頁籤選單縮合
| 題 名 | 抒情傳統的思想上游?--唐君毅早期「感通論」與中國文學之「表情」=The Philosophical Sources of the Lyric Tradition?--Junyi Tang's Early Theory of Resonant Knowing and the "Expression of Emotion" in Chinese Literature |
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| 作 者 | 蔡岳璋; | 書刊名 | 東亞觀念史集刊 |
| 卷 期 | 23 2025.12[民114.12] |
| 頁 次 | 頁125-177 |
| 專 輯 | 現代抒情傳統與華語語系文學:理論與歷史 |
| 分類號 | 820.1 |
| 關鍵詞 | 唐君毅; 感通; 抒情傳統; 性情; 氣論; Junyi Tang; Affective resonance; Lyrical tradition; Human nature and emotions; Qi theory; |
| 語 文 | 中文(Chinese) |
| DOI | 10.29425/JHIEA.202512_(23).0003 |
| 中文摘要 | 本文以唐君毅(1909-1978)早期圍繞「感通」所建構的哲學 體系為核心,探討其對中國文學抒情精神的形上詮釋,並為「現 代抒情傳統」在華語語系文學中的理論根基提供思想資源。唐氏 自三○年代即指出,文學藝術乃人性情胸襟之自然流露,其根源 在於「氣」與「心」的感通互攝,而非單純情感宣洩;此種以性情 為本、貫穿宇宙感應與倫理實踐的藝術觀,體現儒家本體論式的抒 情模式。本文結合語詞頻率與義理轉向的分析,指出唐氏思想於 1949年南渡前後歷經由「氣化宇宙論」轉向「虛靈明覺之心」與 「感通之性情」為核心的文化哲學重構;其對「身體」、「氣」、 「性情」、「德性」等概念的重新鋪陳,標誌思想關懷由中西比較 視野走向儒家性情本體論之轉變。「感通」遂由輔助性詮釋語彙躍 升為統攝倫理、美學與宇宙觀的形上範疇,成為其文藝思想的主導 架構。相較於延安文藝座談會後主導中國現代文學場域的政治抒情觀,唐君毅的抒情哲學不僅展現儒學精神的現代轉化,亦超越西方 浪漫主義的個人情感書寫,提出一條貫通哲學與文學、存有與歷史 的思想實踐路徑。本文主張,「感通之學」不僅奠定中國抒情傳統 的本體基礎,更可作為當代表述論域中兼具批判性與創造力的哲學 資源。 |
| 英文摘要 | This article analyzes Junyi Tang’s early philosophical system centered on gantong 感通 (affective resonance), examining its metaphysical interpretation of Chinese lyrical expression and its theoretical significance for the “modern lyrical tradition” in Sinophone literature. As early as the 1930s, Tang argued that literature and art are not merely outlets for personal emotion but the natural outflow of human nature and feelings (xingqing 性情), mediated by the mutual resonance of qi 氣 and xin 心. This Confucian model grounds lyricism in cosmology and ethical practice, offering a metaphysical foundation for aesthetics. Tracing shifts in conceptual emphasis—especially before and after his 1949 relocation to Hong Kong—the paper shows how Tang’s focus moved from a cosmology of qi-transformation to a cultural philosophy centered on the “spiritually perceptive mind” and the affective nature of gantong. By reconfiguring key concepts such as body, qi, xingqing, and virtue, Tang recasts lyricism as a comprehensive framework linking ethics, aesthetics, and cosmology. Contrasted with the politicized lyricism institutionalized after the Yan’an Forum, Tang’s thought articulates a Confucian alternative that transcends Western Romantic subjectivity and bridges philosophy, literature, being, and history. The paper argues that gantong constitutes the metaphysical foundation of the Chinese lyrical tradition and provides a rigorous resource for both critical and creative engagement in contemporary Sinophone discourse. |
本系統中英文摘要資訊取自各篇刊載內容。