英文摘要 |
The ethics of the Confucianism seeks a rational spirit (in community andsociety) inherited from the Chinese forefathers while the Taoists seek individualcultivations in morality. This manifests the complementarity and dichotomy ofthe two, and that is the “counteraction” or “Doctrine of the Mean” of theChinese classical aesthetics. The “counteraction” principle indicates the “sameyet different” aesthetics. The “same” refers to the Chinese cultural values —community and society, while it demonstrates in the Western aesthetics —“binary opposition” which concerns self and community. The pursuit of theIndividualism exemplifies in Rousseau’s “Human beings are born with freedom,but live in chains,” in which he believes personal rights and freedom should bepreserved in communities. How to be “the self” in a community? How toaccomplish “the self” in a country? This is the “moral freedom,” the emphasisof individual will is a significant origin of the Western political thoughts.In Ang Lee’s films, he attempts to balance the crisis of such binaryopposition. In “Crouching Tigers Hidden Dragon” Jiao Long endeavors to findthe supposed freedom and struggles in the interwoven relationships between selfand others. Wandering between freedom and ethics, her death is another form ofreturning, a sublimation. This sublimation is also demonstrated in Lee’smanipulation of the restrain of the carnal desire between Li Mu-bai and Yu Shu- lien, a lust refrained in the spiritual world, that is, a choice not willingly made |