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本文以Heidegger基礎存有學為始，後述Ricoeur的倫理學思想，再藉由他性概念逐一探討從Heidegger到Ricoeur的傳承與演變。藉著這一轉變，闡述出一種中立的存有學的關心，逐步推展到一種倫理上帶著情意的、對他人的關心，並召示出道德良心在其存有的本源中已經蘊含了他性的結構，據此，本文得以從存有學的角度指出人是一不得不向他人開放的倫理存有者。最後，以存有學的進路觀之，倫理教育當可引領受教者發現並體認自身中的倫理泉源，以及此泉源中的他性特徵。此種教育方式，將使倫理教育成為一回歸人本有倫理泉源的教育，即一種順性而為、自然而然的倫理教育。道德規範，只有在返回人存有的倫理泉源和 力量的觀點下，才成了人「願有」的規範。此種倫理教育所提供的積極性的條件，正在於它與人的存有泉源以及本性的渴望相符而能事半功倍。 This paper discusses Ricoeur’s ethical thoughts starting with Heidegger’s ontology. Based on the concept of “otherness,” this paper then illustrates the theoretical continuation and evolution from Heidegger to Ricoeur. During this evolution and transformation, a neutral ontological “solicitude” gradually extends to an ethically affectionate concern for others, showing that moral conscience originally contains a space for “the others” within itself. This paper thereby argues that a person, as he is, is an ethical being, being necessarily and inevitably “open” to others. Finally, from this ontological approach, ethical education is suggested to lead the educated to discover within themselves this ethical source as an openness towards others. Ethical education in this way is an education in accordance with human nature, namely, an education which leads towards or returns to man’s own ethical source. Rather than only demanding the educated to comply with obligation, ethical education as such provides positive teaching which is consistent with man’s ontological source and his natural desires, and results in a more effective way of teaching.

Based on the analysis of Zhuangzi (especially the inner chapters), this paper attempts to illustrate the positive aspects of Zhuangzi’s idea concerning contented acceptance of fate (anming 安命), whi...

Zhuangzi purports to follow a particular method of viewing human emotion and suggests freeing oneself from worldly emotions—this is called “doctrine of non-emotion” (wuqing shuo ). This article attempts to show that the idea of non-emotion in Zhuangzi does not in any way conflict with the expression of emotion in poetry, and moreover, it provides a foundation for the poet to express his emotions naturally and freely. We will use the Chinese poetry of the Wei-Jin Period—a period that is strongly influenced by the philosophy of Zhuangzi, yet at the same time emphasizes the expression of the poet’s emotion in poetry—as an example to show how fruitful it indeed is when Zhuangzi’s philosophy becomes applied to Chinese poetry.