从诗学到肉身:论“元素”在巴什拉和梅洛-庞蒂美学思想中的显现  

From Poetics to the Flesh:On the Manifestation of“Elements”in the Aesthetic Thoughts of Bachelard and Merleau-Ponty

作　　者：杜超 Du Chao

机构地区：[1]山西大同大学文学院

出　　处：《中国美学研究》2024年第2期301-315,共15页

摘　　要：梅洛-庞蒂在后期着力于建构肉身本体论,并将肉身看作古希腊哲学意义上的元素。这一思想的形成,与哲学家加斯东·巴什拉有密切联系。巴什拉在借鉴古希腊元素说的基础上,将火、水、土、气四元素用于诗学分析中,着力于描述诗歌中这四种元素凝聚为物质形象并在想象中与主体相结合的过程,以此表达人与宇宙的深层连结。梅洛-庞蒂摒弃了四元素说,而以肉身这一新的名称来命名元素,他进一步将元素从巴什拉的诗学范畴中延伸出来,扩展至整个存在,于是肉身成了存在的本原,它处于不断的运动中,在此运动中主体与世界相互渗透。由此,巴什拉的想象过程被梅洛-庞蒂看作肉身运动的结果,依据肉身持续的运动,主体得以通达世界。In the later stage,Merleau-Ponty focused on constructing the ontology of the flesh and regarded it as an element in the meaning of ancient Greek philosophy.The formation of this idea is closely related to the philosopher Gaston Bachelard.On the basis of drawing inspiration from the ancient Greek theory of elements,Bachelard used the four elements of fire,water,earth,and air in poetic analysis,focusing on describing the process of these four elements condensing into material images in poetry and combining themselves with the subject in imagination,in order to express the deep connection between humans and the universe.Merleau-Ponty abandoned the theory of the four elements and named the elements after the new name of the flesh.He further extended the elements from Bachelard’s poetic category to the entire being,making the flesh the origin of being.The flesh is in constant movement,in which the subject and the world permeate each other.As a result,Bachelard’s imaginative process is seen by Merleau-Ponty as the result of the movement of the flesh,and based on the continuous movement of the flesh,the subject is able to access the world.

关 键 词：元素 元素诗学 想象 肉身 

分 类 号：I01[文学—文学理论] B83-0[哲学宗教—美学]