论荀子与儒家礼乐观的情感论转向  

On Xunzi and the Emotional Turning of Confucian Ritual and Music Ideas

作　　者：刘延福[1] 

机构地区：[1]河南理工大学,河南焦作454003

出　　处：《湖南师范大学社会科学学报》2014年第1期106-111,共6页Journal of Social Science of Hunan Normal University

基　　金：国家社会科学基金项目“荀子诗学研究”(11CZW006);河南理工大学博士基金“荀子礼乐思想与和谐文化建设”(B2011-037)

摘　　要：荀子在继承了儒家传统礼乐思想的基础上,对其进行了历史性地改造,第一次比较深入全面地探讨了礼乐思想的不同内涵与作用,提出并论述了"乐合同,礼别异"的观点。他认为,强制性原则的礼与调和性原则的乐之间虽然存在着巨大的张力,但两者的矛盾并非不可调和。礼乐同构、"情通礼乐","情"是沟通礼与乐的桥梁,二者通过"情"从其根源上实现了内在张力的平衡。儒家传统的礼乐思想,在荀子的手中实现了情感论的转向。荀子将礼与乐放在同一个视域中进行考察,为制度理性与审美价值的和谐一致找到了合法性依据,对中国传统的诗学与美学理论也具有极大的启迪意义。On the basis of inheriting Confucian ritual and music ideas, Xunzi thoroughly explored the connotation and the action about rites and music for the first time. He thought that there was a tremendous tension between ritual and music, ＂this tension and conflict are not irreconcilable.＂ ＂Emotion connects ritual and music＂ . The emotion is the bridge which connects ritual and music. The tension would milt when they are connected with emotion. The traditional Confucian ritual and music ideas had an emotional turning. Xunzi discussed ritual and music in the same horizon, it has lots of ideological resources With enlightening significance to Chinese traditional poetics and aesthetics.

关 键 词：荀子 礼乐 张力 情感转向 

分 类 号：B222[哲学宗教—中国哲学]