「牽頭公牛拜牛年，祝你財旺像肥牛，身體壯得像頭牛，好運多得像牛毛，毒奶案名已變更，硬說非毒僅偽劣，這事不能怪母牛，全是黑心狼外婆，遠離毒奶保健康，祝你永遠不結石。」

已經很久沒讀到令人興起思考的趣味，令人手不釋卷的思想史。

很長一段時間，接觸過的思想史，不是沒有表達研究者的思想，就是沒有研究對象的思想，也就是說，要嗎就是孔子語錄的語譯，要嗎就是孔子語錄的考證訓詁。

最近一個月，我在追縱余英時其中一個研究課題，清代思想史的特徵，其與宋明思想史的承傳關係。不得不向人推介他的早年力作《論戴震與章學誠》，通過這兩位人物，顯示出程朱理學在他們身上的烙印，同時是二人激烈反叛的旗幟，突出了一向僅被視為考證學的清學的義理性格。

余英時在回憶錢先生的文章裡，述錢先生的學問承北宋集文史義理於一身的風格，並不偏於南宋至明的陸王心學一系，故其晚年大著《朱子新學案》也是在這個意義下，興起重新研究朱熹的要求。

我想到了近日有人批評我論文中用「中國思想傳統」一語，帶有暗示中國沒有哲學的論斷。我承認，我多少有這個意思，我認同錢先生而明確地認為，中國雖有學術傳統，但這個傳統似乎很不適合用哲學一詞來形容，如果哲學是指歐陸哲學那一種傳統的話。我認為有必要辨識中國學術傳統，歐陸哲學傳統和二十世紀中國學人從事的中國哲學的方式，這三類研究的特色，才能真正處理「中國哲學」這一大領域的基本問題。

下一個課題我想了解的，是他對宋明理學和政治文化的研究，特別是朱熹。

"We must cease once and for all to describe the effects of power in negative terms: it ‘excludes’, it ‘represses’, it ‘censors’, it ‘abstracts’, it ‘masks’, it ‘conceals’. In fact, power produces; it produces reality; it produces domains of objects and rituals of truth. The individual and the knowledge that may be gained of him belong to this production."

Discipline and Punish, 194

Beauty, when it manifests itself in cinematography, lies not in
the story itself, which could quite easily be recounted in prose
and still less in the ideas which this story may evoke; nor indeed
does it lie in the tics, mannerisms and devices that serve to identify
a director, for their influence is no more decisive than that
of a writer’s favourite words. What matters is the selection of
episodes to be represented and, in each one, the choice of shots
that will be featured in the film, the length of time allotted to
these elements, the order in which they are to be presented, the
sound or words with which they are or are not to be accompanied.
Taken together, all these factors contribute to form a
particular overall cinematographical rhythm. When cinema has
become a longer-established facet of our experience, we will be
able to devise a sort of logic, grammar, or stylistics, of the
cinema which will tell us – on the basis of our knowledge of
existing works – the precise weight to accord to each element in
a typical structural grouping, in order that it can take its place
there harmoniously. But as is the case with all such rule-books
where art is concerned, it could only ever serve to make explicit
the relationships which already exist in successful completed
art and the world of perception works and to inspire other reasonable attempts.

Merleau-Ponty, World of Perception p.98

坦白說，星期六以來，我就處於恐慌之中。

很多原則和信念，當然不致於全部摧毀。要命的是，站在鋼線上，行錯了一步就會馬上受到懲罰。

像極了麥當勞的學生員工，弄錯了一包薯條，或者倒錯了一杯汽水，就被上司狠狠地在顧客背後，用粗話無情鞭撻。

我只好步步為營，慢慢去習慣這道不知名的命令。

今天的體驗很是特別，被人教訓當然也不是第一次。教訓的意思是「你不可以... 你要...，這跟你平時做的...不一樣，現在你要這樣...，你平日的方法行不通」。這段話的結束，不是看不見的句號，而是伴隨著沒說出口的"this is an order"。

也許是留在書齋太久，也許入世未深，事實是，別人對你沒信心。

Caligula說，在生存和幸福快樂之間，你並沒有選擇。Caligula生來就是皇帝，他當然不明白，對一個尚未有條件談幸福快樂的無產階級來說，在生計和原則之間，才是沒有選擇。

沒有選擇，不就是荒謬嗎？不，荒謬的是你總是自以為某些事情出自你的抉擇，而最後每每以無可奈何的態度來面對事態的發展。