【作者】 林光华；

【导师】 杨乃乔； 邱运华；

【作者基本信息】 首都师范大学 ， 比较文学， 2007， 博士

【摘要】 本文的选题是中国魏晋玄学中的重要论题之一“言意之辨”,以《老子》、《庄子》与《周易》中关于“言”的讨论为主要考察对象。文本从《老子》“同出而异名”以及《庄子》“道术将为天下裂”的思想切入,认为老子、庄子都意识到了“名使道分”的问题。在《周易》中,“道”是“阴”、“阳”之间的变动的呈现,而当我们用“语言”去说“道”的时候,就将“道”变成了一个固定化和概念化的对象。这个“对象化”的过程是以主、客二分为基础的,它偏离了“道”的自行展现的本性。本文从这一问题展开,认为这些文本中的“道”以及“无”、“意”与“象”等都不是一个现成存在以供言说的对象,而是在自身呈现的过程中揭示自身本性的特殊概念。所以,本文将中国古代的这一问题带到现象学的视域,将其定位为:本性的“道说”如何可能?分四章来解决:第一章是文献梳理,通过分析《周易·系辞》、《老子》、《庄子》及《周易略例》中关于“言”的讨论,归纳其中的基本观点:“道不可名”、“得意而忘言”和“立象以尽意”。他们既提出了关于“语言”的问题,也给出了古代哲人解决这一问题的途径。为什么“道”不可“名”?如何才能“得意而忘言”?“象”为什么可以尽“意”?这些是需要进一步考察和解释的问题。第二章是对老子、孔子和庄子的“道”说方式的考察,他们在面对“天道”等终极问题进行“道”说时,有其特殊的语言方式和思维方式。老子以“正言若反”的方式“道”说,体现出“守中”的思维:孔子以“引而不发”的方式“道”说,体现出“执中”的思维;庄子以“卮言”的方式“道”说,体现出“得中”的思维。他们的语言方式虽然有不同之处,但共同揭示了居“中”的特殊思维。居“中”是一种“非形式化、非对象化与非二元论”的“阴阳思维”。第三章是对“道”说如何通过诗歌的语言来呈现的考察。诗歌的重要因素“意象”的构建过程同样是非对象化的,它在大脑中的形成是“视通万里”、“思接千载”的超越物理时间和空间的过程。这一过程强调的是事物的“发生性”含义,而不是对已经呈现在眼前的具体事物的“对象化”把握;诗歌创作到了“运斤”的阶段才变成一个对象化的过程,即将脑中的“意象”用语言确定下来。诗歌语言之呈现的关键是“兴象”,而不是“对象”;诗歌语言具有四个特点:具体性、源发性、音乐性和时间性。“诗歌”这种特殊的呈现就是本性的“道”说。第四章是对本文的文献资料、诠释方法与现象学视角的反思,以检讨本文的学理性与合法性。更多还原

【Abstract】 This dissertation probes into the relationship between the language and the ultimate meaning such as the ’Tao" (道) in Tao Te Ching. The question how to express the "Tao" had been examined broadly and profoundly by Chinese ancient philosophers as Laozi, Confucius and Zhuangzi. They think that the language in their texts is one of the possible ways to reach the ’Tao".Laozi argues that the ’Tao" can not be named. It is only a specific word that refers to something unspeakable. The Confucius’s annotation of The Book of Changes illumined the way of understanding the "Tao" by the "image" (象.). Zhuangzi argues that we can get the meaning of the ’Tao" by forgetting the language signifying it. This dissertation basically presents all these ideas with an emphasis on the poetic language, which may be the competent language for the "Tao". The ’Tao" can not be named, why? How to get the meaning of the "Tao" by forgetting the language that signifying it? And how does the "image" display the deeper meaning? Dwelling on these related questions, this dissertation finds the phenomenology as an agreeable perspective.The difference of Laozi, Confucius and Zhuangzi in voicing the "Tao" reflects their different way of thinking. Laozi speaks in pairs of conflicting terms, such as black and white, up and down, being and nonbeing(无), or goodness and badness, etc. As long as he talks about the positive one, the negative one is included. For Laozi, nothing is eternal. His idea that all changes aroused by the interaction of "Yin" (阴) and "Yang" (阳) is originated from The Book of Changes. Confucius advocates the searching of the key point between two extremes; it is not the middle point, but a point transcending all accepted points between the two extremes. Confucius does not speak in clear definitions of the ultimate meaning, but enlightens readers in a vague way. Zhuangzi thinks only when one forget the words one can grasp the exact meaning of the ’Tao". In a seemingly puzzling language style, he employs many metaphors and stories for the clarification of the "Tao"."The ultimate" for Chinese philosophers is not fixed or unchangeable. They pay more attention on the natural, original and spontaneous way in which things show themselves. All is changing in time, so their way of thinking is quite different from that of traditional western philosophy, such as the "Idea" of the Platonism. This dissertation summarizes this special thinking way as "Yin-yang thinking" characterized by non-formalized ( 非形式化) , objectless (非对象化) and non-dichotomized (非二元论) discourses. When "Tao" is spoken or defined, it may be conceptualized and fixed. Many modern western philosophers, such as Husserl and Heidegger, criticized the traditional way of thinking rooted in Plato’s theory. They realized the weakness of "logocentralism". It is convinced that "Yin-yang thinking" in Chinese philosophy is what Western metaphysics has been struggling to achieve ever since Plato. However, in contemporary China, this long forgotten traditional wisdom cannot be easily revived.Then, this dissertation deals with the poetic language, in which the ’Tao" shows itself. In the process of composing a poem, the poet creates the "idea-image" (意象), which is the most important element of a poem. In this process, the poet is immersed in time-consciousness, as in the perspective of phenomenology; it is beyond physical time and space. There is no division in past, present and future, but a mixture of them which creates a horizon for imagination. The improvised "idea-image" plays an uplifting role in poem composition. The poet combines feeling and scene to produce the "idea-image". The "chrysanthemum" in Tao Yuanming’s Drinking Poems is a good example. The objects exist in actual reality, but the images of objects are in the time-conscious mind of the poets.The poetic language does not emphasize on the "being" of an object in reality, but on the "evoking" (兴) of an "idea" related to this object. The process of composing poetry is not a process of object-fixity, but a process that makes objects change in the mind. This process mainly happens in a poet’s mind which is in turn directed by his internal consciousness of time. When using language to express his "idea", the poet begins to create the "idea-image", so the poetic language is different from the daily or logical language. This part conveys that the poetic language is concrete, original, musical and changing in time, it is the closest to express the ’Tao" for Laozi.The last part examines the actuality of three ancient texts, especially for Tao TS Ching, then follows a review of the appropriateness of interpretational method and the phenomenological perspective. It ensures that concrete texts will clarify this emphasis.更多还原