作者:
Pierre Hadot 出版社: Belknap Press 副标题: An Essay on the History of the Idea of Nature 原作名: Le Voile d'Isis 译者:
Michael Chase 出版年: 2006-10-30 页数: 318 定价: GBP 22.95 装帧: Hardcover ISBN: 9780674023161
Nearly twenty-five hundred years ago the Greek thinker Heraclitus supposedly uttered the cryptic words "Phusis kruptesthai philei." How the aphorism, usually translated as "Nature loves to hide," has haunted Western culture ever since is the subject of this engaging study by Pierre Hadot. Taking the allegorical figure of the veiled goddess Isis as a guide, and drawing on the wo...
Nearly twenty-five hundred years ago the Greek thinker Heraclitus supposedly uttered the cryptic words "Phusis kruptesthai philei." How the aphorism, usually translated as "Nature loves to hide," has haunted Western culture ever since is the subject of this engaging study by Pierre Hadot. Taking the allegorical figure of the veiled goddess Isis as a guide, and drawing on the work of both the ancients and later thinkers such as Goethe, Rilke, Wittgenstein, and Heidegger, Hadot traces successive interpretations of Heraclitus' words. Over time, Hadot finds, "Nature loves to hide" has meant that all that lives tends to die; that Nature wraps herself in myths; and (for Heidegger) that Being unveils as it veils itself. Meanwhile the pronouncement has been used to explain everything from the opacity of the natural world to our modern angst. From these kaleidoscopic exegeses and usages emerge two contradictory approaches to nature: the Promethean, or experimental-questing, approach, which embraces technology as a means of tearing the veil from Nature and revealing her secrets; and the Orphic, or contemplative-poetic, approach, according to which such a denuding of Nature is a grave trespass. In place of these two attitudes, Hadot proposes one suggested by the Romantic vision of Rousseau, Goethe, and Schelling, who saw in the veiled Isis an allegorical expression of the sublime. "Nature is art and art is nature," Hadot writes, inviting us to embrace Isis and all she represents: art makes us intensely aware of how completely we ourselves are not merely surrounded by nature but also part of nature.
The occultation of nature will be perceived not as a resistance that must be conquered but as a mystery into which human beings can be gradually initiated. (查看原文)
二者并不一定相互排斥，而且往住见于同一个人。例如，我认为柏拉图的《蒂迈欧篇》是俄耳甫斯态度的一个典型例子，这首先是因为柏拉图把世界描述成一个以技艺方式因此在某种意义上以力学方式制造出来的东西（这可能会促使人把世界设想为一部机器，把神设想为一位技师）138其次是因为他提出了一种关于自然物创生的数学模型。此外，柏拉图一般来说会毫不犹豫地用力学模型来理解世界的运动，这可见于《理想国》的第十卷和《政治家篇》的宇宙神话。因此，我所区分的这两种态度
符合我们与自然的暖昧关系，不能以过于明确的方式分隔开。
一方面，自然可以把敌对的一面呈现给我们，面对它我们必须保护自己，自然还表现为必须加以开发利用的为生活所必需的资源。普罗米修斯态度的精神动力一这也是埃斯库罗斯的《普罗米修斯》的精神动力ー一是渴望帮助人类。在《方法谈》（ Discours de la methode）中，笛卡尔声称，他拒绝隐藏其物理学发现是“为了大众的利益”。②然而，受利益驱动的技术和工业化的盲目发展危及了我们与自然的关系以及自然本身
另一方面，自然既是令我们着迷的奇观（尽管它会使我们恐惧），又是我们周围的一个过程。尊重自然的俄耳甫斯态度试图保持对自然的活生生的感知；然而在与普罗米修斯态度完全对立的一个极端处，俄耳甫斯态度往往公开主张一种原始主义，这也并非没有危险
正如我还会多次指出的那样，同一个人对自然同时或先后可以有若干种明显矛盾的态度。科学家在做实验时，尽管有哥白尼革命，他的身体仍然把地球感知为一个固定不动的基底，他也许还会分心去看太阳“落山”。俄耳甫斯态度和普罗米修斯态度可以很好地相互继承、共存甚至合并。但从根本上说，它们仍然是完全对立的。 (查看原文)
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还没人写过短评呢
还没人写过短评呢