物感與情景交融之辨－－一個歷史與邏輯並觀的考察

The Distinction between 'Wu Gan' and 'Qing Jing Jiao Rong': A Historical and Logical Exploration

本文之作，意在透過「範疇對比」的思路，藉由「物感」與「情景交融」的異同比較，考察兩者在審美主、客體關係上的言說，用以梳理古代文論對於創作發生、文學構成原質、創作規律及審美範式等問題的思考脈絡及其理論展示。至於在方法架構上，則分別藉由「歷時性」意義的發展脈絡的清理和「共時性」意義的理論屬性的剖析，以進行分析、比較，簡別兩者在整體文學活動中的理論定位，辨析其中理論視角的差異與內在屬性的區別，期能對同為涉及審美主、客體論域的「物感」與「情景交融」，通過對比以豁顯其差異，藉由差異以表徵其特質，不僅為兩者所各自獨具的理論特性與價值意義作一釐清與確證，同時也為試圖透過範疇研究及其成果的統合以回應重構自身文論體系的當代籲求，在藉由相關或相類範疇的比較，以對顯其獨立地位的理論關懷底下，提供一可資參考的觀點。

The purpose of this article was to explore, through ”category-comparison” train of thought and the comparison between ”Wu Gan” and ”Qing Jing Jiao Rong”, the discourses on the relations between aesthetic subject and object to further analyze ancient theses' thread of thought and the theoretical demonstration of the occurrence of creation, the nature of literature's formation, the regularity of creation and aesthetic paradigm. Additionally, analysis and comparison were made through the development history analysis of ”diachronic study” and the theoretical attribute dissection of ”synchronic study”, to define their respective theoretical place in overall literary activity and analyze the variation between their theoretical view angles and internal attributes. It was hoped that the variation between ”Wu Gan” and ”Qing Jing Jiao Rong”, both of which involve the same domain of discourse on aesthetic subject and object, can be highlighted through comparison, and through this variation, their respective features can be further characterized to confirm their respective theoretical characteristics and values. In the meantime, an attempt was made to reconstruct their respective contemporary appeal of literary theoretical system through the study and integration of category and sequence. Also, it is hoped that by highlighting their respective independent place in theoretical care through the comparison of related categories, a view point can be presented for reference.