论“迹”与“所以迹”:郭象本体论诗学  

Phenomenon and Noumenon: The Ontological Poetics of Guo Xiang

作　　者：刘运好[1] 

机构地区：[1]安徽师范大学中国诗学研究中心,安徽芜湖241000

出　　处：《苏州大学学报（哲学社会科学版）》2016年第1期110-123,192,共14页Journal of Soochow University(Philosophy & Social Science Edition)

基　　金：国家社会科学基金项目"魏晋经学与诗学关系研究"(项目编号:08BZW032)的阶段性成果

摘　　要：无论是《庄子注》抑或《庄子序》均非严格意义上的诗学著作,然而《庄子》本身的诗学特质和审美境界,以及郭象哲学体系中所蕴含的本体论诗学,在魏晋诗学发展中都具有重要意义。郭象以辨名析理的思辨方式,在否定"以无为本"的哲学本体论基础上,以庄子所提出的"迹"与"所以迹"的现象—本体哲学为逻辑基点,以"神器独化于玄冥之境"的经典诠释为理论核心,以客体的"自然""性分"、主体的"无为""坐忘"等哲学范畴为理论内涵,建构其本体论哲学体系;以"无心玄应"为审美发生,"寄言无言"为审美表现,"理至迹灭"为审美境界,"至乐无乐"为审美范例,建构其本体论诗学体系。这既是对《庄子》诗学的继承,也是一种扬弃与发展。Notes on Chuang Tzu and Preface to Chuang Tzu are no works on poetics per se, but the poetic and aesthetic dimensions contained in Chuang Tzu and the ontological poetics in Guo Xiang's philosophy are of significant value in the poetics of the Wei and Jin dynasties. On the basis of the negation of 'non-being as the root', Guo Xiang's philosophy proceeds from Chuang Tzu's phenomenon-noumenon duality expressed in the form of trace-the origin of trace duality. Guo's theoretical core is his classical interpretation of 'all natural beings as the Self-so being in a perfect state of being' substantiated by the Self-so of the object and the nondoing and complete forgetfulness of the subject, thus forming his philosophical system. For Guo, the stillness of the heart or utter inner serenity generates aesthetic experience which, in turn, is expressed as 'saying without saying'. His aesthetic pursuit is the invisibility of the origin of the Supreme Law, and his aesthetic paradigm is 'the highest music is no music'. Guo's poetics as such is both inheritance from and improvement on the aesthetics of Chuang Tzu.

关 键 词：郭象 本体哲学 本体论诗学 迹 所以迹 

分 类 号：I0[文学—文学理论]