命运的驯化——悲剧重生于技术精神 内容简介 (Chinese translation of Destiny Domesticated\)
Jos de Mul. 命运的驯化——悲剧重生于技术精神 内容简介 (Chinese translation of Destiny Domesticated. The Rebirth of Tragedy Out of the Spirit of Technology). Guilin: Guangxi Normal University Press, July 2014.
命运的驯化——悲剧重生于技术精神 内容简介(Content abstract)： 本书考察了西方文明试图驯化命运的三种途径：希腊悲剧文化对命运的英雄般的肯定，基督教对神圣天命的谦卑接受，现代技术社会对命运的“否弃”。在此背景下，作者认为技术的不可控性重新把悲剧的维度引入了我们的文化。通过对《解放了的普罗米修斯》《安提戈涅》《美狄亚》等古典悲剧，以及赫尔曼斯与维勒贝克的悲剧小说的广泛考察，作者清晰地阐发了当代视野中的悲剧观，赋予诸如自由意志、决定论和生命的偶然性等哲学论题以崭新的光辉，为审视“悲剧重生于技术精神”提供了一种新颖独特的视角。 命运，迟早会敲每个人的门：一场意外事故，一种吞噬一切的嫉妒，一种无法治愈的疾病，最终的死亡••••••命运，尽管不可避免，尽管难以承受，但它是我们的生活不得不面对的。英雄般地肯定？谦卑地承负？决然地否弃？ 著、译者简介(Author and Translator) 约斯•德•穆尔（Jos de Mul） 国际著名美学家，荷兰鹿特丹Erasmus大学哲学教授，信息哲学与传播技术研究院导师，兼美国密歇根大学客座教授、复旦大学客座教授，常任荷兰政府智囊团专家；主要研究领域为美学、艺术哲学、新媒介与信息交流技术哲学、19世纪德国哲学、历史哲学；主要著作有《后现代艺术与哲学的浪漫之欲》《有限性的悲剧：狄尔泰诠释学的生命》《赛博空间的奥德赛——走向虚拟本体论与人类学》等，其著作已被译为多国文字。 麦永雄 北京师范大学文学博士，现为广西师范大学文学院教授、博士生导师，广西师范大学中国语言文学研究所所长、比较文学与世界文学学术带头人，广西师范大学“外国文学史”精品课程主持人，《东方丛刊》主编（2006—2010），已出版论著、译著多部，包括《赛博空间的奥德赛——走向虚拟本体论与人类学》。
《有限性的悲剧：狄尔泰的生命释义学》(Chinese Translation of The Tragedy of Finitude)
约斯·德·穆尔 著，吕和应译：《有限性的悲剧：狄尔泰的生命释义学》，上海：上海三联书店出版社2013年版
作者: 约斯·德·穆尔 [荷] Jos de Mul
出版社: 上海三联书店
副标题: 狄尔泰的生命释义学
原作名: The Tragedy of Finitude. Dilthey's Hermeneutics of Life. Yale University Press, 2004/2010.
One of the founders of modern hermeneutics, German philosopher Wilhelm Dilthey (1833-1911) confronted the question of how modern, postmetaphysical human beings can cope with the ambivalence, contingency, and finitude that fundamentally characterize their lives. This book offers a reevaluation and fresh analysis of Dilthey’s hermeneutics of life against the background of the development of philosophy during the past two centuries.
Jos de Mul relates Dilthey’s work to other philosophers who influenced or were influenced by him, including Kant, Schleiermacher, Hegel, Comte, Mill, Nietzsche, Husserl, Heidegger, Gadamer, and Derrida. Weaving together systematic analysis and historical investigation, de Mul begins the book with an account of the horizon on which Dilthey developed his unfinished masterwork, Critique of Historical Reason. The author then elaborates a systematic reconstruction of Dilthey’s ontology of life, relates the ontology to the work of other twentieth-century philosophers, and positions Dilthey’s thought within current philosophical debate.
Jos de Mul is full professor in philosophical anthropology, Faculty of Philosophy, Erasmus University, Rotterdam, The Netherlands. Winner of the Praemium Erasmianum Research Prize.
"De Mul is an ambitious commentator. He reconstructs both biography and cultural context, and he interprets virtually all of Dilthey's more substantial writings while seeking to engage with his critics. In addition to extensive discussions of Dilthey's own writings, there are long sections on Kant, Hegel, Nietzsche, Husserl, Gadamer, and Derrida. In a book that may stand as one of the best and most thorough in the recent critical literature on Dilthey, de Mul successfully tackles all of these challenges"
In an era of heightened existential vulnerability and awareness of finitude there is a correspondingly heightened need for new contexts of human understanding. Here we owe an enormous debt of gratitude to de Mul for providing us with a superb explication of the thought of Wilhelm Dilthey, whose precocious insights into the finitude and historical contingency of human understanding promise to contribute immeasurably to the widening of its horizons.
Robert D. Stolorow, Human Studies.A Journal for Philosophy and the Social Sciences (2012) Read entire review
This work by de Mul is the definitive synthesis on Dilthey available in English. It not only develops the thought of Dilthey chronologically, it also sets his thought in an overall structure that he terms the Critique. This structure solves one of the major problems of Dilthey studies - how to organize his disparate thoughts when no definitive work of his exists. Until this book, most other treatments, while helpful and informative, have not managed to rise to the precision and clarity of this work.
One of most helpful aspects to this book is the author's ability to locate and identify the tensions in Dilthey and provide the structure that is needed to understand them. By describing how ambivalence, contingency, and finitude serve as structuring ideas to Dilthey's thought, the author saves a reader from finding Dilthey contradictory and incomprehensible.
One final aspect of praise for this work is the clarity of thought and writing. A helpful and detailed Table of Contents allows any reader to quickly discover the argument and structure of the book. In addition, most esoteric and technical terms and ideas (including many 19th Century German philosophical concepts) are explained quickly and understandably in a way that allows one unfamiliar with these ideas to follow. These explanations, however, do not sidetrack the argument from its purpose and therefore do not prove distracting to one more familiar with the history and ideas referenced.
In conclusion, after having read many works on Dilthey, I find this to be the clearest, most informative, and best written of them all. Not only will it introduce one to a great philosopher, it will also provide a synthesis of his thought that is invaluable.
Amazon.com review of reader
后)现代艺术与哲学中的浪漫之欲。Chinese translation of Romantic Desire in (Post)Modern Art and Philosophy
Jos de Mul. 后)现代艺术与哲学中的浪漫之欲。Chinese translation of Romantic Desire in (Post)Modern Art and Philosophy. Wuhan: Wuhan University Press, 2010, 306p.
ISBN 978-7-307-08019-5
RMB 42.00
An erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy.
In this erudite and wide-ranging discussion of postmodernism and romanticism in twentieth-century art and philosophy, Jos de Mul sheds a fascinating light on the ambivalent character of our present culture, which oscillates between modern enthusiasm and postmodern irony. Along the way, he engages the work of such thinkers as Nietzsche, Freud, Heidegger, Habermas, Lacan, Barthes, and Derrida; visual artists Magritte and Stella; poets George and Coleridge; and composers Schonberg, Cage, and Reich, among others, providing a sort of intellectual history of Romantic, Modernist, and Postmodernist "tempers."
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赛 博 空 间 的 奥 德 赛 [Saibo Konjian De Aodesai]
![赛 博 空 间 的 奥 德 赛 [Saibo Konjian De Aodesai]](/media/k2/items/cache/852967248dd3e6cb3942a1fe6af42945_Generic.jpg)
Jos de Mul. 赛 博 空 间 的 奥 德 赛 [Saibo Konjian De Aodesai]. Guilin: Guangxi Normal University Press, 2007, 332 p.
Translation of: Jos de Mul, Cyberspace Odyssee. Kampen: Klement, 2002.
ISBN: 978-7-5633-6454-1
RMB 38.00
The emergence of the hominids, more than five million years ago, marked the start of the human odyssey through space and time. This book deals with the last stage of this fascinating journey: the exploration of cyberspace and cybertime. Through the rapid global implementation of information and communication technologies, a new realm for human experience and imagination has been disclosed. Reversely, these postgeographical and posthistorical technologies have started to colonize our bodies and minds. Taking Homer’s Odyssey and Kubrick’s 2001: A Space Odyssey as his starting point, the author investigates the ‘informatization of the worldview’, focusing on its implications for our culture–arts, religion, and science–and, ultimately, our form of life.
Moving across a wide range of disciplines, varying from philosophical anthropology and palaeontology to information theory, and from astrophysics to literary, film and new media studies, the author discusses our ‘cyberspace odyssey’ from a reflective position beyond euphoria and nostalgia. His analysis is as profound as nuanced and deals with issues that will be high on the agenda for many decades to come.
In 2003 a Dutch Edition of Cyberspace Odyssey received the Socrates Prize for the best philosophy book published in Dutch.
城市花园，回归还是走向自然
城市花园，回归还是走向自然 作者：约斯德·穆尔鹿特丹伊拉斯姆斯大学 译者: 寒啸，武汉大学，城市设计学院，设计学硕士 女士们先生们 [The Earth Garden: Going Back or Going Forward to Nature? In: Chen, W. (ed.) Beautiful China and Environmental Aesthetics, Wuhan: Wuhan University Press], 2018, 346-350.
首先，我要感谢主办方,特别是陈望衡教授能邀请我在“环境美学和美丽的中国”会议上发言。这些都是非常重要和具有挑战性的学科,美丽的环境,特别是中国的环境,正面临着严重的威胁。在工业化的西方世界和像中国这样快速发展的国家现代化造成了非常严重的环境问题。因为在过去十年间中国工业化的惊人速度增长，中国的环境问题在世界上属于最糟糕的了。如果我们做个比较，例如世界上主要空气污染的工业区——东亚、欧洲以及北美，将变得非常清楚的是环境问题属于当今中国面临的最大问题，武汉亦是如此。据中华医学协会前任会长钟南山表示,空气污染甚至可能在不久的将来成为中国最大的健康威胁。
在我今天的演讲中，我想提出一些艺术、哲学以及与美学相关学科的看法，这些看法可能会有助于解决这些严重的环境问题。当然，我充分意识到这样一个事实就是艺术家和哲学家不去减少工厂排放和汽车尾气的绘画和写作。然而,两者都可以通过灌输思想和激动人心的想象力去改变人们的态度和行为，并且最终都可能领导一个更加健康、更加美丽的世界。在我的演讲中，我希望通过结合一些源自东方和西方艺术和哲学中卓有成效的思想来为这一任务尽一份微薄之力。
让我对自己的演讲做一个简短的概述。第一部分包括一个在对比的方式上的简短冥想，景观已经在东方和西方的绘画传统中被代表和理想化了。我将尝试用一些引人注目的例子去表明在过去两个世纪里山水画的发展反映了人与自然关系的改变，导致无论是在东方还是西方怀旧的渴望回归自然的表达，亦或是在现代，技术的世界中消失的自然的一种阴郁的表达。I
在我演讲的第二部分，联系“和谐” 这一关键的东方美学概念，以及在西方哲学中自然与技术的关系的一些思考，我会请求不同的后怀旧的自然和自然美的概念，自然和技术不再被视为对立的类别，而是因为在一个共同进化的过程中相互交织的两极。因为这个原因，我们不应该努力去“回归自然”， 而是要去“面对自然”并且在人与非人类自然与技术之间建立新的和谐关系。
在第三部分和最后一个部分，我会给一些例子来说明这种后怀旧的自然观怎样在包括中国以及世界其他地区引导我们走向一个更健康和美丽的环境的。
序言 约斯·德·穆尔 In: Zha Changping. World Relational Aesthetics. A History of Ideas in Pioneering Contemporary Chinese Art
序言 约斯·德·穆尔. In: Zha Changping. World Relational Aesthetics. A History of Ideas in Pioneering Contemporary Chinese Art. Volume One. Shanghai: Sanlian, 2017, xiv-xvi, xvii-xx.
序言约斯·德·穆尔（鹿特丹伊拉斯谟大学）
2006年，我来中国参加学术讲座，访问了不同的城市。这些城市各具千秋，例如乌鲁木齐和上海。我也参加了国际美学协会在成都举办的会议。会上，我第一次见到查常平先生。介绍我们认识的是一位共同的朋友：上海的历史学者陈新。在成都逗留期间，常平和我有几次对话。我还记得六月一个炎热的夜晚，我们和雕塑家朱成以及我妻子格里（Gerry）一起坐在府河边的露台上，讨论中国和欧洲的当代艺术、宗教和政治的状况，一面享受着四川美食和冰啤，一面看着露台上小孩快乐地玩耍。真是一个美好之夜，让我难以忘怀。
一晃十多年过去了。此间，常平和我保持着联系。他的出版物我都拜读过（可惜只能读翻译成英文的那些作品，因为我不懂中文）。他产出之多、涉猎之广，令我钦佩，从艺术批评和艺术史——如丰富多彩的《向上成都，身体美学与场景凸现》（2013）——到历史逻辑、日本历史、新约研究和一系列翻译作品。更令我印象深刻的是：他深谙西方艺术理论并且能够灵活应用于汉语语境中。常平确实是一位全面的人文学者，善于运用启发性的跨文化研究方法。
约•德•穆尔：《论（生物）技术崇高》，雷礼锡译, 载范明华、黄有柱主编
约•德•穆尔：《论（生物）技术崇高》，雷礼锡译, 载范明华、黄有柱主编：《美学与艺术研究》第5辑，武汉：武汉大学出版社，2014年，第175～185页。
Jos de Mul, "Lun (Sheng Wu) Ji Shu Chong Gao" (The (Bio)technological Sublime), trans. by Lei Li-xi, in Research of Aesthetics and Art (Mei Xue Yu Yi Shu Yan Jiu), Vol. 5, edited by Fan Ming-hua & Huang You-zhu, Wuhan: Wuhan University Press, 2014, 175-185.
论（生物）技术崇高 [荷]约·德·穆尔 著 雷礼锡 译
如果说崇高概念以前习惯用于表明人类主体感到努力代表自然所体现的不足，那么后现代境遇——其中自然本身已被淡忘——业已产生一种崇高感，人类发现自身与自己的造物相对立 戴尔·查普曼 引言
自从18世纪中叶美学作为哲学的一门特殊学科出现[①]，其历史就体现了两个明显趋向，体现了（后）现代艺术与文化作为一个整体的独特发展。一种趋向是，美学的发展表现为审美范畴的显著分化和增加。早期的美学主要集中在美的范畴，19世纪初至今宽泛的新的审美概念已经出现，如崇高、讽刺、滑稽、荒诞、平庸。毫无疑问，这一发展反映了现代艺术自身的发展，它不停地扩大审美经验和表达的领域。美的艺术成了“永不再美的艺术”。
The aesthetics of Freud (in Chinese)
Jos de Mul studied philosophy, art history and social sciences at the universities of Amsterdam, Utrecht and Nijmegen (The Netherlands). At present he is full professor Philosophy of Man and Culture at the Faculty of Philosophy, Erasmus University Rotterdam. He has also taught at the University of Michigan (Ann Arbor, 2007-2008), Fudan University (Shanghai, 2008), and Ritsumeikan University (Kyoto, 2016). In 2012 he became a visiting fellow at the Institute for Advanced Study in Princeton, USA. From 2005 to 2011 he was Vice-President of the Helmuth Plessner Gesellschaft, and from 2007 to 2010 President of the International Association for Aesthetics.