{"resolved":true,"match_type":"uuid","source_type":"original_book","book_id":"8820dc9b-e77c-46b0-8fa3-85067d5182b4","title":"贺麟全集 精神现象学(上卷)","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208116030","requested_by":"printed_page","book":{"source_type":"original_book","book_id":"8820dc9b-e77c-46b0-8fa3-85067d5182b4","id":"8820dc9b-e77c-46b0-8fa3-85067d5182b4","uuid":"8820dc9b-e77c-46b0-8fa3-85067d5182b4","title":"贺麟全集 精神现象学(上卷)","normalized_title":"贺麟全集精神现象学上卷","author":null,"edition":null,"publisher":null,"year":null,"isbn":"9787208116030","isbns":["9787208116030"],"parsed":true,"ai_readable":true,"document_type":"book","page_count":370,"navigation_url":"https://workshop.closeclaw.top/ai/book/8820dc9b-e77c-46b0-8fa3-85067d5182b4","title_url":"https://workshop.closeclaw.top/ai/title/%E8%B4%BA%E9%BA%9F%E5%85%A8%E9%9B%86%20%E7%B2%BE%E7%A5%9E%E7%8E%B0%E8%B1%A1%E5%AD%A6(%E4%B8%8A%E5%8D%B7)","fixed_page_url_template":"https://workshop.closeclaw.top/ai/book/8820dc9b-e77c-46b0-8fa3-85067d5182b4/page/{printed_page}","path_api_url_template":"https://workshop.closeclaw.top/api/ai/book/8820dc9b-e77c-46b0-8fa3-85067d5182b4/page/{printed_page}","read_url":"https://workshop.closeclaw.top/api/ai/read/8820dc9b-e77c-46b0-8fa3-85067d5182b4","page_url":"https://workshop.closeclaw.top/api/ai/books/8820dc9b-e77c-46b0-8fa3-85067d5182b4/page","search_url":"https://workshop.closeclaw.top/api/ai/books/8820dc9b-e77c-46b0-8fa3-85067d5182b4/search"},"page":{"printed_page":40,"pdf_page":51,"physical_index":51,"physical_index_base":0,"printed_page_status":"recognized","page_sha256":"eac002f5fb53fa4987a1696bf69ebe925c74b5b619c7bf1614363da0033c23c4"},"chapter":"精神现象学","content":"另一方面，也有美国的资产阶级黑格尔研究者鲁文贝格（J.Loe-wenberg）在他所发表的“黑格尔精神现象学中的直接性的喜剧”论文和他在《黑格尔选集》中所写的序文（这篇序文差不多全在谈精神现象学）中，却又在大谈黑格尔辩证法的喜剧性。鲁文贝格的论点是：“辩证法在于抓住每一个典型的态度或信念的片面性，而使得它逻辑上显得可笑。”“精神现象学应该算作艺术作品，它的突出的特性是戏剧式的和喜剧的。”[1]“正如有关于人物的喜剧，也有关于观念的喜剧。……观念和信念也有太自负的、学究气的、虚幻的、古怪的、狂诞的、不配合的、盲目的、嚣张的、咆哮如雷的、颠倒错乱的。所谓辩证逻辑真正讲来就是喜剧的逻辑。它是通过揭示观念和信念的内在矛盾让它们鞭挞它们自己的逻辑。”[2]鲁文贝格看见了喜剧中有辩证法，看见了黑格尔对于意识形态、观念、信念的矛盾的分析，有一定程度的幽默感。但是他毫无根据地把观念加以人格化，把精神现象学说成是“哲学的喜剧”[3]，甚至把整个黑格尔哲学说成是“一种神圣的喜剧”[4]，并且把辩证法说成是“喜剧艺术的巧妙工具”[5]把黑格尔尊崇为“第一流的喜剧天才”[6],这就陷于片面的夸大并把辩证法庸俗化。鲁文贝格认为矛盾是可笑的、喜剧式的，也就是认为矛盾是错误的、主观的、不合理的，他看不到矛盾和矛盾发展是必然的客观的发展规律。我们知道，矛盾不是简单地象鲁文贝格所说那样是可笑的、可供有闲阶级欣赏的东西，而是要通过长期艰苦经历才能克服的、必须严肃对待的东西，尤其是推动事物运动和发展的内在力量。足见肯定黑格尔辩证法的喜剧性的鲁文贝格与肯定黑格尔辩证法的悲剧性和泛悲剧主义的克朗纳和格罗克纳表面上好象正相反对，但都同样从反理性主义出发，只知道主观辩证法，也都同样把黑格尔的辩证法庸俗化。[1]\n\n精神现象学（上卷）\n\n[1]《黑格尔选集》，第XIX页。\n\n[2] 同上书，第XXI页。\n\n[3] 同上书，第XLⅡ页。\n\n[4] 同上书，第XLI页。\n\n[5]同上书，第XLⅡ页。\n\n[6] 同上。\n\n40","previous_page":39,"next_page":41}