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題名 | 亞理斯多德「詩學」古希臘文校勘點的美學分析--「Poiein ten mimesin」及其相關校勘點的美學探討=Analysis on the Value of Aesthetic Theory in the Philological Points of Aristotle's "Poetics"--An Inquiry on "poiein ten minesin" and Its Relative Philological Points |
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作者 | 林國源; | 書刊名 | 藝術評論 |
卷期 | 12 2001.12[民90.12] |
頁次 | 頁85-110 |
分類號 | 188 |
關鍵詞 | 卡塞爾(1965); 姚一葦(1967); 伊耶布拉(1974); 嘉拉沃第(1974); 杜邦.羅克與拉洛(1980); 校勘學; 表演論; 結構論; 批評論; Kassel(1945); Yao Yi-wei(1966); Gallavoti(1974); Yebra(1974); Dupont-Roc et Lallot(1980); Chen Jong-mei(1996); The poiein ten mimesin; The praxsis and pathematon; The katharsis; |
語文 | 中文(Chinese) |
中文摘要 | 自卡塞爾(1965)《詩學》古希臘文校勘本問世以來,義、西、法三國各出了具有自身校勘本的譯本與箋註。本文即就前四個校勘本的校勘點逐條加以檢索,並依表演論、結構論、批評論等三個層次分疏校勘點的理論價值。經此深入比對與檢索,一方面可以提出校勘點經篩選過的《詩學》古希臘文本,另亦可檢討《詩學》中文新譯及箋註的理論系統與註釋策略。本文從詩的本相論出發,先就卡塞爾校勘本(1965)校勘點的理論價值予以研析,並就杜邦•羅克與拉洛合著之法譯本《詩學》中的簡式校勘點,說明其間與前此卡氏本校勘點的異同。接著分別揭示校勘點在《詩學》表演論、結構論、批評論的理論價值,進一步可憑以建立一個可資中文新譯的《詩學》古希臘文本,經做完校勘檢索與分析之後,新中譯及箋註的妥當性與精密性自能大為提高。本論將就現有的中譯本相互比對,進行中譯校勘記註;本文則先就表演、動作、激情、淨滌四個中譯與詞討論字王國維以來這語詞的衍義情形,此一基本工夫本人在《古希臘劇場美學》已提出關鍵詞目與索引系統,可為再加箋註的基礎。最後,本文提出《詩學》文本數位元化處理所涉的問題,並箋證其間具有美學價值的的理論層次與研究進向。 |
英文摘要 | Ever since Kassel's philological text of Aristotle's "Poetics" had been published, there are also texts and annotations such as Gallavotti (1974), Yebra (1974) and that of Dupont-Roc et Lallot (1980). This paper is to verify the value of aesthetic theory of the very philological points in the four texts mentioned above. Starting from the "Poiein t?n Mim?sin" (to perform the representastion) as the common nature of poetry, I would analyze the aesthetic value in the philological points of Kassel (1965) according to the theory of representation, of structure and of criticism in "Poetics". This analysis provide the necessary foundation for a comparative study on the text subdued by Dupont-Roc and Lallot (1980). And thus accordingly to Gallavoti(1974)and Yebra (1974). After the investigation, a philological text of "Poetics" in ancient Greek language could be re-established. Kassel's new philological text (1965) is based on the establishments accumulated that the philologists have worked on the text of "Poetics". The first orientation of Kassel's new philological text is that he selected the common point between Recchardinus 46(B) and Arabian transcript (Ar) to correct or to amend Parisianus 1741(A) and Latin transcript(Lat) and recopy of Lat (rec); nevertheless, to certain extent, too dependent on B script In other word, Kassel's new text is not completely impossible to make a different choice. Take Gallavoti (1974), Yebra (1974), Dupont-roc et Lallot (1980) for example, all these three new texts have done their own philological text. Dupont-Roc et Lallot(1980)'s philological notation is simple but comprehensive. Gallavoti(1974)'s philological notation is somewhat complicated but with abundant philological examples from Latin transcript (Lat). And obviously Yebra (1974) is apt to go back emphasizing Parisianus 1741(A)'s superiority. Thus the superiority of A script could be an initiation and in the long run an returning point. Following the same orientation of research method, we could test the three new translation texts of "Poetics" in Chinese by Hu Yaw-Herng, by Lin Kuo-Yuan, and by Chen Chung-Mei; and to set up a theoretic system and strategy of annotation, according to the texts of Chinese translation texts of "Poetics", this paper give an example annotation of four key-terms in Chinese translation texts of Poetics".Here, we choose four key terms: 'poiein t?n mim?sin', 'praxsis', 'path?maton' and 'katharsis'to test the semiosis of these key- terms in the Chinese text of "Poetics". As conclusion, this paper would offer the first step result of digital treatment and aesthetical inquiry that could lead us to review the new translation texts of "Poetics" in Chinese. And the future text in Chinese translation of "Poetics" should be a new version based on a philological text of ancient Greek that is what I am trying to reestablish. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。