完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 陳忠和 | |
| dc.contributor.other | Chen, Zhonghe | |
| dc.date.accessioned | 2020-08-25T06:57:59Z | - |
| dc.date.available | 2020-08-25T06:57:59Z | - |
| dc.date.issued | 2012/10/19 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2446 | - |
| dc.description.abstract | 所謂「觀物為文」即觀察自然景物而以之為題材，再藉由藝術形式表現某一特定主題的創作方式。莊子以其哲學素養觀物為文，不僅塑造出個人獨特的語言風格，更對後世文學理論與創作產生深鉅影響。本文依序探討莊子「觀物為文」的哲學思維、形成背景、主體修養、心理歷程、實踐歷程等，闡明其歷史意義。歸納而言，其歷史意義表現在三方面：在審美的主體修養方面，莊子揭示後人在觀物時須使心靈保持澄澈空明的狀態，才能以純粹的眼光審視物象。在審美的心理活動方面，莊子揭示後人在觀物時須以專一集中的直覺觀照物象，並與人生經驗保持不即不離的美感距離，體現超越生命限制的逍遙境界。在審美的藝術表現方面，莊子則揭示後人應細膩觀察大自然的生態，貫注於物象，胸中無追求藝術技巧之念，隨物宛轉，渾然天成。 | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.format.extent | 17 | |
| dc.language.iso | 中文 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第十期 | |
| dc.subject | 莊子 | |
| dc.subject | 齊物論 | |
| dc.subject | 虛靜論 | |
| dc.subject | 生態學 | |
| dc.subject.other | Chuang-Tzu | |
| dc.subject.other | Qi Wu Lun | |
| dc.subject.other | quietism | |
| dc.subject.other | ecology | |
| dc.title | 論莊子「觀物為文」的創作方式 | |
| dc.title.alternative | Chuang-Tzu’s Creative Mode with The Observation of Nature | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | “A creative mode with the observation of nature” means someone observed nature and searched the subject matter by this process, then presented a specific subject by the art form. In consequence of his philosophic equipment Chuang-Tzu not only formed an individual style but also had a far-reaching influence in both theory and creation of literature. This thesis researched the philosophic thought, causation of the conduct, cultivation of _x000D_ the mind, process of the mentation and practice, which in Chuang-Tzu’s creative mode, to emonstrate his merits. We can generalize three merits in _x000D_ Chuang-Tzu’s creative mode: Regarding the aesthetic cultivation, he enlightened people should keep the mind pure while one observed nature to gazed on imageries. Regarding the aesthetic mentation, he enlightened people should concentrate upon an object and know it by intuition while one observed nature, then keep an aesthetic distance between the object and the _x000D_ experience of the life neither accepting nor rejecting, to transcend the limits of the life peripatetically. Regarding aesthetic expression, he enlightened people should observe deeply the biology in the nature and concentrate upon the _x000D_ imagery without any idea about artistry to dash off the work. | |
| 分類: | 第10期 | |
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