語言哲學課的劣作課業

Paradox and logical contradiction: the understanding of language of Zen Buddhism in the context of koan (kung-an)

Introduction

Koan is considered as one of the representative feature of Zen Buddhism in China, while Zen Buddhism has also been taken commonly as filled with the aura of China. Indeed, koan, as a representative feature, is known famously for its paradoxical character, contradictions and absurdity. Many scholars in various fields have worked on the possibility of understanding the real contexts and natures inside koan. However, I think it is reasonable to understand the theories inside Zen Buddhism mandatory, as to give the account of koan. In this essay, I will try to give an analytic analysis and account on the understanding of complex situation in koan by using western speech act theory. Hence, I would intend to figure out of different possible ways and methods in understanding the usage of koan in Zen Buddhism, under the stance of the intention of communication as a form of rationality. Along with the using of western theories, I would also try to figure out the similarities of koan in Zen Buddhism, along with the other thinking – Taoism in China.

怎樣的道德標準，才是你的標準？

話說，最近的社會運動，有很多情況都跟某些道德問題扯上關係。
在自已站在一個"對方講的東西不大合聽"的情況下，而又將自已立於道德高地，從而指罵他人；看來已是各類人仕的普遍行為。

立法會門外的1700 人

實在是百思不得其解以得出1700 這個神奇的數字。看來警察叔叔沒有把我都計進去，而當然我就像於香港上消失了而沒有在立法會外出現。

中國佛學研修課作業

僧肇〈物不遷論〉的般若思想與玄道思想的異同

佛教由印度自西漢北傳入中國，在中國發展出一套與南傳佛教不同的一套分支，亦即漢傳的大乘佛教。在大乘佛教中，若果以現代思想的判教作義理分析，中 觀學派是其中一個最為重要的學派。中觀、唯識、如來藏三派之中，中觀學派於過去的歷史發展以及義理上，有著一個貫穿三派的基本義理的中心存在。這中心的義 理，亦即中觀學派內最主要思想的兩個大部份：般若思想以及中觀學。般若思想是以發揮空的義理為根本的目標，而中觀學就是連繫著般若思想，以闡述中道義。

道家研討課的作業 -- 莊子人性論觀中對仁義之見

莊子人性論觀中對仁義之見

細讀中國的哲學的歷史，可發現對人性、道德、倫理等議題是花不少篇幅以描述及刻畫它們的重要性的。當然，這與儒家較為偏重人性、道德、倫理相關議題 與長時間作為官方思想派別有關。比如在明清兩代，理學更是作為官學，在獨特，超然的地位。所以在中國文化中，倫理是主流作為精神基礎的存在。這有別於西方 以宗教為精神基礎的不同，令得「人」這本身，就是作為思想基礎的對象，以及目標。而這種以人為本的思想發展，亦是中國對人性重視的原因。自原始部落所崇拜 的宗教對象以後，中國的精神文化開創以來，中國的精神文化就是朝向人文精神這一方向發展的。這種精神文化，還有它的傳承，都在為了對應確實、現實的人生以 及社會的問題而發展出來。這種發展模式，是以實際的，個人所面對的問題作出一連串的觀察接收，思考，以及實證體驗的活動作為應對人生問題的一些工夫。這種 實際、體證的發展就是成就重人的思想模式。從重人的立足點發展下去，往後就出現各種人性論的討論。人性，意指為人之本性、本質。以人性為題之爭論，是以人 性的具體德目層次上展開，往後發展出林林總總的人性論觀點：性善論、性惡論、性無善惡論、性可善可惡論等等。而這些人性論觀點都是在討論關於人性是甚麼的 實有層問題。然而，在作用層下，如何將人性論的觀點合理化，亦是討論人性論問題的重點。這種實有層與作用層的分類方式於儒家有出現，但就並未於道家中作出 分類。以下我稍稍引用牟宗三先生的說法：

在道家，實有層和作用層沒有分別，此一義涵著另一義，就是道家只有「如何」(How)的問題，這還牽涉到其他概念，例如聖、智、仁、義等概念。道德 經裏面有「絕聖棄智」、「絕仁棄義」之語。牽連到聖、智、仁、義這方面，道家只有如何(How)的問題，沒有「是什麼」(What)的問題。這個就是因為 道家的「實有」和「作用」沒有分別。[1]

Modern Chinese Literary Criticism 課的作業

Moving forward: From the construction of Hong Kong Cultural Identity in post-colonial context to the north going imagination

The starting of the Second European colonization wave in 19^th century has brought the European thought and influence over the world. With the western imperialism and colonialism influence, the legacy of these “-ism” still have influence in the 21^st century, namely post-colonialism. Many cultural critics, scholars and social scientists have worked on the study of post-colonialism in various “colonized” places, paying attention on economic, political, geographical ownership ramification and cultural aspects. Scholars have found theories and meta-narrative worked well on many places after being colonized, like African and Indo-European countries. However, when these theories came to describe the post-colonial situation in East Asia, these theories could not be easily generalized in describing the circumstances of China and Taiwan, etc. Short period of occupation, retaining original languages, influence of communism and east-Asian imperialism were the main reasons[1] account for the difference from some other countries in Africa. Among those examples in East-Asia, two easily forgot places: Hong Kong and Macau, have been founded as a particular important and abnormal place. The abnormality came from the returning of the territorial sovereignty to the motherland- China, instead of becoming an independent country or place. This abnormality added the impotency and value of Hong Kong (this essay, I will only focus on Hong Kong according to her global influence) in her special position between Britain’s colonialism and China’s up coming partial totalitarianism governance. According Rey Chow’ s saying: “Between Britain and China, Hong Kong’ s postcoloniality is marked by a double impossibility—it will be impossible to submit to Chinese nationalist/ nativist repossession as it has been impossible to submit to British colonialism.”[2] However, when we compare the pre-handover period for Chow's essay, and the period after handing over of Hong Kong to China in 1997, her description on the emergent Hong Kong Identity and Hong Kong culture can not simply meet current Hong Kong situation on identity and culture. What I am going to do is to tease out the ways and the ambivalence in constructing Hong Kong Identity and then to figure out what is and what lead to the current situation. In doing this, the two main aspects coined in Chow’s essay: root searching and post-modern hybridities will also be my starting way in interpreting the current situation. Hence, I will try to come up with a description for the current situation.

同莊周過聖誕

話說終於收到那個有著微妙笑臉的盒子了。

思考的藝術：導修課中的文章

話說課堂：思考的藝術內的導修課要寫下網上討論的文章，所以在這同時貼下：
四篇文章的標題如下： 1. 嚴人寬已，看雙重標準的謬誤 2. 從界定生命看非自主(non-voluntary) 安樂死 3. 強效益主義外有關動物權益的進路 4. 從另外一個角度看批判思考與創意思考

轉貼+ 小評 ：港媽、買樓與浮士德的交易

港媽、買樓與浮士德的交易

身邊很多好女孩，她們的故事就是一眼淚水。

A 小姐和男友拍拖多年，在當今世代難得一直難得相愛，唯一到談婚論嫁，立即出事。

Modern city life and city's relations in Chungking Express

In the recent decades of the development of Hong Kong Cinema, especially in the time of Hong Kong New Wave, there are really number representable Hong Kong filmmakers. Wong Kai-wai, being one of the late Hong Kong New Wave filmmaker, is famous and popular in his works with post-modern features. One of his romantic comedy genre work - Chungking Express, is noted in expressing the urban cityscape of Hong Kong, particular in the place of Tsimshatsui and Central. Similar to Wong's previous films, the expressing of the themes and motifs of time, love, lost and searching for self-identification. These elements enable Chungking Express to give a good picture of protagonists' frustration and loneliness in Hong Kong to the audience. In this essay, I will start from the modern urbanscape sitting in Hong Kong, and try to figure out the modern city life style in relating to time and memory. Further, I would try to focus on the inter-personal relations inside the geographical identity of Hong Kong.

Nationalism in Once upon a Time in China

As being the new remake of the continuation of Huang Fei-hung series from Kwan Tak-hing, Tsui Hark has used the new Huang Fei-hung(played by Jet Li) to illustrate a new from of kung fu film in terms of the derivation from the 70s martial art films and to express his own cult style in his production. In Once upon a Time in China, won a big success in box office and also brought along with a new representation nationalism form to foreign audience. In contrast with the defined perception in Encyclopedia Britannica of nationalism: loyalty and devotion to the state such that national interests are placed above individual or global interest, the "nationalism" in Tsui Hark's mind should be featured in the form of national style, instead of the blindly expression of nationalism. Here, I will try to use Once upon a Time in China to illustrate the nationalism from Tsui Hark, and indicate its significant.

From Colonial History to Nostalgia in
He Ain't Heavy, He is My Brother

Being one of the most significant political issue in Hong Kong history - the signing of Sino-British Joint Declaration in 1984, was one of the reason that brought along with a various social phenomena after the mid 1980s. These phenomena included the redefining of Hong Kong cultural identity and the arisen of different representations of nostalgia in different cultural texts. To large extent, both the two social phenomena mentioned are the reflections of the time of Hong Kong colonial history. In these reflections, the emotional and allegorical messages can be noted in different texts, especially films as a cultural industry product. In this sense, it will be appealing to find out reasons or discourses to try to figure out the corresponding issue in the time line of colonial history. Looking back to the colonial history of Hong Kong, there were different events and ideological changes in affecting Hong Kong peoples' attitudes and feelings. By breaking down the motifs in the film texts during 1980s and 1990s, as the period of post-colonial, I hope to figure out a clearer concept of why and how HK nostalgia films are related to the colonial history. And further, how nostalgic sentiment is being presented in Hong Kong nostalgia films. To answer these questions, He Ain't Heavy, He is My Brother from Peter Chan and Lee Chi-Ngai, will be used to show the signifier for the relationship of colonial history and nostalgia films.

書山，書刪

書山，書刪

還沒考完試就借了一堆書回來
看起來如果完成度有六、七成的話都很不錯了~

All animals are equal - Peter Singer 摘要筆記

All animals are equal - Peter Singer
Ø          目標：嘗試指出speciation inside "animal" 的不當。以及將species 的平等觀念推廣 Ø          What is to be a human?

Technovisuality and Cultural Reenchantment Conference 2008

話說11月20 號那日去了中大聽conference

說回來：Prof. WOng 寫的Deleuze 這友，我根本不知是誰....orz
Paper title: "Elephant without an image: imaging the Universe in Chinese Eco-Poetics and Deleuze's Chinma"
Deleuze 不懂，但用lingustics 方向到看eco-poetics 那方向都有個大既可以知道的...
一如就是中國的poem 都有很重"與萬化冥合"的味道。
啊，其餘的，還是看完paper 後先說吧...

轉：網絡文化研究的方法學 - 彭澤生

這文到是給了一個不錯的進路去研究網絡文化。
在筆者自已而言，冠希的很黃不暴力事件，高登討論區的網絡憤青等等，都實實在在地反映出網絡世界的超 文字文本可以帶出來的政治影響力於權力上。當然，網絡文化的研究方向，總是有很多的，就如早前筆者立足點是於溝通方式，以致 cultural identity and terminal identity(筆者不太清楚中文的翻譯方法，固不宜隨意直譯) 以及"身體"(Body)，是以向那個方向去發展。

網絡文化研究的方法學

彭澤生

本文嘗試就文化研究對互聯網的研究提出一些方法學上的討論，這些討論僅僅是方向性的，甚至連操作上可能面對的困難也未及顧上，與其說這是給人看的文章，不如說是拋磚引玉好了。

序
農曆新年前後鬧得熱哄哄的「藝人照片」事件中，由於事件涉及互聯網，因此不少報章、媒體、博客等都有就是次事件中網民的作為作出評論。吳志森於其《慾照事件  誰對誰錯？》中對網上對是次是件的討論中，常常出現指責鍾欣桐的「大家鄙視的不是你的放蕩，而是你的虛偽。」一句作出了有力的批判（一直有留意事態的筆者亦發現這句說話不乏人和應），並指「網民」「偽善下流」（吳志森　2008）。另一方面，鄧小樺亦就網民的社會參與展開討論，透過閱讀不同討論區的發言及《香港網絡大典》的內容，指出網民行動是社會解放的希望所在（鄧小樺  2008）。

這些透過閱讀網上流傳的文本展開的文化分析可以使我們明白一些深具影響力的話語、行動背後的意識形態，但是有一件筆者校園生活中的小事欲使我反思這種從閱讀網上流傳的文本進行文化分析的方法未能處理什麼。

(只戴了一部份，其餘的請前往原文位置)


原文出處：網絡文化研究的方法學 (彭澤生)
pdf version：網絡文化研究的方法學 (彭澤生)

Love , sex and marriage

話說近期要上道德哲學課，而剛剛好，mid term 的term paper 的題目也就是說康德的idea on sex and marriage.


但首先，我們看看我課上的TA 的一份 about Alan Goldman, Plain sex 的note:




Alan Goldman (1991), “Plain Sex”, The Philosophy of Sex, (2nd ed.), Alan Soble(ed.),

1 目標：

1.1 反對“means-separable-end”對性的觀點．

1.2 解釋性不必然是什麼．

1.2.1 My preliminary analysis is meant to serve as a contrast to what sex is not, at least, not necessarily.[1]

1.3 Traditional writings were correct to emphasize the purely physical or animal aspect of sex; they were wrong only in condemning it.[2]

1.4 証明任何嘗試把性活動與道德掛鈎的理論都是錯的．

1.4.1 Any analysis of sex which imputes a moral character to sex acts in themselves is wrong for that reason.[3]

1.5 沒有所謂性變態的活動．