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弗拉基米尔·索洛维耶夫是19世纪思想文化遗产的集大成者,是以黑格尔的风格、同时也涉及克尔凯郭尔、约翰·鲁斯金、甚至包括后来的查尔斯S.皮尔斯在内,伟大(理论)体系的建筑师。从更深层意义上看,他的思想是符号学的,它涉及“浪漫”符号学的传统。与皮尔斯在他的文章“进化的爱”里描绘的“浪漫”符号学的原则有许多相同之处。索洛维耶夫的道德哲学,力图为人类寻找终极之善,而只有走出无穷的利己主义,才可以做到这一点。它为存在符号学的“此在—超越”模式奠定了“善”的价值论基础。他神秘的索菲娅理论,使得他的哲学在黑格尔范式与理性主义之外,别具神秘的东方意蕴,这一切都给予塔拉斯蒂存在符号学自身体系的建构以深刻启发。因此符号学应该在语言学基础之上获得更宽广的解释。索洛维耶夫是被遗忘的19世纪遗产的一部分,无论是作为存在符号学思想的先驱,还是20世纪及未来世纪诸多思想和问题的发源者之一,他与他的哲学都具有再发现和再认识的价值。
Vladimir Solovyev, a master of the 19th century cultural and ideological heritage, is based on Hegel’s style, but also involves Kierkegaard, John Ruskin, and even Charles S. Pierce, architect of the great (theoretical) system. In a deeper sense, his thinking is semiotic, which involves the tradition of “romantic” semiotics. There are many similarities with the “romance” semiotics principle Pierce wrote in his article, Evolutionary Love. Solovyev’s moral philosophy seeks to find the ultimate good for mankind, which can only be achieved if it is to come out of infinite egoism. It lays the foundations of the “goodness” of axiology for the existence of semiotics. His mysterious Sophia theory makes his philosophy outside the Hegelian paradigm and rationalism, with a mysterious oriental implication, all of which give the deep inspiration to the construction of Tarasti’s own system of semiotics. Therefore, semiotics should be more broadly explained on the basis of linguistics. Soloviev, part of a forgotten nineteenth-century heritage, has rediscovered both his philosophy and his pioneering ideology, as well as one of the birthplaces of many of the ideas and problems of the twentieth and future centuries And re-understanding of the value.