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“感应”论是中国古典美学用以解释创作过程审美意识生成的学说 ,这里我们将它运用到欣赏过程 ,并集中在时间性和空间性这两个方面分析这一过程的主要特征。根据现代现象学的观点 ,我们重新认识了人与世界的关系 ,由此获得一种区别于“客观”的、与人自身的存在直接相关的“本源”的时空观念 ,欣赏感应正是鲜明地突出了这种时空的“本源性”。我们首先借助于海德格尔的“去远”和“定向”概念 ,分析了感应的空间性 ;然后从读者与阅读对象在时间流程上的同一性、现象时间的非逆转性以及我在性三个方面 ,分析了感应的时间性。我们的目的就在于 ,通过这种分析 ,能部分地揭示感应论视角的文学欣赏理论的内涵 ,同时也是尝试着将中国古典学说融入现代思维之中。
The theory of “induction” is a theory used by Chinese classical aesthetics to explain the generation of aesthetic consciousness in the creative process. Here we apply it to the process of appreciation and analyze the main characteristics of the process in two aspects: temporality and spatiality. According to the modern phenomenological point of view, we have re-recognized the relationship between man and the world, thus obtaining a space-time concept of “origin” which is different from “objective” and directly related to the existence of human beings Highlighting the “origin” of this space-time. Firstly, we analyze Heidegger’s concept of “going away” and “orientation” to analyze the spatial dimension of sensing. Secondly, from the aspects of the time-flow identity of reader and reader, the non-reversal of phenomenal time, On the one hand, we analyzed the timeliness of sensing. Our aim is that through this analysis we can partly reveal the connotation of literary appreciation theory from the perspective of the theory of induction and at the same time try to integrate the Chinese classical theory into the modern thinking.