游戏说的历史绵延  

A Historical Duration of the Play Theory

作　　者：王柯平[1] WANG Keping(Institute of Philosophy,Chinese Academy of Social Sciences,Beijing 100732,China)

机构地区：[1]中国社会科学院哲学研究所,北京100732

出　　处：《杭州师范大学学报(社会科学版)》2025年第2期43-53,共11页Journal of Hangzhou Normal University(Humanities and Social Sciences)

摘　　要：在西方美学或艺术哲学领域,勃兴于近代的游戏说影响深远,其理论建构与演进,绵延两百余年,主要涉及五位论者。席勒更多是从人类学本体论角度审视游戏,旨在借助审美游戏的自由性与超越性,促成人性的完满实现,造就全面发展的人。斯宾塞步其后尘,更多是从心理学角度考察游戏与艺术的内在关系,同时借助生理学和进化论立场,反拨精力过剩说的不足之处。谷鲁斯一方面认为游戏是用来发展本能的媒介,是将来实用活动的准备和练习;另一方面宣称游戏是纯粹为了取得快感效果或审美享受的行为,将其与内模仿活动联系起来,视为人类感知与模仿对象本质的产物。赫伊津哈倾向于从文化人类学角度出发,探索游戏的历史演进及其基本特征,其所为拓展了游戏的研究范围与综合影响,不仅将游戏视为实现人类美好生活的途径之一,而且将其视为体现人类超越现实冲动的活动形态。伽达默尔侧重从动态本体论角度探索游戏、游戏者与艺术的内在关系,借此揭示艺术的起源与本质,彰显游戏生成的交叉作用和表演性相。他们的有关论述,相继促进了游戏说的理论发展,丰富了游戏说的多重性与效应性。In the fields of Western aesthetics and philosophy,the Play Theory has exerted a far-reaching impact over the past 200 years or so.Its theoretical construction and progression are related to five disputers in the main.F.von Schiller views his play theory from the perspective of anthropological ontology,aiming to facilitate the ideal of human fulfilment and whole being by virtue of the freedom and transcendence from aesthetic play.Then,H.Spencer further proceeds to explore more the intrinsic link between play and art from a psychological viewpoint while exposing the problematic aspects of the surplus energy assumption in light of physiological and evolutionist ponderings.Next,Karl Groos adopts a twofold approach in this domain.He perceives play as a media to develop human instinct in one sense,which involves relevant preparation and exercise for practical activities in the time to come;and in the other,he claims that play is purely directed to the act of pleasure and aesthetic enjoyment.All this is coupled with inner imitation as an outcome of human perceiving and imitating the essence of the play object concerned.Johan Huizinga tends to favor a cultural-anthropological strategy,by which he looks into the historical development and basic characteristics of play as such.By so doing does he expand the research scope and comprehensive influence of play itself,which conduces not merely to the conception of play as a way to realize a good life of humankind,but also to the assumption of play as a mode of act to embody human drive to go beyond reality.Lastly,Hans-Georg Gadamer is inclined to investigate the internal connections between play,player and art from the angle of dynamic ontology,attempting to reveal the origin and nature of art proper,and illuminate the cross-effect and performative dimension of how play becomes its own kind.What is articulated by each of these five theorists witnesses a considerable and successive contribution to the enhancement and enrichment of the play theory in terms of its multifold effe

关 键 词：游戏说 席勒 斯宾塞 谷鲁斯 赫伊津哈 伽达默尔 

分 类 号：B83-0[哲学宗教—美学] I01[文学—文学理论]