本文選題：船山 + “現(xiàn)量”��； 參考：《山東師范大學(xué)》2017年碩士論文

【摘要】：王船山是與顧炎武、黃宗羲并稱(chēng)“明末清初三大思想家”的著名學(xué)者,憑借哲學(xué)、美學(xué)、文學(xué)、史學(xué)等百科全書(shū)式的學(xué)術(shù)貢獻(xiàn)在同時(shí)代儒學(xué)新釋中享有舉足輕重的地位�！艾F(xiàn)量”理論是船山學(xué)術(shù)中極具代表性的一支,它由佛學(xué)走來(lái),在時(shí)空性、直覺(jué)性以及飽富“誠(chéng)”意等方面為審美實(shí)踐確立規(guī)則,成為貫穿美論、審美表現(xiàn)論等學(xué)說(shuō)的基本規(guī)范。目前學(xué)界對(duì)于它的研究主要集中在詞匯解釋、詩(shī)學(xué)闡發(fā)等領(lǐng)域,對(duì)其本身的心理機(jī)制、美學(xué)表征等論述并不充分,所以本文嘗試立足“現(xiàn)量”理論之佛學(xué)語(yǔ)境及影響其內(nèi)蘊(yùn)構(gòu)成的時(shí)代先聲、地域文化貯藏、文藝淵源等發(fā)展要素,對(duì)其內(nèi)涵、美學(xué)特點(diǎn)展開(kāi)研究,最終衡量“現(xiàn)量”理論的美學(xué)效應(yīng),做出評(píng)價(jià)。本文共分為四個(gè)部分:緒論首先指出“現(xiàn)量”理論是王船山美學(xué)體系中為數(shù)不多的具有獨(dú)創(chuàng)性的概念,它本自古印度“因明學(xué)”,意義初流于佛教,在船山儒學(xué)化的改造中具備了美學(xué)新質(zhì);其次,學(xué)界對(duì)于“現(xiàn)量”理論的本體性、關(guān)系性研究,明確標(biāo)示了當(dāng)今學(xué)者對(duì)于它在船山美學(xué)中擔(dān)當(dāng)?shù)慕巧�、在具體實(shí)踐中的美學(xué)效應(yīng)等問(wèn)題的研究仍有不足;最后,論文采取的是大視野、多交叉、點(diǎn)面結(jié)合的美學(xué)解讀方法,使佛學(xué)緣起、明清語(yǔ)境、湘學(xué)趣味為“現(xiàn)量”本體論研究奠定了深厚的歷史文化基礎(chǔ),又憑借對(duì)美學(xué)內(nèi)涵、特點(diǎn)的闡發(fā)順推其美學(xué)效應(yīng),言詞相濟(jì),邏輯相承。第一章共分兩節(jié),梳理了“現(xiàn)量”理論與船山所處時(shí)代的內(nèi)質(zhì)關(guān)系。第一節(jié)“學(xué)術(shù)復(fù)國(guó)的現(xiàn)實(shí)文化策略”從社會(huì)層面進(jìn)行考量,指出明清風(fēng)云涌動(dòng)的時(shí)局、新因素滋長(zhǎng)的經(jīng)濟(jì)、綜合尚實(shí)的文化以及極具霸蠻血性的地域性湘學(xué)都在很大程度上影響了“現(xiàn)量”理論的誕生,促使其在深刻的實(shí)踐中具有了協(xié)調(diào)政治關(guān)懷與勁健人格、偏于求真務(wù)實(shí)、興復(fù)經(jīng)典儒學(xué)“原道”等基本屬性;第二節(jié)“求真尚實(shí)的學(xué)術(shù)話語(yǔ)清理”則從學(xué)術(shù)層面進(jìn)行探尋,言及“現(xiàn)量”理論是儒家仁德、道家逍遙、佛家直悟等多重視域交疊互取的產(chǎn)物,它宗師王張,揚(yáng)棄程朱,力斥陸王,暢達(dá)六經(jīng),取長(zhǎng)百家,加之船山受到深厚家學(xué)、湖湘之學(xué)的浸染,而與明清文壇的形式之美、復(fù)古之美、“向心求美”等主流話語(yǔ)展開(kāi)論辯。由此,混亂的明清社會(huì)與復(fù)雜的學(xué)術(shù)淵源共同催生了“現(xiàn)量”理論求實(shí)尚真、兼濟(jì)各說(shuō)的特征,孔儒成為審美旨?xì)w,求“誠(chéng)”成為審美理趣,明澈的現(xiàn)實(shí)之感與審美之悅交相輝映,共同構(gòu)筑出“現(xiàn)量”理論的有機(jī)結(jié)構(gòu)。第二章闡明了“現(xiàn)量”理論的內(nèi)涵及特點(diǎn)。第一節(jié)“‘現(xiàn)量’理論的美學(xué)內(nèi)涵”基本參照《相宗絡(luò)索·三量》中定義的劃分:“現(xiàn)在”義表明審美愉悅的源泉必定始自當(dāng)下,“現(xiàn)成”義言及美感的獲得依賴(lài)直覺(jué)瞬成,“顯現(xiàn)真實(shí)”義昭示審美實(shí)踐必定遵循“誠(chéng)”之理想模式,回歸真實(shí)的存在。三方涵義相值相取,擯棄了法相宗“現(xiàn)量”轉(zhuǎn)識(shí)成智的表征,儒美之姿盡現(xiàn);第二節(jié)“‘現(xiàn)量’理論的美學(xué)特點(diǎn)”在更深層的美學(xué)領(lǐng)域中剖析了其基本特征,論述指出,“現(xiàn)量”理論具有的高度時(shí)空直覺(jué)感在具體的層級(jí)上為審美活動(dòng)發(fā)生的條件、審美經(jīng)驗(yàn)獲得的方式做出了規(guī)定,具備了更加鮮明的為我性與自由性。真與美相統(tǒng)一的“誠(chéng)”意也顯示出了區(qū)別于客觀真實(shí)的物我合一妙境,這種對(duì)美感的無(wú)蔽呈現(xiàn)更符合于尚實(shí)的天人關(guān)系,是創(chuàng)造美的終極旨?xì)w�！艾F(xiàn)量”理論的生命律動(dòng)在很大程度上源于其辯證關(guān)系中審美張力的釋放,各要素聚散、開(kāi)敞,遙相呼應(yīng)于氣之幽隱,異質(zhì)力量的游移、映襯共同建構(gòu)出極具緊張感的美學(xué)場(chǎng)域,美之生成性、動(dòng)態(tài)性躍然胸中。由上可見(jiàn),船山并未囿于佛學(xué)舊理,而是大膽地對(duì)“現(xiàn)量”的內(nèi)涵本質(zhì)及運(yùn)思進(jìn)行了富有建設(shè)性的解讀,其質(zhì)的規(guī)定性得到確認(rèn),自身亦具備了一定的整合性。第三章從宏觀角度評(píng)述了“現(xiàn)量”理論的美學(xué)效應(yīng)。第一節(jié)“‘現(xiàn)量’的理論效應(yīng)”一方面通過(guò)比對(duì)其與船山美學(xué)體系中美論、審美心理論、審美表現(xiàn)論、審美教育論等部分的關(guān)系,將之定位于內(nèi)部基礎(chǔ)性的角色,另一方面又將其與文藝美學(xué)史上直覺(jué)感興、心目關(guān)系、審美理想等船山美學(xué)系統(tǒng)外的問(wèn)題一并探討,展現(xiàn)了“現(xiàn)量”理論極具參與性、發(fā)展性的審美特點(diǎn)及非凡的學(xué)術(shù)活力;第二節(jié)“‘現(xiàn)量’的實(shí)踐效應(yīng)”指出了該范疇在船山詩(shī)學(xué)批評(píng)中的指導(dǎo)作用,弘揚(yáng)了以真向美、情感瞬達(dá)的美學(xué)“誠(chéng)”意。同時(shí),本文還嘗試將“現(xiàn)量”理論投諸于船山個(gè)人的創(chuàng)作實(shí)踐,在基本認(rèn)可其作用的同時(shí)亦發(fā)現(xiàn)了它行動(dòng)力的不足;第三節(jié)“對(duì)于‘現(xiàn)量’理論的綜合評(píng)價(jià)與反思”以綜觀全文的視角簡(jiǎn)評(píng)了“現(xiàn)量”理論的效應(yīng)展示,充分肯定了其憑借向真探美、美善相濟(jì)趣味探索美學(xué)的獨(dú)特突圍方式,顯示了它客觀經(jīng)驗(yàn)性和自我本位的色彩,但也同時(shí)指出其融合政教、浸染倫理的特點(diǎn)及理想主義、神秘色彩等歷史局限,力求內(nèi)化其極具啟發(fā)性的詩(shī)意直覺(jué),探尋純美發(fā)展的正確方向。顯然,“現(xiàn)量”理論已成為日常邏輯與美學(xué)邏輯彼此打通的審美主體性代言,更成就了儒釋文化交流對(duì)話的典型,為新世紀(jì)中國(guó)美學(xué)的尋根嘗試與話語(yǔ)重建指明了方向。
[Abstract]:Wang Chuanshan is a famous scholar with Gu Yanwu, Huang Zongxi and "the three thinkers in the late Ming and the early Qing". The academic contribution of the Encyclopedia of philosophy, aesthetics, literature, history and other Encyclopedia has played an important role in the new interpretation of Confucianism in the same time. "Present quantity" theory is a very representative branch of the ship's scholarship. It comes from Buddhism and is in time and space. The basic norms of the theory of aesthetic practice, such as sex, intuition and full of "sincerity", have become the basic norms for the theory of beauty and aesthetic expressionism. At present, the research on it is mainly focused on the fields of lexical interpretation, poetic elucidation and so on, and the psychological mechanism and aesthetic characterization of its own are not fully discussed. The linguistic context of the theory of "the present quantity" and the meaning of the times, the storage of regional culture, the origin of literature and art, its connotation and aesthetic characteristics are studied, and the aesthetic effects of the "present quantity" theory are finally measured. The article is divided into four parts: the introduction first points out that the theory of "present quantity" is Wang Chuanshan's Aesthetics There are only a few original concepts in the system, which originally learned from Buddhism in ancient India, the meaning of Buddhism in the first place, and the aesthetic new quality in the transformation of the Confucian School of Chuanshan. Secondly, the ontological and relational study of the theory of "the present quantity" has clearly marked the role of the present scholar in the aesthetics of Chuanshan. There are still shortcomings in the study of aesthetic effect in the practice of body. Finally, the thesis adopts the aesthetic interpretation method of large field of vision, multi cross and combination of point and surface, which makes the origin of Buddhism, the context of the Ming and Qing Dynasties, and the interest of Hunan studies a profound historical and cultural basis for the study of "the present quantity" ontology, and the elucidation of its beauty by the elucidation of the aesthetic connotation and characteristics. In the first chapter, the "realistic cultural strategy" of "academic return to the country" is considered from the social level, pointing out the current situation in the Ming and Qing Dynasties, the growing economy of new factors, the comprehensive culture and the extremely bully blood. The nature of regional Hunan has greatly influenced the birth of the theory of "the present quantity", and promoted it to harmonization of political care and strong personality in deep practice, to seek truth and pragmatism, to revive the basic attributes of classical Confucianism, and to explore the academic level in the second section. And the "present quantity" theory is the product of the Confucian benevolence, the Taoist carefree and the Buddha's direct realization, such as the multi field of view, such as the master Wang Zhang, the abandonment of Cheng Zhu, the repulsion of Lu Wang, the six classics of the six classics, the deep family learning, the immersion of the study of Huxiang, the beauty of the form of the Ming Qingwen's altar, the beauty of the reunification and the "seeking the beauty of the centripetal". As a result, the confusion of the Ming and Qing Dynasties and the complex academic origin have led to the fact that the theory of "the present quantity" is true and true, and that Confucians have become aesthetic purposes and seek "sincerity" as aesthetic interest. The clear sense of reality is reflected with the aesthetic pleasing, and the organic structure of the "present quantity" theory is constructed together in second chapters. The connotation and characteristics of the theory of "present quantity" are clarified. The first section "the aesthetic connotation of the theory of 'present quantity" is basically referenced to the division of the definition of the three quantity of phase Zong Luo. The meaning of "present" indicates that the source of aesthetic pleasure must begin from the present, that the "ready-made" meaning and the sense of beauty depend on the intuition of intuition, and the meaning of "showing truth" shows aesthetic reality. The practice must follow the ideal model of "sincerity" and return to the true existence. The three party's meaning phase values are taken, and the "present quantity" of the law and phase is rejected as the representation of wisdom, the posture of Confucianism and the beauty is presented. The second section "the aesthetic characteristics of" the theory of "the present quantity" analyzes its basic characteristics in the deeper aesthetic field, and points out that the theory of "present quantity" is of great importance. The sense of high time and space intuition at the specific level is the condition for the aesthetic activity, the way of aesthetic experience is made, and it is more distinct for me and freedom. The true relationship between heaven and man is the ultimate goal of creating beauty. The life rhythm of the theory of "the present quantity" is largely derived from the release of aesthetic tension in its dialectical relationship. All the elements are scattered, open, and echoing to the hidden of Qi, the migration of heterogeneous forces, and the formation of the aesthetic field of great tension, the generative and dynamic nature of beauty. It can be seen from the top of the mind that Chuanshan has not been confined to the old Buddhist doctrine, but boldly carried out a constructive interpretation of the essence of the content of "the present quantity" and its operation. The quality of its quality is confirmed and its own integration. The third chapter reviews the aesthetic effect of the theory of "present quantity" from the macro perspective. On the one hand, the theoretical effect of quantity 'is compared with the Sino American theory of aesthetic system, aesthetic psychology, aesthetic expressionism and aesthetic education. On the other hand, it is related to the inner basic role of the aesthetic system, and on the other hand, the problems outside the aesthetic system of Chuanshan aesthetic system, such as intuition, heart and beauty, and so on in the history of literature and art. The second section, "the practical effect of" the "present quantity", points out the guiding role of this category in the criticism of Chuanshan poetics, and has carried forward the "sincerity" in the aesthetics of "true" to the beauty and the instant of emotion. At the same time, this article also tries to make "the present quantity". The theory has been put to the creation practice of the individual of Chuanshan, and it has also found its inadequacy in the basic recognition of its role. The third section "the comprehensive evaluation and Reflection on the theory of 'present quantity" is a brief review of the effect of the theory of "the present quantity" in a comprehensive view of the full text. The unique breakthrough method of cable aesthetics shows its objective empiricism and self standard color, but it also points out the historical limitations of its integration of politics and religion, the characteristics of impregnation ethics, idealism, mystical color and so on, and tries to internalize its inspiring poetic intuition and explore the correct direction of pure beauty exhibition. Obviously, "present quantity" theory has become a day. The aesthetic subject endorsement of the common logic and the aesthetic logic has made the cultural exchange and dialogue typical of the Confucianism and Buddhism, and pointed out the direction for the root seeking and reconstructing of the Chinese aesthetics in the new century.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：B83-092

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