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本文立足希腊文原典和中外解释传统探讨《诗学》的模仿说与“技艺模仿自然”的从属关系及其目的论,认为“技艺模仿自然”的要义在于一方面将他因转换为自因(自然),另一方面也通过技艺的逻各斯品质“完成自然不能做到的事”;同样,诗的模仿在质料生产的意义上模仿自然,在形式生产的意义上为模仿的产品添加可然、必然和应然的理性目的形式。诗的模仿对象不是发生过的个别事件,而是人希望按照可然律或必然律能够发生或应该发生的具有普遍性的个别事件。从整体来看,诗的模仿重在模仿自然的目的论原则,为了达到最佳目的,诗不仅不限于盲目的自然目的形式,更要重新创造出可然、必然与应然的理性目的形式。正因如此,诗才具有高贵的哲学性质和远高于史的人文品格。亚里士多德为诗的模仿确立的目的形式,不仅为西方美学的模仿观奠定了根基,也启示我们:模仿让诗具备了理性的目的形式;诗学与诗一样,都应超越盲目的自然目的形式,以理性的目的形式为旨归,否则,它也难以成为亚里士多德意义上的制作科学。
This article based on the Greek classical and Chinese and foreign interpretation of the traditional discussion of “poetics” imitation theory and “art imitation of nature ” affiliation and its teleology, that “art imitation of nature ” lies in the one hand, his conversion As natural (self), on the other hand through the logos of artistry “to accomplish things that nature can not do”; similarly, the imitation of poetry mimics nature in the sense of material production, in the sense of formal production To imitate the product to add a natural, necessary and should be the purpose of the form of reason. The object of imitation of the poem is not individual events that have taken place, but individual events of a universal nature that one wishes to occur or should occur according to a law of merit or a certain necessity. As a whole, the imitation of poetry focuses on imitating the principle of teleology in nature. For the best purpose, poetry is not only limited to the form of blind natural purpose, but also recreates the formal form of reason, necessity and necessity. Precisely because of this, poetry has the noble philosophical nature and much higher than the historical humanistic character. Aristotle’s establishment of the form of imitation of the poem not only laid the foundation for the imitation of western aesthetics but also inspired us to imitate the poetic form of rational purpose. Poetics should, like poetry, transcend the blind Natural forms of purpose, the purpose of the purpose of a rational purpose, otherwise, it is difficult to become Aristotelian science of production.