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The Two Confucianisms and Reflections on the Effect of the Transformation of the Ethnic Education
Author: Chai Kehua
Source: Philosophy Research” 2020 Issue 6
Time: Zi 2570, the first day of the sixth month of the Gengzi Yichou
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Author introduction: Chai Kehua, from Huzhou, Zhejiang, is a master of philosophy and doctor of literature in Zhejiang Province. He is currently a graduate of the Zhejiang Institute of Oriental Language and Philosophy and Dongya Research Institute. The purpose of the discussion is: art philosophy, Chinese philosophy, and history of transportation between Chinese and Western civilizations.
Abstract:Music is one of the focus topics of Confucianism. The two main meanings of Confucianism give music: from the perspective of the musician, music is determined by the reappearance of the concept of benevolence; from the perspective of the listener, music is characterized by the expression of natural conditions. Facing the internal tension between the two linguistics, Confucianism is based on the three aspects of voice, emotion and reason, combining the re-reality and expression of music, resolving the disagreement between the musician and the listener, and allowing the music education to obtain feasibility certificates with sufficient experience. In the subsequent teaching of music education, Confucianism also carried out self-reflection, and achieved the mutual understanding of morality between the musician and the listener as the condition of musical moistening effect, which has an inspiration and influence on the current development of music education.
Keywords:Reappearance and expression, governing and listening, educating, 六文生, 未分类
1. The characterization of “le”: as the object of knowledge that reappears the concept of benevolence
The origin of Confucius, music has become the focus of Confucianism. The “Greeting” link shows that “Greeting” is located in the focus area of Confucianism. Confucianism’s characterization of music is in harmony with “reunion”. Confucius said on the one hand that “I am so depressed in literature, I come from Zhou” (“Baoyi”), and determined the comparative advantages of Zhou Rong’s second generation; on the other hand, he also pointed out that Zhou Rong had “profit but clever, and literary lies without being stingy, and he was blinded by money” and “quality but not compromising his writing”. (“Greetings·Commentary”) With this, the weekly gifts cannot be the final reality of good orders, and can only take the traceability of good orders, so the “Greetings”It is not a copy of Zhou Rong, but a reorganization promotion based on the historical process of the three generations of gifts. The key to the construction of a good order is to clarify the “benefit” in the promotion of gifts. Confucius believed that there was a unified rule for the revitalization of gifts: “If a person is not kind, what is the gift like?” (“Speech·Baoyi”)——Traditions are all based on benevolence. Therefore, when Zhou Rong was considered to be better than Xia Rong and Yin Rong, the rebirth became a kind of virtue progress that was similar to benevolence from the summer solstice to Zhou dynasty. The interim differences in the ages of gifts can be explained by “there are many benevolences, and the meanings are long and short” (“Traditional Notes·Explanation”), that is, the level of benevolence and the difference between the use and use of benevolence, and the good order structure has a clear and value orientation. Therefore, Confucius was responsible for “the one who survived Zhou Rong can know for a lifetime” (“Traditional Notes·Foreign Government”). When the revitalization of the gift is an evolution towards benevolence, the rejuvenation is not only a ruling practice, but also a value concept. Its words embody the recognition of benevolence (“desire benevolence”) and the reality of benevolence (“benevolence”), including:
(1) refers to benevolence, that is, “the cheap and sweet rejuvenation is benevolence” (“Speech·王网”);
(2) refers to the subject intention of “desire benevolence”, that is: Breeding “Born and good” (“Travels·JunniyanSupplementing softwareHome”);
(3) refers to the intellectual support called “desire benevolence”, that is: “The gift of the gift is to be blessed, so benevolence is dead” (“Traditional Notes·Zhongni Yanju”); /p>
(4) refers to the cognitive activity called “desire benevolence”, that is: “If you don’t learn to be kind, you will not be able to establish yourself” (“Speech·Ji”);
(5) refers to the actual pursuit called “benevolence”, that is: “A day of low and sweet gifts, the whole country will be benevolent” (“Speech·Jiuyi”). Among them, the meaning (1) and the meaning (2) expressing benevolence is the most basic value of rejuvenation; the meaning (3) and the meaning (4) expressing benevolence is the concept of benevolence; the meaning (5) expressing benevolence is the real method of benevolence. The characterization of music in Confucius’s thinking is embedded in the linguistic structure of rejuvenation. First, “Gift clouds, gift clouds, wealth clouds? Lot clouds, music clouds, bells and drums” (“Speech·Yanghuo”), both joy and gifts take benevolence as the most basic meaning. It determines that the essence of music is not provided by the physical sensibility of sound and sound, but is given by the value of benevolence, which is said to be “What is the gift of a man but not benevolence? What is the joy of a man but not benevolence?” (“Speech·Baoyi”) Secondly, the essence of joy and gift is unified, so both sides must also existBaohuaThe connection between the mind and emotions: two men meet each other and bow to each other.When you enter the door, you will be excited when you enter the county. When you bow and take a bow, you will be happy when you go to the hall. You will be happy when you go to the hall. You will be happy when you are in charge of “Xiang” and “Wu” and “Xia” are the orderly and cheerful, and you will be the officials. In this way, people will know benevolence. The rules and regulations of the process are still in line, and the rules of the rovings are in the “Cai Qi”, and the guest comes out with “Yong” and “Zhen Yu”, so he is corrected by people and has nothing to do but is not in the ceremony. (“Travels·Zhongni Yanju”) In a classical ritual scene, the joy and the gift form a mutual communication relationship: on the one hand, joy is the wisdom of the gift, and the bell of “Si Xia” demonstrates the procedural rhythm of the gift of the ceremony, which is said to be “Where the gift comes, joy is also there” (“Travels·Civilian Juju”); on the other hand, joy is also the wisdom of joy, and the gift of the car demonstrates the melody of “College”, soBaocai Sweetheart Network says “standing in gifts, accomplishing in joy” (“Speech·Taber”). The job is that the two kinds of “distinguishing” (“Traditional Note·Ai Gong’s Question”) and “contract” (“Xunzi·Lecture Note”) representing the distinction between gifts and joys, and the overall sentiment of “in-chief” (“Speech”) is sympathetic in the mutual training between the two parties. The good order will also emerge with the overall sentiment of “controlled” (“Speech·Zhongni Yanju”) based on the mutual training of the two parties, which constitutes the mood of joy. Finally, emotion is provided to music with a value-based performance: music should be the “projection” of “system” (emotional) concept and the “resurrection” of the concept of benevolence (the most basic) (Page 435). Those sounds that cannot be interpreted from emotion and the most basic are valueless and must be eliminated based on the principle of “do not see if you are gifted, do not listen if you are gifted” (“Speech·王机”), which forms the norm of music. It stipulates: First, not all musical phenomena belong to the style of music, especially those common eloquent and common songs that are not very relevant to the tribute, must first define the musical nature based on the rules of “happiness without being lustful, sad without being hurt” (“Speech·Baoyi”). Confucius rejected Zheng Yi’s voice because the music environment it created was that it “has treacherous voice is moist and drowns but never stops” (“Quan Ji·Lecture Notes”), and was incorrectly criticized the Chinese Xia Dynasty and was finally regarded as “Architectual Lecture” (“Quan Ji·Yang Che”), and was directly expelled from the style of music, and only treated it on the level of “sound”
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