domination lets human nature reveal itself as music, therefore mind without domination is a transcendental condition for the self-appearance of music. If no information can be transferred by music, then traditional philosophy has misunderstanding for the role of music in politics and moral, that is, music can’t play a role for norm of politics and moral, therefore Jikang thinks that the agnosticism and the transcendental argument is a solution for the difficulties of the philosophy of music in tradition, and constructs a political viewpoint through the mind without domination.
|Relation:||政治大學哲學學報, 28, 47-90|
The national Chengchi university philosophical
|Appears in Collections:||[政治大學哲學學報 THCI Core] 期刊論文|
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