“月印万川”:海德格尔诗学与中国古典美学  

“Moon Appearing in Thousands of Rivers”:A Brief Discussion on Heidegger's Poetic and Chinese Traditional Aesthetics

作　　者：李创 LI Chuang(School of Humanities, Xi＇ an Technology University, Xian 710021)

机构地区：[1]西安工业大学人文学院,陕西西安710021

出　　处：《阴山学刊》2017年第4期5-10,18,共7页Yinshan Academic Journal

摘　　要：海德格尔强调前反思、前理论基于实际生命体验的本原时间观。他的诗学能与中国古典美学发生对话,一方面是由于生活世界的共通性与在先性,另一方面他后期转向对时间的承载者——月亮的独特喜爱。相对于形而上学的白昼状态,海德格尔更偏向于生存论上的黑夜状态,他后期强调月亮的自行显现,与道家及禅宗具有相似的思维特征,是海德格尔诗学与中国古典美学共同的审美旨趣。Heidegger emphasizes the real and pre -reflective and pre -theoretical life experience in the real temporality. Why does his poetic can have a dialog with Chinese traditional aesthetics？ On one hand it is due to the universality and priority of the the living worlds; on the other hand this is his active effort to study for the east. In comparative with the day status of the metaphysic, Heidegger likes the dark status of the ontology. He emphasizes the self appearing of the moon, and it has the similar trait with the Taoism and the Zen. And this is the common aesthetics taste in Heidegger＇ s poetic and the Chinese traditional aesthetics.

关 键 词：海德格尔 中国古典美学 生活世界 月亮 

分 类 号：B83-06[哲学宗教—美学]