Recent studies lead to the paradoxical conclusion that the act of affirming one's egalitarian or prosocial values and virtues might subsequently facilitate prejudiced or self-serving behavior, an effect previously referred to as ?moral credentialing.? The present study extends this paradox to the domain of academic misconduct and investigates the hypothesis that such an effect might be limited by the extent to which misbehavior is rationalizable. Using a paradigm designed to investigate deliberative and rationalized forms of cheating (von Hippel, Lakin, & (...) Shakarchi, 2005), we found that when participants had credentialed themselves (vs. a nonclose acquaintance) via a set of hypothetical moral dilemmas, they were more likely to cheat on a subsequent math task, but only if cheating was highly rationalizable. When cheating was difficult to rationalize, moral credentialing had almost no impact on cheating. (shrink)

Individuals engage in moral cleansing, a compensatory process to reaffirm one's moral identity, when one's moral self-concept is threatened. However, too much moral cleansing can license individuals to engage in future unethical acts. This study examined the effects of incentives and consequences of one's actions on cheating behavior and moral cleansing. Results found that incentives and consequences interacted such that unethical thoughts were especially threatening, resulting in more moral cleansing, when large incentives to cheat were present and cheating explicitly harmed (...) others. Implications are discussed in terms of ethics training, using incentives as motivators, and the depersonalized norms of science. (shrink)

Résumé: O design cultural integra o conteúdo cultural no processo de design. É um meio importante para perceber a inovação da cultura tradicional na herança. O comportamento do design cultural é sutilmente influenciado pela filosofia cultural. Especificamente, a análise do ambiente cultural, a associação semântica cultural e a extração de imagens culturais, na perspectiva da filosofia cultural, ajudam a perceber a explicitação do conhecimento implícito no processo de codificação e decodificação de genes culturais. Selecionamos Ningbo como uma amostra, aprofundamos os (...) genes culturais regionais, exploramos o modelo de geração de design cultural e ainda propusemos a estrutura para a construção de um sistema de serviços de conhecimento de design cultural para fornecer orientação metodológica, para a prática de design cultural regional, a fim de construir capacidades de design cultural sustentável. (shrink)

公孙龙是战国后期著名的逻辑学家和辩士，其著作《公孙龙子》是先秦名辩学派至今尚存的唯一完整文献。本书分上下两编。上编立足于《公孙龙子》六篇文本，进行详细校注、今译、英译和注疏，重新整理和编排顺序，并运用 文史互证等方法，探求公孙龙思想发展的轨迹，以重建公孙龙的思想体系。下编将公孙龙的思想分为逻辑学、语言学和一般哲学，分别结合亚里士多德形式逻辑、欧陆语言分析哲学和西方形而上学思想，进行了多学科的分析和对 比研究。.

本书是文艺争鸣杂志上发表的有关"强制阐释"的讨论的论文,包括文学阐释与对话精神"强制阐释论"的方法论元素场外征用的必要性与有效度古代文论研究中阐释的有效性问题等.

當資本主義以身體（特別是女人的身體）作為獲利的媒介，並時時刻刻提醒我們：「幸福是要靠著某種身體來獲得」時，課堂上的教學實踐成為批判常識以及讓 學生充權的最佳場域。Paul Freire (1992) 在Pedagogy of the Oppressed提出，受壓迫者的教學應由自身生活經驗和情感出發，並解構這些經驗，讓學生瞭解不同的權力關係如何型構這些日常生活經驗，並進而改變現 實社會的不平等。Freire和女性主義不謀而合地均以日常經驗為出發點，作為教學的素材，並以分析權力運作來改變被壓迫者的現況作為教學目標。女性主義 者更進一步將身體問題化，並將此帶入教學中，思考身體和教學實踐之間的關係。 這本書凝聚不同學門領域的教師，書中處理了教學現場裡以及歷史上各種不同與相同的身體經驗，並記錄教學執行者自身的研究反思，以及教學實踐之教案、實施結果分析、研究手札。這些寶貴的教學實踐與研究所得來的身體經 驗，皆是創造新論述的重要資源。.

本书是关于现代新儒家代表人物唐君毅先生的生活史、生命史、学术史、思想史合一的长编年谱，记录了谱主从出生到去世整个一生的生命经历、学术活动、学术思想，对其主要学术著作作了客观、翔实介绍。年谱对引用谱主本 人的资料，都在脚注中同时注明了九州出版社和学生书局两个版本《唐君毅全集》的卷次、书目和页码。全书资料翔实，叙述客观，内容丰富，学术性强，是了解和研究唐君毅先生的重要参考书。.

台灣有沒有理論？只有西方引進的才能算是理論嗎？ 在全球知識分工下，以32則關鍵詞 推動台灣超脫依賴者和模仿者，讓台灣理論與世界展開對話 我們如何界定理論？只有西方引進的才能算是理論嗎？台灣有沒有理論？如果有，那它的內容、範疇、系譜為何？如果沒有，台灣在全球的知識分工制度下，是否無法超脫依賴者和模仿者的角色？那又應該如何抵制這個被分配的 角色，轉而變成理論生產者？米蘭‧昆德拉曾經指出，大國有大國的狹隘觀，過度自信不理別人，小國有小國的狹隘觀，認為自己沒有東西可以貢獻給世界，他說這兩種都是需要克服的謬論。如此看來，台灣對世界的理論場域， 是否可以有所貢獻？或者，台灣本有理論，但看理論怎樣定義，只是因為「認可機制」的桎梏，而沒有被看到，甚或自己也看不到？那要怎樣才能看到自己，也被別人看到？特殊化和普遍化之間台灣理論的位置在哪裡？台灣在地 經驗的概念化可以提升為普遍的理論嗎？ 由史書美、梅家玲、廖朝陽、陳東升主編的《台灣理論關鍵詞》，試圖發掘「理論」與「台灣」之間的可能關係，以作為台灣知識學的一個方法。本書從台灣經驗出發，以創造為訴求，擺脫陳舊的術語、慣用語以及外來的理論概 念，發明新的詞彙──關鍵詞──來探討台灣本身的獨特性。依據在地就是全球的主張，本書除了探討台灣的特殊性，也希望提供從特殊性跨越到一般性的途徑，以期對世界情境下更廣闊的理論對話有所貢獻。.

This dissertation addresses the roots of fundamental changes in twentieth-century art in China by addressing how the cultural exchange between Europe and China transformed critical conceptions and artistic practices in the field of art. The translation of German aesthetic theories and the French academic training of Chinese artists engendered the conceptual and technical transformation of Chinese art in the early twentieth century. While the notions of pure nudity, artistic salvation, and archaeology of art were introduced from German philosophy into Chinese (...) art, the traditional ideas of art versus craft and artist as moral exemplars were converted. Chinese intellectuals analogized crisis-ridden China in the early 20th century to Germany being occupied by the Napoleon army in 1806. They believed that the superior academic culture, instead of its political and military strengths, was the foundation of the unification of Germany in 1871. The doctrines of German scholars were therefore introduced to China through German-trained Chinese intellectuals, aiming at achieving the modern transition of Chinese society. The implementation of aesthetic education based on German philosophical theories endowed modern artists and their works with the social mission to shape the citizens’ personalities and improve their tastes to establish a liberal and civilized modern Chinese society. Moreover, due to the establishment of the Institut Franco-Chinois in Lyon, more Chinese art students acquired the opportunity to study in Paris, the most important center for new artistic ideas and practices during the early twentieth century. Thus, the conceptual shift in the field of aesthetics was expressed through artists with a French academic training background. This study focuses on examining how the translation of German aesthetic doctrines and the introduction of French (sometimes Italian) artistic techniques contributed to the modern transition of Chinese art. How were German aesthetics translated and disseminated to young Chinese artists in the early twentieth century? How were the German scholars’ theories appropriated to establish new standards for evaluating artists and their works? What were the mechanisms, obstacles and cultural clashes encountered by European-trained Chinese artists in their training and creation processes? How did European-trained Chinese artists respond to these new modern aesthetic doctrines? Each of the five chapters of my dissertation centers on the introduction or transformation of an artistic concept: art versus craft, pure nudity, artistic salvation, and archaeology of art, discussing how these concepts were theoretically and practically formulated in Chinese art. (shrink)