【摘要】：面對(duì)中國(guó)文化在近代遭遇的危機(jī)，在對(duì)斯賓格勒與湯因比文化形態(tài)學(xué)批判地吸收基礎(chǔ)上，朱謙之建立了自身的文化形態(tài)學(xué)體系，從而在理論上處理了中國(guó)文化命運(yùn)及其未來(lái)形態(tài)的問(wèn)題。本文將朱謙之的文化形態(tài)學(xué)分為“己他關(guān)系”和“文化與文明”兩個(gè)部分進(jìn)行研究： 首先，就“己他關(guān)系”而言，，朱謙之在運(yùn)用斯賓格勒“觀相”法之整體“俯瞰”和同源“類比”過(guò)程中，綜合改造了黑格爾的“三段論”和孔德的“三階段法則”，形成了他的“文化四形態(tài)”，將文化分為宗教、哲學(xué)、科學(xué)、藝術(shù)四種形態(tài)，其中除了藝術(shù)作為世界文化的綜合協(xié)調(diào)之外，其余三種文化形態(tài)分別對(duì)應(yīng)印度（宗教）、中國(guó)（哲學(xué)）、西方（科學(xué)）。此三種文化形態(tài)在各自縱向文化發(fā)展過(guò)程中，經(jīng)過(guò)“己文化”與“他文化”的獨(dú)立、傳播、漸趨融合，最后殊途同歸地趨向藝術(shù)文化時(shí)期，而此時(shí)的藝術(shù)文化則包容了前三種文化形態(tài)，由此達(dá)到文化的“和而不同”。 其次，朱謙之運(yùn)用文化形態(tài)學(xué)的方法，對(duì)文化與文明及其關(guān)系進(jìn)行層層剖析，論證了中國(guó)文化不但現(xiàn)在沒(méi)有“僵死”，而且將來(lái)也不會(huì)滅絕，中國(guó)文化具有綿延的文化時(shí)間和廣闊的文化空間。他認(rèn)為，“古而不亡，老而不死”的中國(guó)文化終將復(fù)興，并且，在經(jīng)歷科學(xué)文明的洗禮后更會(huì)迸發(fā)出非凡的創(chuàng)造性，再次綻放出燦爛輝煌的生命力。 朱謙之文化形態(tài)學(xué)指向的是中國(guó)文化形態(tài)的自我更新，他以為中國(guó)文化通過(guò)自覺(jué)、主動(dòng)地融攝西方文明而可向一更高形態(tài)發(fā)展。
[Abstract]:In the face of the crisis encountered by Chinese culture in modern times, on the basis of critically absorbing OswaldSpengler and Toynby's cultural morphology, Zhu Qianzhi established his own cultural morphological system. Thus, it deals with the fate of Chinese culture and its future form in theory. In this paper, Zhu Qianzhi's cultural morphology is divided into two parts: "self-relationship" and "culture and civilization". First of all, as far as the "self-relationship" is concerned, In the process of using the whole "overlooking" and homologous "analogy" of OswaldSpengler's "observation" method, Zhu Qianzhi comprehensively transformed Heger's "three-stage theory" and Kong de's "three-stage law", and formed his "four forms of culture". Culture is divided into four forms: religion, philosophy, science and art. In addition to the comprehensive coordination of art as the world culture, the other three cultural forms correspond to India (religion), China (philosophy) and the West (science). In the process of their respective vertical cultural development, through the independence, dissemination and integration of "own culture" and "other culture", these three cultural forms tend to move towards the period of art and culture in the same way. The art and culture at this time include the first three forms of culture, thus achieving the "harmony but difference" of culture. Secondly, Zhu Qianzhi used the method of cultural morphology to analyze culture and civilization and their relationship layer by layer, and demonstrated that Chinese culture is not only not "rigid" now, but will not die out in the future. Chinese culture has a continuous cultural time and broad cultural space. He believes that the Chinese culture of "ancient times will not die, old but not dead" will eventually be revived, and after the baptism of scientific civilization, it will burst out extraordinary creativity and bloom its brilliant vitality again. Zhu Qian's cultural morphology points to the self-renewal of Chinese cultural form. He thinks that Chinese culture can develop to a higher form by consciously and actively integrating western civilization.
【學(xué)位授予單位】：蘇州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：G02

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 秦一散;一種時(shí)空對(duì)應(yīng)的文化尋繹——朱謙之文化思想探略[J];福建論壇(文史哲版);1990年05期

2 鄭先興;;新生機(jī)主義文化史研究理論及其在中國(guó)的實(shí)踐[J];上海財(cái)經(jīng)大學(xué)學(xué)報(bào);2006年06期

3 孫漢生;著書何為,民族復(fù)興的文化計(jì)劃——《朱謙之文集》介紹[J];世界宗教文化;2003年01期

4 黃有東;;朱謙之與“南方文化運(yùn)動(dòng)”[J];現(xiàn)代哲學(xué);2007年03期

5 李銳;;“九·一八”事變后中國(guó)南北觀念考察與中國(guó)的民族主義[J];新疆社會(huì)科學(xué);2011年02期

6 董德福;朱謙之哲學(xué)思想梳要[J];鎮(zhèn)江師專學(xué)報(bào)(社會(huì)科學(xué)版);2001年03期

7 趙立彬;;西方理論與朱謙之的文化學(xué)思想——以《文化哲學(xué)》為中心[J];中山大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2006年01期

8 洪九來(lái);略論朱謙之的文化觀[J];中州學(xué)刊;1995年05期

相關(guān)博士學(xué)位論文 前1條

1 趙濤;朱謙之的哲學(xué)與哲學(xué)史研究[D];武漢大學(xué);2010年

本文編號(hào)：2472835