查詢結果分析
相關文獻
- 船山以「勢」論詩和中國詩歌藝術本質
- 船山詩學中「現量」意涵的再探討;兼論傳統「情景交融」理論研究的一個誤區
- 熊十力「易」學思想評述
- 東南亞經濟局勢對我國之影響
- 從年度詩選看八0年代前期臺灣社會的變遷與困境--以前衛版1982∼1985年度詩選為限
- 畜用免疫去勢方法的研發
- 營養生長期的短期土壤缺水對百合生育之影響
- Evaluating Hand-Arm Response at Standing and Sitting Postures While Operating In-line and Pistol-Grip Pneumatic Screwdrivers
- Global Perspectives on Internet Education: Trends and Issues
- 澎湖地區優勢草種的調查與收集
頁籤選單縮合
題 名 | 船山以「勢」論詩和中國詩歌藝術本質=Wang Fu-chih's Definition of Poetry in Terms of “Shih” and the Nature of Chinese Lyrical Poetry |
---|---|
作 者 | 蕭馳; | 書刊名 | 中國文哲研究集刊 |
卷 期 | 18 民90.03 |
頁 次 | 頁189-229 |
分類號 | 821.27 |
關鍵詞 | 勢; 船山思想; 易學; 中國抒情傳統; 無定體觀; Shih; Wang Fu-chih's thought; Study of The Classic of Changes; Chinese lyricism; Viewing the cosmos as becoming; |
語 文 | 中文(Chinese) |
中文摘要 | 本文循船山思想本身由《易》學展開的進路,探討「勢」這一在船山詩學中界定抒情詩本質意義的範疇。由船山《易》學,文章推衍︰「勢」強調了應由宇宙無始無終、生生不已的變化,而非本體的觀念去界定世界的本質。而船山歷史哲學中「勢」的運用又說明︰「勢」並非與原因論或目的論相關的「客觀規律」,而是無法從一次性的歷史中抽象出來,亦不排除神祕意識的不可避免性。以此為基礎,文章對船山詩學中「勢」意涵所涉及的「時間架構」和「空間架構」兩方面進行探討。首先,以「勢」論詩,彰顯了詩的本質乃人莫之能測的動態中「意」之開顯,而非題旨。因船山屢借書法論詩和強調「言未可忘」,詩因而是一種活動,一受內在生命力驅遣的行文過程。此生命力又外於詩人意志操控而具自生性質。其次,在詩的意象世界中,則如在傳統畫論和堪輿學中一樣,「勢」強調了「從靜止去想像動態」,即以詩境虛涵宇宙的眾動之化。由此,詩歌體認出宇宙乃充分節奏化的時空同一體。文章最後提出︰船山以「勢」論詩的根本意義在於揭呈出中國傳統詩歌的本質︰其非西方文論「摹仿」或「表現」概念所能涵攝,其精義實在以藝術重義地體認宇宙的律動。正是船山詩學,而非受佛學霑溉之唐宋詩學中「意境說」,發揚了肇端《周易》的中國主體文明精神。 |
英文摘要 | The present essay uses Wang Fu-chih's study on The Classic of Changes, the foundation of his philosophical thought, as an avenue to approach the concept of shih, extremely significant to define the nature of Chinese lyrical poetry. By using shih Wang Fu-chih shows how the essence of the reality should not be defined ontologically but rather in terms of its continuous variations. The application of this concept to Wang's philosophy of history also demonstrates that the concept does not mean “objective law of development” related to either etiology or teleology. Rather it designates an ineluctability which, somewhat mysteriously, cannot be drawn from unique historical events. From this perspective, the essay explores the meanings of this concept in the two main aspects that Wang's poetics involves, namely the temporal and the spatial framework of poetry. First of all, the concept reveals that the essence of poetry is not the theme, but the unpredictable dynamic process that unfolds the theme. Given Wang Fu-chih's use of calligraphy terminology and his high regard of language in discussing poetry, we can see how for him a poem is an activity, that is, an active linguistic process impelled by inner vitality. This vital impulse, however, is beyond the will of poet and therefore self-generated. Secondly, in the world of poetic imagery, like in the traditional theories of painting and geomancy, the concept of shih also emphasizes the idea of “imagining the dynamic in terms of the static,” i.e., of imagining the lyric inner landscape contained within the continuity of cosmic variations. In this regard, the world of poetry betokens the universe as a fully harmonious temporal-spatial unity. The ultimate significance of Wang's discussion of poetry in terms of shih is its revelation of the nature of traditional Chinese lyrical poetry: artistic work tautologically embodies the rhythm of perpetual cosmic movement, that cannot be described by Western terms such as “mimesis” or “expression”. It is Wang Fu-chih's poetics, rather than the “theory of lyric realm” influenced by Buddhism and flourished in T'ang and Sung dynasties, that represents and develops the ethos of the main Chinese civilization begun with The Classic of Changes. |
本系統中英文摘要資訊取自各篇刊載內容。