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THJCS414-1.Pdf ೅υᇄΡМϞྛ ྆Ꮠᇽ*! ⢆䱆㾀啪⪢ⳳᾨ⢆㜂ⳳ乶! ᄢ!!ौ! ! 伎⋳䟿㊊儤㞪㢥ⴇ㎋䟿薩宬⪕伎⋳䟿㊊儤凕䊡㜷⃗冀薩⃗冀ᾈ㳶Ҵ唅ⳋⶬ≊宬⪕伎 ⋳䟿⃗冀ύ㮞薩⋱㆘㉮ᾈ㜲䟿䚚㎋薩╪⽦╪⃖薩╪㜂╪╭薩䚕卮╪㸔䏴薥Jean-Paul Sartre, 1905-1980薦薩Ὶ╪㻲ㄲ㦷薥Martin Heidegger, 1889-1976薦薩䛱䊱Ὶ╪⊍Ҵ䊱冇薩唅ⳋῆ 㜷⊍曻ᾡ棙亏㞪ㄇ⊍䟿捈㜫ふ㭆薩冇㞪⋢⢣㜷һ唅ⳋҼ㜂㢧⓮㢄榌ゲ䟿峄㙕Ҵҽ唅ⳋ⊍ 曻尥Ҿ⢣唅ⳋⳳ╭ᾅ仐ᾈ柇䚚薩⃁⢣㟕㞉薩㳟尥䟿⋢㼰㏈榒享佶䟿ⷐ朆Ҵҽ唅ⳋ⊍曻 尥Ҿ䟿捈灙ᾈ⢣䎨ⳳ㺹䟿㳳ⷧ薩冇⢣⫽⃐䛇ⴕ唅ⳋ㆘㉮䟿㦳ㄾ儤Ҵ㢧㜂ⶂㄙ┚⭆⊍ⴱ䟿 ‵㜂ᾶ儤嗒䢷薩㒂⍵┚⭆⊍ⴱ䟿‵㜂ᾶ儤ᾡ棙≀柋㜷㳟ᾑ朎䟿䪹㡾ㆢ薩冇㞪␄⑫㎻尥䟿 ҽ‵㜂ῆ⊾薩刂卥⪥㫰Ҿ薩‡⓮㳟‵㜂ᾶ儤ふ䱆⢣⥵䀋䟿ⳓ㢄屑ᾅҴ⊍ⴱᾶグ䟿‵㜂榋 宨 ύ䮩ⳓ㢄䟿憞倇ㆢ薩Ὶ榋宨 ‵朎䭤《㢄开弅䟿䀋榨薩䚬栬冇槪薩ҽ槪Ҿルҽ栬Ҿ 䀋Ҵ唅ⳋゲ尺ᾶ汏䟿㶞⒑ㆢ薥懅Έ⪤⢫ῆύ㶞薦ҳ尙孻ㆢ薥ⓩ孻薦ҳ㏻坘ㆢ薥㏻憭Έ 懎薦ҳ厂ᾑ▇㭆ㆢ薥汏䡜䊜䰩薦Ҵ憔䮩㶞⒑㝠⍵䟿丹䫙㝝㞪ᾈ㜲懅⒑薩⃁Ὶᾈ㜲㿢䕹㜫 䖁薩‡⓮⾱℁㜫䟿ҽ‵㜂ҾҴ㟕慌幥䜌唅ⳋ‵㜂尥冀薩ᾶ嫼㞪ㄙ▇ύ♭ⳳ厂孞㭆♭ⳳ䟿 䱆⦯䱆屑Ҵ㢧㜂專䈵‵㜂ҳ▇ύ厂孞㭆ᾄ䮩䱆⦯ᾈ⃁ᾈ姘䯼薩冇ᾏ唅ⳋ䟿‵㜂丹䫙桻嫼 ふ䱆⢣憔⋤冀䟿⥵䪉ᾅҴ⡛䈵‵㜂丹䫙⫽㸍伎應▇ύ♭ⳳ㳟杗ⓜ薩⳾㞪䊜䀋䟿薩⃁⳾ᾈ 剸㳝㜷㳟▇ύ䐻㋆Ҵ▇㮞䟿薩㶞⒑ᾶ汏桻嫼䙡孞㊊峓 ⊾ⶈ䱆䟿㉫ㆢ介㭆薩⳾䟿⏰⒑ㆢ ㏈╪䀋䚚ᾈ䰩薩憔䮩孞㭆丹䫙Ὶ╪嬑䈵㢄䡅⊍ⴱ‵㜂丹䫙䟿䟸妻䕾␚剸薩⃁⳾䟿≴↷⃈ 栉ᾈ剸开弅唅ⳋ䟿⏰⒑ㆢῆ⢫⃈Ҵ唅ⳋ‵㜂.开‵㜂.╈‵㜂ᾄ⃈ύ汏䟿㆘㉮薩㇫╪㺶⒑ ⪥╒⎱㜷㳟ᾑ㚺㛔↦䖁ⶉ▌䟿ㄇ㢚⊍ⴱ≴↷汏乶薩⡛䈵憔䮩⋲㢄⏰憛ポり䟿㶞⒑ᾶ汏㳞 㞪⊍ⴱ‵㜂ᾶ儤䟿⥵䪉Ҵ ! !ᜰᗤຠȈ⒜ઈŊːᄽ⁤ṘŊᖎջʙ㋤Ŋ֪⤵Ŋ༬♊ŊὮɿቅ⒜ઈ * 㢧㜂⃗冀桶ⳋ扰ⁱ⅜䴬薷[email protected] ᛤⓧણࢊ ᅘ 41 ֱὮ 4 ቅņᖁߡ 100 ౺ 12 ሶŇὮ 587~620 ㅪ 588 㾀!!啪!!ⳳ!!⦬ ! Ιȃ१᠞ޟ҆ौ һ唅ⳋҼ憔扣伎⋳ⶬ≊⢆╭ᾅ䟿伎⋳ύ㮞薩孞捆䟿⪕儤ㆢ㞪⳾ㅀ䊱䟿◸懆Ҵ嗒 ⃗ύ㝡娦嬑䈵伎⋳ῆㄇ薩䏴㴅⒑䈵㟩懈薩宓埚⒑䈵巜㄰薩╿䮩ᾈ▇䟿審捆侸㡾⍵䕹 䟿薩ⴒ㛔ㆢ䟿伎⋳㡻㞉槪薩⋱⁑ㆢ幥䟿伎⋳⪕ⶌῚ桞⋈Ҵ⓮⃺㎌↌ᾈㄙ懎㛔ㄍ䟿䢷 ⋄䢆һ唅ⳋҼ薩薥家 1薦⳾℘䊱㡾㞪扣ゐ䟷䢹凭✢岼䟿伎⋳薩卮ⶌ⢣泊㟄㞽㢚薩һ唅 ⳋҼύ㡳⽭㞪䛱㝠⩦‵⋬▇杗㍲䟿捈嫼⋳䷈薩█⎒ᾄ䓿ῆύҴ⌈ㆉ瀷䢆薩һ唅ⳋҼ ύ㡳扸㞪ᾨ⢆㜂⒑╭ᾅύ扣捈嫼䟿丹䫙Ⅹ䋄∮们䟿嗒⃗薩㎻⁠ㄇᾑ⫽㢄‵ⶂһ唅 ⳋҼ厂⃖㛔ҳⳓ⢣ᾶ儤ҳ欧⋆㆘ҳ㻲ㄲ㦷䳄䳄䡳㵏薩㎌↌ᾈ㡾⪥㊚㊊⪑Ҵ冇⢣⊍ⴱ ≴↷汏乶ᾶⶉ䟿⿯⁞薩⫽㤗һ唅ⳋҼ㡹娦㑺℁厂⊍ⴱ䡳㵏薩Ὶ㞪╪⁠榋㢚䟿Ҵ 泊㟄㞽㢚䟿唅ⳋⳳ㎻⁠↷ㄒ㹣㊊薩ι⡛唅ⳋ㆘㉮䟿⥵㢧ㆢ㦷⢣㳟㞽㢚◃䕹⋤㫰 ⎁⒑䟿孞捆薩㢄⋤棝╪尥Ҵ欑⋃薩唅ⳋ厂⊍曻≴↷䡳夈尥⢣㳟ύ㞽㢚欑〡║ㄒ槪廦 䟿孞捆㲅薩卮⁅⅘ⳓⴇ㛯䟿䲧ύ扣һ唅ⳋ㹣Ҽ薩‡⓮▌ҳ扨䟿һ唅ⳋ㹣Ҽ╪䈵㳟尥 ⁞姣Ҵ▌ҳ扨䟿һ唅ⳋ㹣Ҽⶂ唅ⳋⴕ⃈䈵⽭䥠ҽ⪢㢧Ҿ薩䊱冇ⶕᾈ剸⋀⎁汏䕹㳟⪢ 㢧䟿♭‵薩⁑⪤幂㫰汓薩⃁㢥⭆坊⋱䐽孻薩⋱⢫⃈ᾈ⫽凑‵薩ⳏⳋ㏈㞪䢚㳞䟿汏懎 冀Ҵⶬぞ儤䟿嬻灙℁尥薩▌ҳ扨䟿һ唅ⳋ㹣Ҽ╪嬑䈵ҽ唅ⳋ⊍曻尥Ҿ薥家 2薦䟿⏈ 毀Ҵ▌ҳ扨㳟ύ嬻灙⪢㐰╈㞛泊㟄䓿ⳳⴱ⋬▇䟿專峓薩⁑↌ゲ尺⊍懎▇樣薩懎慫䓿 䖁薩⊍峄㜪⧾Ҵ兼唅╪嬑䈵ҽ慫冀ῆ屽㞉Ҿ䟿♭ⳳⴱ薩ⳏⳋ㏈㞪㟵╅‼ⴃ䟿凑‵薩 ⋤冀䟿⢫⃈䛫幥䛫栉Ҵ ⋱㲜薩╡ύ䮩䡳╈䟿孞捆⢣㳟㞽㢚Ὶ䏴⎠㺼姇薩㳟䮩孞捆專䈵唅ⳋ⁞姣ҽ棙㿪 㳡冇囿◣ⳏҾ䟿乶们薩⁑㐣㙅⊍ⴱ䟿≴↷汏乶ᾈ懵檓␖薩䱴㤒὾幝㟩懈娦嬑䈵憔䮩 䦯⩙ㆢ㎑孞㭆ㆢ䟿唅兼ῆ⅜ㄍ薩枩䷈嗒ҹ懏唅屑Һ㠝姈唅ⳋ慸㶽开弅ᾑ⅒䬩㹐䟿卥 䚬ῆ㊊儤薩㳟屑⢣䛱㞽⋲㢄㒂㮔㊊儤Ҵ冇䛱㞽╈ⶈ䓿ⳳ厂█⩦ῆ樣冀ʞʞ⫽呾ⵢҳ 䔆⣡ῆ䳄悤薩⁑↌㎻䢆⎫䟿唅ⳋ㇫⫸Ὶ䲡▃憔䮩ポ巜薩╥㞪⁑⁞姣䟿㊊儤ⴇ⋣ᾈύ 1. һ唅ⳋҼ⢣ㄇᾑ懎㛔ㄍ䢷ᾨ薩卥䊱㞪扣ⴒ㛔ㆢ䟿伎⋳薩⳾㞪ҽⓒ啪⁔‵Ҿ㎑曲㧌⋧ⳋ゚ⳋ㎻嗒䟿 棙‵朎ῆ㡳Ҵ唅ⳋ⾦曲㧌⋧ⳋῆ尥嬆һ䢚尠ʦ䮸䫙䲧⡖Ҽ薩㎋䓿呬䟿һ唅ⳋ䜊Ҽ‡ᾶ㳟尥Ҵ卮㜷 ⁠唅ⳋ䈵ҽⓒ啪⁔‵Ҿ薩懎伎ᾨ⪕㢄㳟尥薩嬆һ⪥㫰䢚‵㛲棃⵱烆㎍⭼≻屳伎嫼实Ҽ薩ㄇᾑ懎㛔 ㄍῚ⪕孻唅ⳋ䈵⁔‵薩һ唅ⳋҼ㡳䈵⁔㡳Ҵ 2. 杗㜷㳟尥⢣⚋ⴆㄇ䟿䟷ⷐ薩┾嬆ㄋ凑ㄾ薩ҹҽ唅ⳋⶅⳏ屑Ҿ乶峗众慫͍͍唅ⳳ╭ᾅ䟿╡槙䖁孞厂 本峻Һ薩һ卵⪢ᾨ㜂ⳳ⦬Ҽ薩17薥卵⒒薷2002薦薩楼 21-66Ҵ 唅ⳋ厂‵㜂ῆ䀋! 589 㮞Ҵ唅ⳋ娦專䈵䦯⩙‵朎䟿≴↷汏乶薩ҽ⎤⪤ᾆῚⶌ薩⴮⪤ᾆῚ⪕ҾҴ薥家 3薦憔䮩 䳁冀䮬ῆ䈵ҽ孞㭆⤆Ҿ䟿♭‵ῆ㊊巜㽰懛㺼曲薩・ᾅ慸䀪薩╳欧懲Ὶ㞪憔㮞䢆㄀唅 ⳋ䟿Ҵ冇怦䈵⇄⪢╭ⴱ䟿╳欧懲㎻⁠㢄㳟䢆㹐薩ι⡛һ唅ⳋҼύ㡳ᾨ薩ᾶ嫼㞪ҹ⪑ 䵂Һҳҹ桗䵂Һ䟿ύ‖䵂䱛㕋№憔㮞䟿㊊巜Ҵҹ⪑䵂Һҳҹ桗䵂Һ䟿憔‖䵂䱛侬⃺ ᾈ㞪唅ⳋ卥嗒薩⃁卮ⶌ㞪唅ⳋㄇⳳ㎻嗒薩⁑↌Ὶ㢄ύ⫒弮⁠卥⢎⋱尥䟿唅ⳋ嬻Ҵ憔 䮩孞㭆⤆䟿唅ⳋ㄃桞尥㞪ҽ⊍曻䟿唅ⳋҾ薩⡛䈵⁑↌㎻嫼孞㭆冀薩憕⾳ⶬ㞪⊍ⴱ䟿 ≴↷汏乶Ҵ ⫽㤗㎌↌㑺ҽ唅ⳋ.⊍ⴱҾ䛱⃗安屑䟿ᾶ恳薩戞瀷薩һ唅ⳋҼύ㡳ᾨ╪⁠㏹⎫ ⋤亿㇫䡳ⶈ䱆䟿棝帇薩ύ㞪ᾶグ㶞⒑㝠䚚㝠㎋䟿唅ⳋ薩㳟ύ唅ⳋⶈⳏⳋ䡳䛱╆⛿薩 ⁑䟿㆘㉮厂⊍ⴱ䟿ポᾅⳳ乶们䡳慌薩һ唅ⳋҼ⋢὾䵂╪⁠・憔ↆ㜴▌孞捆薩憔㮞䟿 ♭‵╪䮬䈵⏰⒑屑䟿唅ⳋҴ╡ύ䮩唅ⳋ棝帇╪䮬䈵孞㭆屑䟿唅ⳋ薩㳟扣⎁䟿唅ⳋ屑 慫ῆ儤䖁⋢㼰㽬㽵ᾈ䳄薩⪢卯ᾅ尥℁薩㞽幝㡹榒㹣捈䟿ҹ歝㑂Һҳҹ䡗彑Һҳҹ䁼 䎱Һ屳䵂薩⋱孞㭆䟿㊊⢑㞉䨵冇儤䖁䜊㽵Ҵ䊱冇薩⋢὾䵂ᾨ䟿ҹ烅䏤屑Һ‡㢄㫰㽬 ⎶䟿孞㭆㆘㉮薩һ唅ⳋҼ㵏⁶⃐⋳䷈㡯㢄幂㦷娦䮬⃗ҽ□ⴕ䟿♭ⳳҾҴύ扣һ唅 ⳋҼ薩⋤䮩棝帇薩ㄇ‵║㓣ᾈ▇薩⋱㆘㉮ⴕ⃈憽㡾䡳┶桿⩟Ҵ䳁冀⢣ᾆ㜂ⶂ杜㞉薷 孞㭆屑䟿唅ⳋῚ㞪⏰⒑屑䟿唅ⳋ薩孞㭆ιⶬ⨩ㆢ䟿汏⎱冇孻薩⏰⒑⏂ㄙ⏰憛䟿䀋榨 䱆屑薩⋤冀䡳╈⓶㎻⁠䡳㎋Ҵ 䳁冀專䈵㳞㞪℘㳟䡳╈䡳㎋䟿⢑≊薩㎌↌䟷䕹⎫唅ⳋ厂⊍ⴱ≴↷汏乶㝤⽭䭓楺 㜼憕Ҵ⡙㳳һ唅ⳋҼ┚⋳薩捈㜫愣峓唅ⳋ怦⎁薩㎌↌㢄䖁䚬ⶂ㳟㡳䛱⃗⊍曻⋢䟿伎 ⋳薩卮ⶌῚ㞪⊍曻㜼䟿伎⋳Ҵ䳁冀㳟尥厂㞽幝ῆ屑⪕㢄烚烧薩⃁ⵡ棙ㄒ⽭Ҵ⊍ⴱ䏃 ⢑⪕ύ⧅ⶌύ⧅㳟䮩⾘⢆ᾶ儤り䟿它䴒⃗樣ᾡ棙䳁冀杗ㄾ㎻⢣薩㳲╭䟿伎毒槪䪵薷 ⳳ姎㚺㸶䏃⢑☇ⳳ姎㺶⑐剸捊・・◃╈㵏䟿杗ℽҴⳳ姎厂㚺㸶㲅␖㔖揟ҳ⒀ⷬ⒀㻲 ⁠ㄇ薩憕⾳䚚◸␖ⶬ朆⭆姫䱨薩ҽ㲅␖⃺‵勋⒑Ҿ㳟╠寬ᾈ╥⢣㚺㸶榓⥚⋢㢄㛃Ҵ 䈵⊍ⴱ它薩⳾桻嫼䟿㞪丹䫙䟿㺶⒑薩冇ᾈ㞪䏃⢑䟿㙯⪢Ҵ㢧㜂捈㜫ふ㭆⊍ⴱ厂唅ⳋ 䟿杗ℽ薩⋱介㤗ᾈ㡾㞪⋤ⴱⳳ姎䏃⢑䟿ύ㼃ύ曲薩冇㞪桔㜴‍嘔⋱⎤Ҵ䳁冀⁠⊍ⴱ 䟿┚⭆丹䫙捈㜫䢆㄀唅ⳋ薩Ὶ⁠唅ⳋ䟿┚⭆丹䫙捈㜫䢆㄀⊍ⴱ薩⾇㢖⊍ⴱ厂唅ⳋ䟿 ҽ㢧℁棝䡩Ҿ╪⁠㡯洩㺶䟿◃䕹Ҵ唅ⳋ厂⊍ⴱ䟿㦴䀋ㆢ㞪㢧㜂䟿ҽ㎋嬆Ҿ薩憔ↆ ҽ㎋嬆Ҿι㞪һ唅ⳋҼ㜂㢧㕋№薩䳁冀⾇㢖㢧㜂ᾈ㞪㎻屽䟿⁠⊍孞唅薩冇㞪ᾈ㐓ᾈ ㏞䟿⁠唅孞唅Ҵ㎌↌䕹⢣桻嫼⇕䟿⽠⃗薩ι㞪⋄㞉㳞⪢䟿ⶂ唅ⳋ屆憭ⳏ曻䟿⪢㎋ 3. 㳟尙⍵卥䔆⣡ῆ薩ҹそ唅屑Һ薩ゐ卥㎺䓿烜䳄嗒薩һ㟄㡳Ҽ薥卵⒒薷炉㜂㡳ⶻ薩1980薦薩⓲ 75薩 楼 1964Ҵ 590 㾀!!啪!!ⳳ!!⦬ 㴺薩╥㞪憔〢⪢㎋㴺ᾈ嬆ㄒ㞪⾘⢆汏⎱ᾆ䟿ふ䵄薩冇㞪唅ⳋ槓㊊㇪䊄懅䊄䟿ⴄⴀҴ! 㢧㜂㄃桞⋈徊⋠ⳳ㺹㳳ⷧ䟿䎨峫薩⃁㢧㜂䟿捈ㄾ䨵ⵡᾈ⢣㳟Ҵ⢣【ᾆ䟿摥柮 ᾨ薩䳁冀ⶂ汓ⷆふ䙯薩ㄙ‵㜂丹䫙䟿㦴䀋埐嗒䢷薩㔝安唅ⳋ厂⊍ⴱ杗㍲䟿≴↷㦴䀋 ῆ桔戅杗ℽ薩㢧㜂╪⁠尥㞪╡ύ䮩䏃㢧䟿ҹ┚懎ҺҴ䳁冀專䈵薷唅ⳋⶈ⁠・䟿ᾨ⢆ ‵㜂∮们ῆふ䱆⁠╅䎹ㄇ╪剸䟿帝䓶薩扸㵏㎌↌ύ厧䖁孞䟿嫼⪢ㄒ⪕ Ҵ ! Πȃ೅Ղ౴ӣ 唅ⳋ⢣㳲╭ᾅ䟿棝帇㞪Ⓘ棝䟿薩䢚怦桞嬎Ҵ⁑䟿‵㜂丹䫙㎻⁠嚸冇ᾈ㞉薩杂冇 ᾈル薩杗擰⢣㜷⁑㄃㝤⓮娦⎒⋠懎ⴱ薩冇ᾏ☇兼ⳋᾡ䮬Ҵ㎻⁠㎌↌⫽ㄙ⁑厂兼ⳋ䟿 杗ℽ⋠㏆薩捋㾀⋱䛫▇薩₷Έ╪ㄒ⎫䳏㧃䟿何亝Ҵ㳟何亝⋱ⵡᾈ桞㏹薩ⶬ⢣һ唅 ⳋʦ⪤ᾆҼ䵂㢧怦Ҵһ唅ⳋʦ⪤ᾆҼ䵂ⶬ≊Ⳛⳋ䟿ҹ䡜ㄾʦᾆҺ䵂㢦䱛ҳһ╭宓ʦ ⪥╭⋧卥《Ҽ㎑һ㜂ㄾ桐焈ʦ《ㅒҼ䵂ύ㮞Ҵ憔‖㡳䟿㡻ㄇύ䱛槙₷ㄇᾑ⋳䷈欑䱛 䟿《孻Ҵһ唅ⳋʦ⪤ᾆҼ䵂⫽㤗ᾈ㞪唅ⳋҳ卮ⶌ㞪╪⁞姣唅ⳋ䟿ⳳ冀ῆ嗒⃗薩冇㳟 ‵䛱㞪㥋┚⭆һ唅ⳋҼ㜂㢧䟿佣俽冀薩㳟䵂審捆һ唅ⳋҼ䟿㲅⭼㞪䊜〳僩䜌䟿Ҵ ⢣ҹ⪤ᾆҺ㳟䵂ᾨ薩唅ⳋぞ屑⪤ᾆⳳ姎薩㎌↌䢆⎫唅ⳋ㔜║ύ䮩㹖懎屑䟿ポᾅ ⳳ䱆⦯薩⁑專䈵‵ᾑ朎䟿ύ⎂㜂㞉䠁℁卥ύ䮩╪䮬ῆ䈵ҽύҾ㎑ҽ⪥ύҾ䟿ҽ懎Ҿ 䟿⏰憛薷ҽ凑㢄㎻䚚薩䔆㢄㎻㎋薩䠁┚㜷ύҾҴҽ凑Ҿҳҽ䔆Ҿ㞪㳲╭䟿ҳ㜂㞉䟿 㫽ㅰ薩ҽύҾ㞪懎䟿⁞䮬薩㜂㞉䟿开弅℘㙕℁卥㜷ポᾅῆ懎䟿⏰憛薩℘㳟⪥ύῆ懎 ㎻ポ㎋䟿嬊䴿⓮㞪㎻屽䟿ҽ⋢凑⪑䔆Ҿῆ懎Ҵ唅ⳋ⢣㳟⋃䭡㞽㢚㡻捈嫼䟿屑ⳳ姎䀋 㺼䟿㜂䱛ᾨ薩㔜║䟿㞪ύ䮩ポᾅⳳ䟿䱆⦯薩憔䮩ポᾅⳳ䟿⋢㼰ι㞪ύ䮩⋲㢄丹䫙⏰ 憛ㆢ䟿懎薩唅ⳋ㡯憭ύ㳠ⶈҽύҾ㎑ҽ⪥ύҾ⃗ⵡ幥䟿嬊ⴕ薩⁑䮬⃗ҽ䫙㞉ҾҴ ҽ䫙㞉Ҿ䛱㞪㎫⢆㞽㢚ポ㎋䟿媂▃█寙薩ҽ䫙Ҿ冀薩₳Ὶ薩⳾㊊㒂⏰憛ㆢ薩ҽ㞉Ҿ ㊊㒂ル槪ῆ␚䚣Ҵㄇ⊍㎑䡯㔠㕯ゐҽ⋢凑⪑䔆Ҿῆ尥⁠⓫峄懎ῆ⋣汏⪢䚣薩仐棙䊜 㛀薩㎌↌㢄䖁䚬專䈵薷⋢凑⪑䔆ῆ懎╪⁠嬑䈵ύ䮩┚⭆䏃㢧䟿汏䚣屑Ҵ ҽ⪥ύҾ㝝䊱㞪㜂㞉䟿⋧⎁㵈薩ύ⎂ⳳ姎䟿≴↷⡛㳟ι℘⳾厂㳟ҽ⪥ύҾ䟿杗 ℽ冇屑Ҵ㎌↌䢆㳟䵂㜂䱛ⴄ㔍䛱㞽㎻屽ҽㄒύⵚ䊄⁠卥⫸Ҿ䟿ⳳ姎揀ⳋῆ⢫⃈薩ㄙ 薥ύ薦⨣ⳋҳ䬸䁌捋⁠ᾆ薩㔠嗒薥 薦ⴆ捾ҳⶴ㜂薩薥ᾄ薦ヨ嘔ҳ䚫歝ҳ㋉⎫薩⁠ 卮薥⡖薦杗ⶴҳ兼冾薩⋱⢫⃈ύ⷟ύ⷟␛汓Ҵ唅ⳋ䟿㔍《㞪㢄戊悪䟿薩⋱䳄䲧㎻⁠ ␛汓䟿䖁䚬ι⢣懎䟿丹䫙ㆢ㊃℁㊃␛槪嗒薩⨣ⴱ䟿≴↷║▌⥵㢧ᾅ㞪⪑ᾶ汏䟿薸ⴆ 捾ҳⶴ㜂㞪䊜杗ᾶ汏䟿薸ヨ嘔ҳ䚫歝ҳ㋉⎫㳟槙㆘㉮ⴱ⽭捈丹䫙ㆢ薩⃁⓶㞪ҽ㤪㢣 唅ⳋ厂‵㜂ῆ䀋! 591 䬥Ҿ⤆䟿Ҵ杗ⶴҳ兼冾⷟㲜㵏⏈慫╿ⴱ汓⍵ύ⪢㎥薩⁑↌䥠懎ⳓ⢣䟿们ύ℘㙕⢣㜷 ҽ⪥ύҾ薩ҽ⪥ύҾ⋷㚘ҽ䊜Ҿ厂ҽ㢄ҾҴ喧䏤䠁⍵⪥ύ薩喧䏤卥怦㵏廲⪥ύᾡᾈ 弮帯Ҵҽ⪥ύҾ厂ҽ䏤Ҿι㞪㢧汏屑㜲⷟䟿⽩䛫杗ℽ薩⋤冀ι栏仐ㆢ䟿䛫幥䛫⷟薩 ㎻屽ҽ⁠㢧䈵丹薩⁠䏤䈵丒ҾҴ杗ⶴҳ兼冾㡯捈嫼䟿帝䓶薩ι⢣⁑↌䥠懎ҽ⪥ύҾ 䟿䢚ⵡ⋢㼰⢣㜷㽬⷟䟿丹䫙ῆ㢧汏薩ⳳ冀嫼⑔薩⓮䛱⾳ⷀ㜷㽬⷟䟿丹䫙ῆ⋢薩㵦ᾈ 䀝⍵薩憔ⶬ㞪㎻屽䟿ҽ䄴䊱䓣㜷䫙㞉ⷀҾҴ 䡳ⶈ㜷杗ⶴҳ兼冾卥ⷀ㜷㽬⷟䟿㊊峓薩ᾑ䛇埐⢣ύ䮩㢥⎁⒑䟿㮳㑔䐻㋆ᾨ薩唅 ⳋ䟿ᾑ䛇⏂㞪丹䫙憞嗒㶞⒑䟿⑐剸薩ᾈ㜲䟿㿢䕹㜫䟿㊊儤ポり薩⋱䖁ᾈ䱨薩⋱℁ᾈ 塶薩㶳䊜㳂㢚Ҵ䔆⪦ῆ尥薷唅ⳋⶂ卥ⴱ僩㜷兼ⳋῆㄇ薩ι⡛唅ⳋ㡹㸺㏺兼ⳋῆⳳ薩 ⃁䳄⎫卥ⴱҽ㢘ㄴ嬆䓣Ҿ薩Ὶⶬ㞪㢄峄汏伎毒薥ᾈ╥ύ厧㹖㹖冇孻䟿汏峄伎毒薦ῆ ㄇ薩⁑ⶬ卥䱆ύ䮩╪█䈵ҽ⪤⣂Ҿῆⳳ䟿ⴒ㝣薩䓣䱆ύⴒ㜷㎫⢆䟿㆘㉮⢚⩟ᾅҴ⣂ 㞪柱悥薩ҽ⪤⣂Ҿ㞪ↆ栬✶薩⳾㊊㒂棙‵䈵䟿⏰憛␖≊柱悥ᾈ㜲懆惄薩冇㭆㎋㳟懆 惄䟿⑐剸㞪㝠䚚㝠㎋䟿㶞⒑薩ҽ⋢凕䟿㽬⷟㊊峓Ҿ厂ҽ㿢䕹䟿㶞⒑㊊峓Ҿ㳟亿ⶈ䋢 㫽ㅰ╪嬑䈵兼唅ῆ⎠Ҵ 㵏恾兼ⳋ厂唅ⳋῆⳳ╪⃺䚣ᾈ▇䟿䖁屑㮜り薩⃁䚬㜷⋤ⴱ䟿丹儤⪕喸⢣ㄾㆢ. ポᾅⳳ榓⥚薩孻ῆ㎻ᾈ剸䡜薩㊊ῆ㎻ᾈ剸⎫薩㤋愣䛫▇㫰䈵帶䫙Ҵ㎌↌⫽剸ㄙ栬✶ ⋠㏆薩ᾈ⪬䈵ύ㨘㜴℺䖁孞䟿憏ㄌҴ♭ⳳ䟿ふ㭆桝ᾈ朆栬✶薩ㄙ Stephen Pepper 薥1891-1972薦朆⭆䡯⎫䛱⁞䟿 Mark Johnson薥1949-薦薩屑冀⽭⪕Ҵ⃁㳟ύ䖁孞䟿 䖁屑⽠⋲㝤⢣⏈慌⁞䟿㣬嫺♭‵⽭⃺䚣應薩桑䊱层ᾈᾅ乶们⒑薩⃁⪢儤⡵⢣Ҵ㎌↌ ⏖⏖⃺䚣䟿ҽ⪤⣂Ҿύ尙⓮⍵卥䔆⪦ῆ㹣һ唅Ҽ㎻䚣䟿栬✶Ҵ䔆⪦ῆᾈ⃁專䈵唅ⳋ 㞪⪤⣂ῆⳳ薩⁑卥⽬䟿ⳳ⛊Ὶ㞪⪤⣂ῆⳳ薩▇ύ㞽㢚䟿⫸╆㜴⁠㟵Ὶ㢄槙₷䟿ᾶ グҴ坄嗒⪤⣂䟿栬✶薩㎌↌䟷䕹ㄙ㎫⢆㞽㢚䟿唅ⳋ⎫㞉㾀ῆ栖䟿䔆⪦ῆ厂㜴⁠㟵ῆ 朎薩㻩䕹ύ㨘带䯺 Ⓘ⿯⊍ⴱ儤䖁䟿何亝Ҵ⪤⣂ῆⳳⶬ≊ҽ⣂ҾⳒ㎻槪䪵䟿薩⳾㞪 ⁠ᾨ带恳惄⑐䟿⢎◣懆⑐⾱⑐柱悥䟿㝆惄薩ҽ⢎ҾҳҽᾨҾ⫽⃐姣慫薩㳟 ύ䡯⡫ 㙹ᾨ⢆䲧ύ㺼䟿㆘㉮ⴱҴㄙ⫮Ⱒ⏰ᾑ䫙寬⎫兼ⳋ䟿✶懎薩㎌↌扸╪嬆⎫⏈‵⫩沠䟿 恇彜薩⃁䡯⎫唅ⳋ⍵℁薩㎌↌㏈䢆⎫㇫⫽⋱⎁⢫姣䕹ҽ⢎ҾҳҽᾨҾ䟿ポりҴ 憊應 栬✶㳟何亝薩㎌↌㏹⎫䡳㍄䟿♭‵⢑≊Ҵ䳁冀專䈵䡳ⶈ㜷唅ⳋ⃺䚣ҽ⪤ ⣂Ҿ䟿栬✶薩兼ⳋῆⳳ⏂⃺䚣䫙寬ᾅҽ⪢㵈䫙Ҿ䟿栬✶Ҵ⢣⪢㵈䫙䟿ᾑ䛇ᾨ薩喧䏤 䠁䚬㵈䫙㎻⏰憛薩⃁喧䏤Ὶ䚬㵈䫙㎻㍲㐬Ҵ⢣㵈䫙㽬┕䟿剳㍲㘼㐬ᾨ薩喧䏤㸄⋠Ⓟ 挍Ⓟ挄䟿䊜⃐㢄ῆ抄薩憔㞪⦯ⵢ棗冇㶳㇁䟿⪝Ҵ⪝ᾨ䟿ↆ汏㸍㢄ҽↆㆢҾ薩ҽↆ ㆢҾ╥嫼䮈␛₳グ薩兼ⳋⶬ㡾ҽ攩ῆ⁠䊜█ῆ㮳Ҿ薩ҽↆㆢҾ⓮㡾䱆⎶娦ҽ㾹⒑Ҿ 592 㾀!!啪!!ⳳ!!⦬ ⢣㛯汏䟿懆⒑䛱ᾨ薩憔㞪䮩⋢㛽䟿ҽ❂Ҿῆ♭ⳳҴ薥家 4薦唅ⳋ䟿ҽ⪤⣂Ҿῆⳳ╈ⶈ 憔䮩授⒑ᾶ汏䟿䡯㔠ㆢ薩唅ⳋゲ䉃ᾶグ薷懎汏嫼⁠㶞⒑䟿丹䫙ᾶ汏ῆ棝帇⍵䕹Ҵ憔 䮩㶞⒑䟿丹䫙ᾶ汏ύ㜴棝ᾈ㜲䟿⏰䚚⍵㜫䟿ポり薩⃁⢣⏰憛ᾨ薩⳾℘㙕㥋㨘ᾈ╪嬆 䟿巜㄰ㆢ䟿恳ㄾⷐ朆薩恳ㄾ䟿⋤䱪䡳惄䡳㄀薩‟䡳姈⒑Ҵⶬ≊ҽ⣂ҾⳒ㎻㊊㒂䟿柱 掙䟿懆惄㮜り薷ᾨㄾῆ恳⾱⑐柱悥ᾈ㜲ㄙ【⷟㞂廲薩⃗㾹⢎䟿惄⑐薩悥棝╿Ⓕ⥚ᾈ 㜲懙姈⎫ⶈ䱆棝䟿⃈僩薩㣬嫺䡳╈冇䡳㎋Ҵ唅ⳋ㎻䚣柱⣂ҳ䘫ᾨҳ恅恳ҳ㳳⨚屳栬 ✶薩䠁㞪㳟儤Ҵ ⶈ䋢兼唅薩㎌↌╪䢆⍵ҽ⪢㵈䫙Ҿ㮜り厂ҽ⪤⣂Ҿ㮜り䟿⽩⎠薩ҽ䓣厂䫙㞉 ⷀҾ厂ҽ懅Έύ㶞Ҿ䟿⽩⎠薩⚪䢚ㄾ㮜り厂䏤⒑㮜り䟿⽩⎠Ҵ唅ⳋ⢣ҹ⪤ᾆҺ䵂ⶈ 兼ⳋ䟿孞捆薩╪⁠⁞姣㥋䮩仐ⶈ㊊峓䟿䥠峓槙⤆薩憔䮩槙⤆䟿䥠峓ᾶグ⢣╿䮩ᾑ朎 䟿䥠峓【⷟㢄ύ⋬憕冇㟩懈䟿䢚䖁带䯺⋱朎薩ⳳ冀╥㢄憊應ᾶ汏䟿惄⒑薩㏈╪⁠⫌ 慌憔䮩㽬⷟䟿≴↷⷟棝薩冇憔㮞䟿惄⒑憕⾳嫼憊應亏⒑㎑授⒑㊚ㆢ厂㟵ㆢ䟿⃗䚣薩 ᾡ⡙㳳⎫ύ䮩㢥⎁⒑䟿怦ㄾ䐻㋆㏈╪汏ㄒҴ⃁憔䮩仐ⶈ㊊峓䟿䥠峓槙⤆㄃ⴴ㞎憛㎋ 㽬⷟㊊峓厂ᾑ朎≴↷䟿姘䯼薩㜂⒑⢣ᾶ汏㊊峓䟿⋢惄㳲䮆ᾨ・・娦惄⒑㔄 Ҵ⡛䈵 仐ⶈ㊊峓䟿≴↷㎻⢣ῆ⢫憕⾳㊊◮嗒㞽朎䟿慻⒑ҳ䯵朎䟿㾹㸇⒑⁠╅ᾶ汏䟿㢥⎁䴻 ⒑Ҵ₯栣嗒仐ⶈ㊊峓䟿䥠峓槙⤆冇℁䟿薩⇱䎹㡾㢄孞㭆仐ⶈ㊊峓䟿䥠峓槙⤆彚嗒⍵ 䕹薩憔䮩孞㭆⫽㤗⁈榋宨ふ㭆䟿⏈㕋薩⳾⓮㢄⽠⪦屑䟿㊊儤薩㎌↌╪䮬ῆ䈵ҽ惄⒑ 仐ⶈ㊊峓Ҿ䟿䥠峓槙⤆Ҵ ҹ⪤ᾆҺ䵂㎻槪䪵䟿兼唅ῆ⎠╈㞛ҽ仐ⶈ㊊峓Ҿ厂ҽ惄⒑仐ⶈ㊊峓Ҿῆ槙䟿䥠 峓槙⤆薩憔ↆ槙⤆⋲㢄彣ⳳ㺹ҳ彣㜂⒑䟿孞捆㛃䔂Ҵⶬ⊍ⴱ汏乶冇孻薩㎌↌ᾈ⬣厄 㡻▇㉀唅ⳋ䟿㞉㢦䔆⪦ῆҳ㜴⁠㟵䈵℆薩⡛䈵㎌↌⢣⁑↌怦ᾅ䢆⎫䡳₷䟿丹䫙⌈〡 槪䕹⍵℁Ҵ䔆⪦ῆ㏴⎟䔆柸㞉⚪ㄾ♭ⳳᾈ懵檓␖薩⋱䱆弮灙㳞喸⢣槙₷唅ⳋ䟿⪤⣂ ♭ⳳῆ⥵䪉ᾅ薩憔㞪ふ䱆⢣㛯汏屑䟿ҳ开Έㄾ䏤Ⓕ⎠䟿ҳ㳲䮆䟿ҳ㶞⒑䟿屑慫ᾅ䟿 ύ䮩㆘㉮Ҵ▇㮞䟿㉀ポ╃嬆㜷㜴⁠㟵һ㣬嫺⣂Ҽ㳟⪤⣂♭ⳳ䟿⁞姣⃗ᾅ薩㜴⁠㟵ⶈ ҽㄾⳳҾ⪕㎻㏴⎟Ҵ薥家 5薦㟕慌屑ᾨ嫺㜂⒑‟㺼╭䟿ⶃ嗒ᾨ薩㜴⁠㟵侸㡾娦安屑薩 ⁑⾳娦嬑䈵䭌ⳳ丹䫙䟿⋃姇冀Ҵ䊱冇薩ⶬ㎋䌚㢚䟿㜴⁠㟵㆘㉮屑薩⁑㡻杗ㄾ䟿㵆ⵢ 㞪⫽⃐ㄙ䛱㞽㫰䈵㺼姇䟿ᾶ㺼㆘䃩薩ᾶ嫼㞪㒂䔆ⳳ厂⃖ⳳᾨ䟿㢧ㄾ乶们ᾨ廫⍵Ҵ䳁 冀專䈵⢣╈㊊峓♭ⳳ厂ᾶグ▦㚘ㄾ䏤䟿汏䚣屑ῆ䱆⦯ᾅ薩⁑䟿䱆⦯厂䔆⪦ῆ䡳▇薩 4. 憔Ὶ㞪㜴⁠㟵⃐⁠⾳峊寐兼ⳋ䈵ⴃ帜⫯䟿䖁䚬薩һ㣬嫺⣂Θ⋣⇊Ҽ尥薷ҽ兼ⳋⶃ㉗ῆᾈ䚣冮薞Ҿ ‡㞪㳟㊊Ҵ┾嬆㜴⁠㟵嗒薩焋㮳㹣捆薩һ㣬嫺⣂㹣捆Ҽ薥⒒‧薷ᾨ啪㡳ⶻ薩2001薦薩楼 144Ҵ 5. ▇⏈ゐ薩楼 202-215Ҵ㳟㡳䟿ⵦ⃗則㟪╪⁠尥⓮㞪捘ⶈҽㄾⳳҾ冇䟷薩ᾈ≀ҹ巜㛳Һ䵂䈵䊱Ҵ 唅ⳋ厂‵㜂ῆ䀋! 593 Ὶ厂唅ⳋ䡳◷㍄Ҵ ⵡᾅ薩ύ䮩䃖⋠㊊峓䡯㕜喧䏤㢧幥䟿♭ⳳᾈ䴜⢣㣬㜴嫺㜴薩扸㢄䡳䛱䟿△ゐ ␖Ҵ泏䲖䟿△ゐ␖㞪慲‵䟿薩⃁Ὶ㞪⓬栥䟿薩⡛䈵憔䮩䡯㔠䟿ύ汏ㆢ⿹Έ䊜╪懺⋈ 䟿㡾⾱℁ᾑ䛇㊊儤䟿ガ⒑Ҵ灌㦷䎹薥Georg Wilhelm Friedrich Hegel, 1770-1831薦⢣ һ♭ⳳ╭岖䂏摿Ҽᾨ㏴⎟兼ⳋ懎薷ҽ们ύ⢣憔婜㞪ⴇ⋣䊜嬊ⴕ䟿薩㞪卥⢣ῆ㢄薩⡛ 㳟姣䕹⢣ҿ䊜Ӏ䟿㜴り婜Ҵ憔䮩ҿ䊜Ӏᾡᾈ㞪‵↌憕⾳㎻尥䟿䊜㎑䊜䏤薩冇ι㞪娦 專⃗懛桝ύ⎂嬻ㅰҳύ⎂ⶈ巜ʞʞῚⶬ㞪✩亏䟿ҳ卥怦▇ύ䟿ҳ䊜嬊ⴕ䟿ҳ㐸巜䟿 们ύҴ⡛㳟憔ҿ䊜Ӏ▇㞽Ὶ㞪刪ⴕ䟿薸憔ⶬ㞪㎌↌㎻╦⇕䟿㢧幥ҴҾ薥家 6薦灌㦷䎹 ⶈ㣬㜴♭ⳳ㞪㢄█䟿ᾈ╆⛿薩⁑ⶈ⊍ⴱ♭ⳳ䖁孞ῆ⇊⽩㡯 ‵官䛫Ҵ䊱冇薩ⶬ兼ⳋ ♭ⳳ冇孻薩灌㦷䎹䟿寐⁆ᾈ剸尥㸍㢄㺙嬆Ҵ㎌↌⫽ⶂ⁑寐兼ⳋҳ⓫〡♭ⳳҳ╭幎屹 唉埐㵏恾冇嬻薩ᾈ桞䢆⍵⁑╈ύ䮩䊜ᾨ⁆⋢ⴴ䟿䡯㔠㊊峓ῆ䱆⦯㞪䡳䛱㾀㫕䟿薩灌 㦷䎹䟿䱆⦯⭆亽ύ卯Ҵ薥家 7薦 㚹⢣ҽ仐ⶈ㊊峓Ҿ厂ҽ惄⒑仐ⶈ㊊峓Ҿ䟿䥠峓槙⤆【ᾆ䢆㄀兼唅杗ℽ薩⋤冀䟿 䛫▇ᾈ桞䢆⍵Ҵ䛱唅ⳋ尥兼ⳋҽ⁠㽬䈵㦴薩⁠乿䈵乻Ҿ㞽薩⋱㊊ᾈ㞪㒂⋱‵㺶⢣㽬 ⷟䟿䓿㠒㊊峓ᾨ薩㔠慌㜷ύ䮩䊜⋢ⴴ䟿ҽύҾῆ䐻㋆❉薼冇⁑㏴寐兼ⳋҽ⁠䏤䈵 丒Ҿҳҽ⁠㢄䯈䈵ᾈ弮Ҿ薩ᾈ㞪㒂⋱♭ⳳ㐸巜䟿⏭娽 ㄾ厂䏤薩⡛㳟薩✥⪬ ふ㭆 㜂⒑ᾑ䛇䟿␚剸❉薼㎌↌⫽ⶂһ唅ⳋʦ⪤ᾆҼ䵂䟿䚣尙☇灌㦷䎹һ♭ⳳ╭岖䂏摿Ҽ 䟿㏴⎟⃗ύⶈ䋢薩柟 ㋆〡ᾅ䟿╆⛿厂□㢄⽩⎠⪑薩⋢㼰╪⁠尥㞪䡳▇䟿薩⡛䈵⳾ ↌ⷧ㜷▇ύ䮩䥠峓槙⤆薩㎻⁠㢄䡳▇䟿杗㍲Ҵ 䡳ⶈ㜷兼ⳋ䟿ҽ⁠䏤䈵丒薩⁠㢄䯈䈵ᾈ弮薩䄴䊱䓣厂䫙㞉ⷀҾ薩唅ⳋᾶグ䟿▃ 䖁䟿䏤㎌杗ℽι㞪ҽ㍄⒑孞䏤ҾҴҽ㍄⒑Ҿ冀薩厂⪢⒑䡳㍄薩ᾡ┾厂崅⒑ῆ㺼薸 ҽ孞䏤Ҿ冀薩厂䏤䡳孞薩夈▃䊜朎Ҵ唅ⳋ♭ⳳ䟿⽠⪦屑桑䊱榋宨 ҽ㢘ㄴ嬆䓣Ҿ㳟 惄⒑㊊峓䟿㳲䮆薩⃁㎋䌚䟿唅ⳋ㆘㉮⓶ᾈ剸⁠仐ⶈ㊊峓屑䟿㧁㤱柋ⴕῆ薩⳾㵆ⵢ㞪 䮩㶞⒑䟿懎屑䱆⦯薩懎ᾈ≀⢣ㄾ烆⷟薩Ὶ⢣ⷉⶺ⷟薩⳾㞪⢣开弅ㄾ䏤ῆ⎠䟿⋣汏ᾅ 6/ 灌㦷䎹薥Georg Wilhelm Friedrich Hegel薦嗒薩帻瀚ҳ䔆⪥㋱峪薩һ♭ⳳ╭岖䂏摿Ҽ薥⒒‧薷⛁⑔ ⓫㡳檣薩1983薦薩楼 131Ҵ 7. 屆⌈䢆ᾆ⎒憔㴰寬薷ҽ䛱⾇卓‵尥薷仐ⶈҳᾅ⾘㞪ύ薩㎑冀䛱慌⁞䟿‵尥薷ᾅ⾘㞪㡻汓䟿㢧幥薩 ⏂戞婜Ὶ㞪㔍柟 ύ⎂嬊ⴕҴ㡻汓䟿㢧幥㞪㡻㐸巜䟿薩㡻䊜嬊ⴕ䟿薸⢣憔婜‵↌ⴇ⋣㸍㢄⁶⃐嬊 ⴕҴ憔寬ι▇㮞㞪ύ䮩□ⴕ薩ᾈ應╥㞪⢣刪ⴕ䟿㜴りᾆ尥⍵℁Ҵ▇㮞薩䛱㎌↌尥薷ᾅ⾘㞪ύ薩憔 ⶈ㜷ύ厂⪕䟿杗ℽ薩ⶈ㜷⪕薩ⶈ㜷㴅䛫䟿㢧怦ι㵦䊜㎻尥Ҵ憔䮩刪ⴕ㜴り䟿尥㹐薩⡛㳟厂ҿ䊜Ӏ 㵏恾廲℁ᾡ㸍㢄㡯巋ⵇ䟿⋢ⴴҴҾ㳟㴰㜂Ⳓ⍵卥һ♭ⳳ╭岖䂏摿Ҽ薩楼 131Ҵ憔㴰寬㞪佅㔠嗒ゐ 㜂㏴⎟兼ⳋ䟿寬冇℁Ҵ⁠灌㦷䎹ῆ憝ҽ㣬㜴Ҿㅀ╈䟿ㄾ䖁㋞ㆢ薩⁑㳟埐㡾ⶂ兼ⳋ厂⾇卓‵㎑ҽ慌 ⁞‵Ҿ㵏恾薩╪䴒㞪桞ㄒ䟿宓摿Ҵ 594 㾀!!啪!!ⳳ!!⦬ ⷐ䕹⍵℁䟿Ҵ唅ⳋ憔䮩㍄⒑♭ⳳ⋲㢄棙㵏ⶆ⾳䟿㊊儤薩⳾ι㞪憊應ύ䮩ᾶ汏䟿㏴ ⎟薩‡⓮ⶈ㽬⷟㊊峓䟿㏴⎟薩冇ふ䱆廲℁䟿尺㛯ㄾ䏤杗ℽ䟿ύ䮩ᾶ汏Ҵ䶜✩䟿尥薩 唅ⳋ⁠ポ㶞ᾶ汏║⁞㊊峓ᾶ汏Ҵ唅ⳋ䟿ポ㶞ᾶ汏槪䪵⍵ύ䮩懅⒑㎑懅㶞䟿怦汏嬻薩 憔㮞䟿ҽ怦汏Ҿゲ尺ύ䮩ㄾ㶞ᾈ㜲怈⍵薩㶞厂⪤懅ҳㄾ厂⪤懅䟿怦汏⢑りҴ⫽ㄙポ ᾅⳳ䟿孍〡嗒䢷薩⁑䟿ポ㶞ᾶ汏╪尥㞪ふ䱆⢣㶞⒑䟿ᾶ汏ᾅ棝薩㢄㶞⒑䟿ᾶ汏㏈㢄 ㍄⒑䟿ⳓ⢣㮜りҴ 憊應ύ䮩㜫ᾶ汏䟿ふ㭆薩唅ⳋふ䱆廲╪⋲汏⢫ҽ㍄⒑Ҿῆᾶ汏薩㳟ᾶ汏₯栣 ҽ孞䏤Ҿ冇℁薩唅ⳋⶈҽ䏤Ҿ䟿嗒䢷䚕汓Ҵ䡳ⶈ㜷㋉⎫䳄‵ҽ厂䏤ⴖ惄Ҿ薩ᾶ汏╒ ⎱㜷䏤薸⁠╅兼ⳋҽ⁠䏤䈵丒Ҿ薩䏤㼃⪬㜷ᾶ汏薸唅ⳋ⓶开弅⋤戅薩开弅⋤戅䟿⏈ 㕋ι㞪䏤ᾈ╪⁠ⶈ巜䟿㜴り⍵䕹Ҵ唅ⳋ屑ᾶ汏厂䏤䟿⭆䀋杗ℽ㞽薩ゲ尺ҽ⁠䫙懂冇 ᾈ⁠䡩嬑Ҿ䟿◸槇薩棙姣巜り䟿㊚㍄冇憕ι㞪ㄾ䏤㡻┚⎘䟿杗ℽҴ䏤ᾈ㞪㟵ㆢᾶ汏 䟿ⶈ巜薩Ὶᾈ㞪⫽⿶䟿ᾶ汏ῆ敜ᾨ䟿◃䕹䏤Ҵ唅ⳋ䢆⍵⢣䏤ῆ㢧䀋ᾅ薩⓮ᾈ㜲㢄㜫 䟿㊊儤ポり薥䖁薦ῆ⏰⒑薩㜫䖁㝠⍵薩憞伺ᾈ㜲Ҵҽ䏤Ҿ厂⋱尥㞪⋲㢄㶳㇁㢧幥䟿 ҽↆ汏Ҿ薩ᾈ⫽尥㞪埐㜷崅⒑ῆ㺼䟿ҽ ⁱҾῆ⇂䮬薩ҽↆ汏Ҿ㳟㫽ㅰ⢣唅ⳋ㆘㉮ ᾨᾈ⫸䖁孞薩䤨孞䏤䟿㺼⑐ㆢ幥薩ᾡ┾厂⋱㺼⑐ㆢ薩㳟ῆ屽ҽ孞䏤ҾҴҽ孞䏤Ҿ厂 ҽ㍄⒑Ҿ㞪ύ汏䟿⋤棝薩䛱ᾶ汏┾厂⪢⒑ῆ㺼ㄇ薩⳾㏈╪▇㞽┾厂棙ⶈ巜䟿䏤ῆ㢧 ℁棝䡩Ҵ㎻⁠厂⋱尥唅ⳋ㆘㉮㞪㊊峓♭ⳳ薩ᾈ⫽尥⳾㞪䓿⒑䟿䏤ῆ♭ⳳ薩Ὶⶬ㞪䏤 ⒑♭ⳳҴ唅ⳋ䏤⒑♭ⳳ⿮嬻ㄾ䏤薩ㄾ䏤⋤冀㞪⋬ⷧ䟿薩⋤冀㞪㢄㯚䟿㛯汏䟿⋤具Ҵ 㡯⋲汏䟿尥薩憔䮩㶞⒑䟿怦汏憊應ύ䮩ᾈ㜲㿢䕹䟿尙孻ῆ⎁䴻⃗䚣薩㎌↌╪䮬 䈵ҽ懎孻Ҿ䟿ҽⓩ孻Ҿ薩⢣丹䫙厂尙孻䟿⎁⒑埐薩ύ䮩䵄⥵㜷ポ㶞ᾶ汏䟿㜫䟿㊊儤 ポりᾈ㜲㿢䕹Ҵ憔䮩⏰⒑䟿⑐剸Ὶ嬆㜷唅ⳋⶈ㏻坘䟿捈嬑薩⢣ύ䮩ⴇ儉䟿㏻坘姇䈵 ᾨ薩⒛‵䟿⋣怦扸夈⋠ҽⴓ䥠㳝冇䫙㲭姇Ҿ䟿㾹⒑⷟㲜Ҵポ汏㢧怦㕋№ ύ䮩丹ㄩ 䟿尺㛯⋣怦╿㊚ⴓ␚剸䟿䡯嬵ῆҽ䥠Ҿ薩䚣㣗伨㞉⋃䚚✗䚣䟿尙孻⓮㞪汏䥠Ҵ汏䥠 䟿䢚㳞⋢㼰ι㞪ポ汏㢧怦⓮㢄开Έ㊚ⴓῆ䥠ᾅ䟿众▃ㆢῆ䥠薩⳾伎䚬╿㊚ⴓ冇ᾈ╒ 柋㜷⁶ύ㊚ⴓ䟿憕懎薩⁠ҽ䫙Ҿ䟿棝帇⁆⋠ⵡ栖䟿㏻坘ῆ懆⃗Ҵύ⃈⫸䟿⽠⒛ῆ㏻ 坘㞪䮩⏰憛薩⁑ⴇ㎋ ⋲汏䟿ポ㶞ᾶ汏ῆⵡ律薩Ὶⴇ㛯䟿⅘⋣ 䏤ῆ㢧䡳薩㎻屽 ҽ⁠⪤▃⪤ҾҴ⢣㏻坘䟿ⵡ律ᾨ薩ύ䮩ポ㶞ᾶ汏惄⒑⎫䏤.㎌▃㭆䟿ⵡ律㮜りⶬ㳟 ⷐ朆Ҵ 䛱唅ⳋㄙ兼ⳋ䟿㊊峓♭ⳳ廫⍵薩⢣ᾆ㜂ᾨ薩㎌↌ⶂ䢆⎫⁑仡怦汏ҳᾑ䛇ҳ尙 孻ҳ㏻坘薩扸⾱℁㜫䟿▌〡Ҵ㳟㞽䟿唅ⳋ㇫⫸ᾈ㞪㏩䂏㜂⒑ᾑ䛇ᾨ㑁柟⪢栅栅♜䟿 孍叭薩冇㞪㏩䂏ᾈ㜲㜫⒑ᾑ䛇ҳ䖁⒑ᾑ䛇䟿ふ㭆冀Ҵ憔㮞䟿唅ⳋ槪䊱⽭廫⍵ҽ懎 唅ⳋ厂‵㜂ῆ䀋! 595 ⴱҾ厂ҽ兼ⳋҾ䟿坤䷧薩歳歳䊱⢫廫憭㜂⒑ᾑ䛇㊊儤ふ㭆䟿榓⥚薩㎌↌⽭⎫ 寭捈 㜫愣峓唅ⳋ怦⎁䟿栉㴰 Ҵ ! έȃΡМޟधࠕܖᜌԙȉ 䛱㎌↌孞朆兼唅憞汏䟿㮙事薩兼㳳兼ҳ唅㳳唅ㄇ薩唅ⳋ㆘㉮䟿捈㜫ⴕ⃈ⶬ娦僩 㚹⢣㝠䡅慦⎂䟿峫䮆姣ᾅ℁ Ҵ唅兼ⶈ䋢薩唅ⳋ䟿ポ巜ᾡᾈ桞榓㡾薩⃁⫽⃐㇫⫽⋱ ⎁䟿䯼槪⋱䏴幥薩⭏ⵡᾈ㞎Ҵ䳁冀⢣ᾈ▇䟿⦯▃婜薩㡹䚣ҽ⊍曻⋢䟿唅ⳋҾⴕ⃈ ῆ薩憔ↆ㮔䷟㢄㄃⪢䟿⫸埐薩⡛䈵曲㢚⁠℁薩唅ⳋ䟿ポ巜侸㞪☇懎ⴱ介▃⢣ύ廲薩 䕹⢣憞介䟿介㭆崅 薩兼唅劦揟薸䡳╈䟿薩唅ⳋ☇ᾨ⢆㆘㉮╭䟿⪢⑐劃ῆ⊍ⴱ介▃ 廲℁薩憔䮩凪⭶╪⁠憛㎋㎋尥ㆠ懸其惄䟿㎭␂㛃㤗薩ゲ⒑峻冀䟿⓫巜Ҵ⃁憔ↆ㮔䷟ Ὶ㢄ᾈ⎤ῆ埐薩⡛䈵⳾䏸㼄 䳁冀ㆠ㲭懺⋈䟿∮们ⳳ㺹⎁槙䟿䙗嗖Ҵ㢧㜂䟿捈灙⢣ ♭ⳳ薩冇ᾈ⢣㆘㉮╭䟿厃弞薩⋱䡩䟿ᾈ⢣捈㭆㳲╭ᾅ䟷䚚䟿 薩冇⢣䃿㾀唅ⳋ㢧怦 䟿䖁屑⛊槇Ҵ㝝䊱捈灙⢣䖁屑ῆ孞捆薩【ᾆ䳁冀㉮ㄙ╡ύ䮩⪢䦯⪢䱆䟿孍〡嗒䢷Ҵ 䳁冀㝝䊱專䈵唅ⳋ䟿㦳ㄾ儤ふ䱆⢣⥵㢧ⳓ㢄屑ᾅ䟿㜂⒑⏰⒑屑薩⁑杗ㄾ䟿㞪㶞⒑ᾶ 汏䟿ⳓ⢣䐻㋆薩冇㳟䐻㋆ι㞪喸⢣‵㜂ᾑ䛇⥵䪉ῆᾅ䟿尙孻ҳ㶞⒑厂㏻坘Ҵ㝝䊱唅 ⳋ曲㢚仡‵䟿⓫巜㞪╈‵㜂䟿薩戞瀷薩⫽嫼ㄴ【⢫仡唅ⳋ捈㜫ⴕ⃈薩㎌↌ᾈ⬣懳㙂 ㄙҽ‵㜂䟿Ҿ薩‡⓮ҽ‵㜂丹䫙Ҿύ寙ᾨ䟿ҽ‵㜂Ҿύ寙⋠㏆㔝安Ҵ䳁冀䟿⎟䀑ύ 孻⁠嚸ῆ薩唅ⳋ㞪ҽ‵㜂丹䫙Ҿ䟿唅ⳋҴ 䳁冀憔䮩懳㙂嫼⌍ύ‖樣栥薩欑⋃薩唅ⳋ₷Έύ▌ᾈ⁠ҽ‵㜂Ҿ䟿ポ巜嬆曲薩 憔䮩棙‵㜂㎑╈‵㜂䟿ポ巜㽰懛㺼曲薩㡻㝤ⶈ唅ⳋᾆ寐屑䟿咻ⳋ⓮尥薷唅ⳋҽ嚸㜷 ⪤冇ᾈ䥠‵Ҿ薩⢣⪤‵䟿杗ℽ恳ᾅ薩唅ⳋ娦㙵⢣ҽ⪤Ҿ䟿ύ戅薩冇ᾆ寐屑䟿咻ⳋ⏂ 娦專䈵㙵⢣ҽ‵Ҿ䟿ύ戅Ҵ咻ҳ唅䡳┶ᾈ懛薩⋤‵ⶈ⪤‵杗ℽ▇㊚厃弞薩咻ⳋⶈ唅 ⳋ䟿寐尙薩⁠╅咻ⳋ╪剸栬▦䟿ҽ‵⊥ ⪤Ҿ䟿䱆⦯薩₷Έ扸╪⢣⁑↌╿卥䟿嗒⃗ ᾨ㏹⎫䡳◷㍄䟿㜂䓶峄㙕Ҵ咻ⳋ㞪㎫⢆介㣚⏈⪐ⳳ峓㡻巋ⵇ䟿㆘㉮ⴱ薩㎌↌㄃桞㍲ 䜌⁑䟿⎟㛔䟿幂㦷Ҵ咻ⳋ䟿屑灙ᾆ㜂⌈屑薩㳟埐≀ⶬ唅ⳋ兾捊薩㎌↌╥嫼䢆⎫⋱㡳 ᾨ⪤‵䡳ⶈ䟿尙寙薩憕⾳唅ⳋ㞪ⶂҽ‵Ҿ厂⅒⇸凪⢣ύ廲安屑薩冇ҽ⪤Ҿ⏂厂 ҽ䢚Ҿҳҽ㢧䀋Ҿ▇屑薩唅ⳋ㎻⠩・䟿⡵㞪ҽ䛳㜷‵冇ℏ㜷⪤Ҿ䟿‵㦷薩咻ⳋ䟿㏴ ⎟㞪╪⢣һ唅ⳋҼ㜂㢧婜㏹⎫℘㙕䟿Ҵ✩ⶬ㜂Ⳓ⷟冇屑薩懳㙂ҽ‵㜂Ҿύ寙₷Έᾈ 䴒凫㞉Ҵ ⋱㲜薩䕹⁞ᾨ㜂⃺䚣䟿ҽ‵㜂Ҿ㎑ҽ‵㜂ᾶ儤Ҿ㞪ↆⴴ㞎ゐ䟷㽲㽁䟿尙ピ薩䚬 596 㾀!!啪!!ⳳ!!⦬
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    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph arid reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". if it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
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  • Stephen Pepper's World Hypotheses: Season 1, Episode 1 Welcome To
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  • Under the Direction of DONNA E. ALVERMANN)
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  • Mário Pedrosa PRIMARY DOCUMENTS
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  • Top of Page Interview Information--Different Title
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  • Philosophy of the Social Sciences Blackwell Philosophy Guides Series Editor: Steven M
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  • Three Dichotomies in Lawyers' Ethics
    University of Denver Digital Commons @ DU Sturm College of Law: Faculty Scholarship University of Denver Sturm College of Law 2015 Three Dichotomies in Lawyers’ Ethics (with Particular Attention to the Corporation as Client) Stephen Pepper Follow this and additional works at: https://digitalcommons.du.edu/law_facpub Part of the Civil Law Commons, and the Criminal Law Commons Recommended Citation Georgetown Journal of Legal Ethics, Vol. 28, No. 4, 2015 This Paper is brought to you for free and open access by the University of Denver Sturm College of Law at Digital Commons @ DU. It has been accepted for inclusion in Sturm College of Law: Faculty Scholarship by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],dig- [email protected]. Three Dichotomies in Lawyers’ Ethics (with Particular Attention to the Corporation as Client) Publication Statement Copyright held by the author. User is responsible for all copyright compliance. This paper is available at Digital Commons @ DU: https://digitalcommons.du.edu/law_facpub/50 Three Dichotomies in Lawyers’ Ethics (With Particular Attention to the Corporation as Client) PROFESSOR STEPHEN L. PEPPER* ABSTRACT Three foundational conceptual dichotomies underlie questions of lawyers’ professional ethics. Commonly unnoticed and unarticulated, they affect our perception and resolution of questions at all levels: from large scale theory and policy, through the framing of particular rules or principles, and down to consideration of specific situations and conduct. In this article Professor Pepper identifies and explores each of these three in turn. In addition the article specifically considers how each dichotomy might affect our understanding and possible resolution of fundamental questions in the ethics of representing corporations.
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  • Is Wine an Art Object? Author(S): William B
    Is Wine an Art Object? Author(s): William B. Fretter Source: The Journal of Aesthetics and Art Criticism, Vol. 30, No. 1 (Autumn, 1971), pp. 97- 100 Published by: Wiley on behalf of The American Society for Aesthetics Stable URL: http://www.jstor.org/stable/429579 . Accessed: 11/11/2013 11:45 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wiley and The American Society for Aesthetics are collaborating with JSTOR to digitize, preserve and extend access to The Journal of Aesthetics and Art Criticism. http://www.jstor.org This content downloaded from 131.130.253.60 on Mon, 11 Nov 2013 11:45:33 AM All use subject to JSTOR Terms and Conditions WILLIAM B. FRETTER Is Wine an Art Object? IT IS COMMONLY SUPPOSED that the idea hicle of aesthetic communication, and the of taste is only a metaphor and can be ap- concept of fusion are discussed in successive plied chiefly to choices one makes in the arts chapters. of sight and sound. Taste itself, taste liter- Perhaps my comments on wine and its ally interpreted, is not supposed to perceive aesthetic qualities will illustrate in another unities which are art works.
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  • Doing Ordinary Language Criticism
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  • Elizabeth Bishop's Grammar School for the Aspect-Blind and A-Rhetorical
    religions Article Elizabeth Bishop’s Grammar School for the Aspect-Blind and A-rhetorical Walter Jost Department of English, University of Virginia, Charlottesville, VA 22903, USA; [email protected] Received: 29 May 2017; Accepted: 28 June 2017; Published: 11 July 2017 Abstract: This paper uses Elizabeth Bishop’s poem, “Over 2000 Illustrations and a Complete Concordance” as an exemplar that displays the centrality of aspect perception in her work. Keywords: grammar; rhetoric; Wittgenstein; aspect perception; seeing-as; poetry; religion; Elizabeth Bishop “I am not a religious man, but I cannot help seeing every problem from a religious point of view.” —Ludwig Wittgenstein (Rhees 1984, p. 94). “It was a typical day at the shrine around what many believe is the tomb of Jesus in Jerusalem’s Old City. A Greek Orthodox choir sang inside a room facing the baroque structure. But the voices were drowned out when chanting Armenian priests and monks circling the shrine raised theirs. ‘Sometimes they punch each other,’ Farah Atallah, a church guard wearing a fez, observed with a shrug.” —“The New York Times,” 7 April, 2016 1. Introduction The present essay is wrested from a larger inquiry of mine concerning what a mode of grammatical and rhetorical criticism of literary works, one chiefly motivated “after Cavell after Wittgenstein,” might look like and do.1 The larger account proceeds on the understanding that those two predicates in the first place—“rhetorical,” and the “grammatical” (conceptual, logical, philosophical) investigations of Ludwig Wittgenstein and others—can be seen as mutually constitutive, that is, more or less discriminated from or assimilated to each other according to the circumstances in which they are used.
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  • Vichianism (After Vico)
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