完整後設資料紀錄
| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.author | 楊雅妃 | |
| dc.contributor.other | Ya-Fei Yang | |
| dc.date.accessioned | 2020-08-25T07:10:35Z | - |
| dc.date.available | 2020-08-25T07:10:35Z | - |
| dc.date.issued | 2011/06/01 | |
| dc.identifier.issn | 1682-587N | |
| dc.identifier.uri | http://dspace.fcu.edu.tw/handle/2376/2568 | - |
| dc.description.abstract | 隨著「氣象」作為一美學範疇，進入到詩歌領域，人們在原有的「興象」、 「意境」等關注之外，逐漸注意到詩歌審美境界中的整體風貌、人格理想，及意 象象徵所展現的時空感。本文以《朱子語類》卷 140 論詩部分為考察範圍，試圖 掘發朱熹論詩中「氣象」之第一義所在，亦即探討朱熹論詩中「氣象」的義理視 角。 當朱熹論詩，援引「氣象」進入美學範疇，以「混成氣象」為其審美理想， 必須回應「氣象」與人格修養的聯繫，及其作為象徵的時間感與空間感問題。本 文指出：「混成氣象」的第一義義理支持，應當對應朱熹義理思考的「未發氣象」。 「未發」，若就本體而言，則無有動靜、先後等對立分判，適足以證成「氣象」 作為一種理想人格的象徵，乃具有其本體意義；若就工夫修為而言，工夫歷程的 時間感，則已然鎔鑄於整體當中，成全了氣象的渾然完整。其次，當「氣」的鍛 鍊達到心氣同流、身心合一之際，由內而外，將展現一種和穆安詳、動靜如如的 自在氣象；同時，這也彰顯了朱熹以身體作為空間經驗的對象時，主體的涉入， 不但使身體空間呈現一種工夫修為的意義，也間接地促使文學得以在自然風景之 外，更細膩地注意到內景之象的細微觀照，並由此綰合氣象與主體精神、人格理 想之間的聯繫。 | |
| dc.description.sponsorship | 逢甲大學 | |
| dc.relation.ispartofseries | 逢甲人文社會學報 | |
| dc.relation.isversionof | 第二十四期 | |
| dc.subject | 朱 熹 | |
| dc.subject | 詩歌 | |
| dc.subject | 氣 | |
| dc.subject | 氣象 | |
| dc.subject | 未發氣象 | |
| dc.subject.other | Zhu Xi | |
| dc.subject.other | poetry | |
| dc.subject.other | Qi, Qi-image | |
| dc.subject.other | not manifested Qi-image | |
| dc.title | 朱熹論詩中「氣象」之義理視角試探 －以《朱子語類》論詩為考察範圍 | |
| dc.title.alternative | The Study of Qi-image in Zhu Xi’s Discussing Poetry from the Perspective of Philosophical Vision—Focusing on the Classified Conversation of Master Zhu | |
| dc.type | 期刊篇目 | |
| dc.description.translationabstract | As the “Qi-image,” one of the aesthetic categories overpass the existed“poetic arising”and“state”, entered into the field of poetry, people paid more attention on the factors of aesthetic state, such as the whole style, ideal personality, as well as time and space appearing in poetic symbols. Focusing on the volume 140 of the Classified Conversation of Master Zhu, this study tried to observe the priority of“Qi-image”in Zhu Xi’s discussing poetry. In another word, the perspective of philosophical vision was the priority. When Zhu Xi commented on poetry, taking“Qi-image”as one of the aesthetic categories and viewing the“whole Qi-image”as the ideal state, it was necessary to respond to some questions, such as the relationship between“Qi-image”and personality, as well as time and space appearing in poetic symbols. This study surveyed that the philosophical priority of the“whole Qi-image”was the issue of “not manifested Qi-image.”As for the dimension of ontology, there was no opposite at the state of“not manifested Qi-image,”which was proved that the“Qi-image”as the symbolic of ideal personality possessed the meaning of a noumenon. As for the dimension of practical methodology, the time in the process of practical cultivation had been contained in the“whole Qi-image.”In addition, reaching the state of harmony between mind and Qi, as well as body and mind, it would be represented the harmonious, peaceful, and easeful image. In the meanwhile, Zhu Xi regarded “body” as the object of space. As the subject being taken into consideration, “body” possessed the meaning of spiritual cultivation. It also contributed to focusing on the subtle observation from natural scenery to inner images. And it could be illustrated the relationship bridging the image and the subject as well as the ideal personality. | |
| 分類: | 第24期 | |
文件中的檔案：
沒有與此文件相關的檔案。
在 DSpace 系統中的文件，除了特別指名其著作權條款之外，均受到著作權保護，並且保留所有的權利。