摘要
《声无哀乐论》是中国美学史上的一篇旷世奇文,但对文本的解读则仁者见仁,智者见智。事实上,《声无哀乐论》的美学及哲学内涵远未揭露出冰山一角,其在中西美学史及哲学史上也远未得到它自身应得的地位和尊重。本文将以皮尔斯现象学和符号学为参照,细绎《声无哀乐论》所揭示的深刻的第一性、第二性、第三性范畴内涵以及符号在美感中的作用,从而解蔽《声无哀乐论》,彰显《声无哀乐论》的特质,重估《声无哀乐论》在中西美学史及哲学史上的价值和贡献。
On the Absence of Sentiments in Music （ Sheng Wu Ai Le Lun ） by Ji Kang is one of the masterpieces of Chinese aesthetics. Although many scholars have interpreted it, its aesthetic and philosophical connotations are still far from being revealed. This paper uses C. S. Peirce＇s approach to phenomenology and semiotics to uncover the categories of Firstness, Secondness and Thirdness implied in this masterpiece, and the role of signs in aesthetic feelings. The aim is to demonstrate Ji Kang＇s contribution to Chinese and Western aesthetics and philosophy.
出处
《符号与传媒》
2015年第1期183-203,共21页
Signs & Media
关键词
嵇康
皮尔斯
《声无哀乐论》
现象学
符号学
美学
ji Kang, C. S. Peirce, On the Absence of Sentiments in Music,phenomcnology, semiotics, aesthetics
