回归与划界:谈庄子美学的诠释方法  

Return and Demarcation:Interpretation Methods for Zhuang Zi's Aesthetics

作　　者：陈火青[1] 

机构地区：[1]贵州师范学院文学院,贵州贵阳550018

出　　处：《海南师范大学学报（社会科学版）》2014年第3期81-87,共7页Journal of Hainan Normal University(Social Sciences)

基　　金：贵州省教育厅高校人文社会科学研究规划项目(编号:13GH018);贵州师范学院社会科学研究基金(博士)项目(编号:12BS012)阶段性研究成果

摘　　要：诠释学上的两种所谓对立的方法实际上是可以互补的。在庄子美学诠释方法上应抓住两大关键词:回归与划界,这对研究中国美学史亦不无意义。回归主要包括:其一,回到庄子本身,谋求解释的有效性与开放性;其二,"庄子"与"美学"的融合,首要的是追问庄子本身的美学性;其三,对那些作为美学的参照物也应回到本身;其四,面对最基本的审美经验、审美现象。划界从整体上主要有:"美学史"与"美学创造";文本原意与文本意义;审美价值与其它价值。The two so-called opposite methods of hermeneutics can virtually be complementary. Two key words must be focused upon in the methods of interpretation for Zhuang Zi＇ s aesthetics--return and demarcation--which is of much significance for the study of Chinese aesthetic history. As for return, it involves firstly a return to Zhuang Zi himself in pursuit of the effectiveness and openness of interpretation; secondly the blend of ＂Zhuang Zi＂ with ＂aesthetics＂, with its primary inquiry into the aesthetic nature of Zhuang Zi himself; thirdly a return to the references of aesthetics themselves; and fourthly a confrontation with the most basic aesthetic experience and objects. Demarcation as a whole includes ＂a history of aesthetics＂ and ＂aesthetic creation＂, the intention and the meaning of texts, and the aesthetic value and other values.

关 键 词：庄子美学 诠释方法 回归 划界 

分 类 号：I05[文学—文学理论]