游戏与创造:庄子的美学精神  

Games & Creations: the Aesthetic Spirits of Chuang-tzu

作　　者：颜翔林[1] 

机构地区：[1]温州大学人文学院,浙江温州325015

出　　处：《湘潭大学学报（哲学社会科学版）》2013年第1期106-110,共5页Journal of Xiangtan University:Philosophy And Social Sciences

基　　金：浙江省社会科学规划项目"庄子怀疑论美学及其当下意义"(项目编号:06CGWX25YBX)阶段性成果

摘　　要：庄子是一个充满了游戏精神的诗性主体。游戏一方面呈现自我的生命智慧和自由精神,另一方面隐含着审美体验和艺术创造的直觉冲动,再一方面游戏构成主体进行批判和嘲笑的精神工具。庄子的游戏精神包含着生命的本真快乐和文本的审美创造双重功能。庄子的"游戏"和康德、席勒、德里达的"游戏"概念在美学意义上没有本质的区别,都寄寓着主体的自由意识,蕴藏着对现实的反抗、解构、颠覆、反讽和批判的内涵,同时还包含审美体验和艺术创造的潜能。所差异的是,庄子的"游戏"隐含着更多的幽默情怀和快乐趣味,更富于美感和自由创造的张力,因此,也更是一个富于美学和艺术内涵的概念。Chuang - tzu is a poet full of game spirits. On one hand, games embody the wisdom of life and spirits of freedom ; on the other hand, they contain aesthetic experiences and instinctive impulses of artistic creations. At the same time, they also construct spir- itual tools of criticism and ridicule. Chuang - tzu＇ s game spirits has dual function ： happiness in essence and aesthetic creations of texts. In aesthetics, Chuangtzu＇s concept ＂Game＂ has no essential difference with the one used by Kant, Schiller and Derrida. They all have the consciousness of freedom and they all mean revolt, deconstruction, subversion, irony and criticism to reality. At the same time, they all include aesthetic experiences and potential of artistic creations. The difference is： Chuangtzu＇s ＂Game＂ has a taste of more humor and happiness, more aesthetic feelings and more strength of free creations. So, it is more aesthetic and more artistic.

关 键 词：庄子 游戏 创造 美学精神 

分 类 号：I002[文学—文学理论] I206