庄子美学建构的样式及反思  

Zhuangzi's Aesthetic Tapes and the Refection

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：《聊城大学学报（社会科学版）》2015年第3期49-55,共7页Journal of Liaocheng University:Social Science Edition

基　　金：贵州省教育厅高校人文社会科学研究规划项目(13GH018):道家美学典范性问题研究

摘　　要：庄子美学的建构经历了一个"发明"的过程,因为庄子思想的复杂性以及美学家族的丰富性,人们所理解的庄子美学就聚讼纷纭了。庄子美学建构的样式根据对庄子美学定位的情况可以分为否定式、矛盾式和肯定式等几种情形,其间还可以细分。庄子美学建构的无定性,提醒我们在研究中要有反思之维,对"前见"要持有一种开放的态度,审慎地加以辨识。"庄子"与"美学"都不是无边的,二者如何达到有效的融合,是值得思考的。It was an invention process that Zhuangzi was constructed in diverse aesthetic tapes. Because the complexity of Zhuangzi＇ s thought and richness of aesthetic family, the construction still remained a great controversy in academic circles. The tapes could be divided into negative, contradiction and affirmative. Facing the difference, we would hold an open attitude to these prejudices of Zhuangzi＇s aesthetic, and carefully identify them. “Zhuangzi” and “aesthetic” is not boundless, it is worth thinking about how to achieve effective integration.

关 键 词：庄子美学 建构 样式 反思 

分 类 号：I0[文学—文学理论]