從現象學觀點看司空圖《二十四詩品》——以羅曼‧英加登理論為主之探究

A Phenomenological Reading of The Twenty-four Poems–A Study from the Ingardenian Persepective

自現象學還原法觀察，可見（二十四詩品）運用詩歌原質，以呈顯後設詩學議論的獨特批評型態。胡塞爾對意識的意向性分析，可說明創作與閲讀過程中的主體微細心理，依此，詩品則成為主體間的意向性客體。以英加登作品層次結構說來看，詩品各品的境象分合，均顯出宜理圓融之特點。而現象學對客體「呈出相」的多層描述，與其統合的直觀領會方式，除有助於微觀詩品各品之外，更可與傳統的意象、意境相關理論對話，並能闡釋清代學者「以不解為解」的詩品閱讀法則。最後，藉由胡塞爾的意識界域說，提醒了詩學主體的前理解特點；英加登的作品空白主張，則強調了讀者須具備的主動態度，且於交互主體的平等觀念下，也可察覺出詩品對讀者鑑賞層面的開放。

Through the phenomenological reduction, we can discern that TheTwenty-four Poems are metapoems, which is a poetic critique on poetry. Edmund Gustav Albrecht Husserl' s intentional analysis of consciousness explains the subtle psychology of the subjects in the processes of writing and reading. In this circumstance, the poem is the intentional object of the subjects. In addition, in light of Roman Ingarden' s theory of individual stratum, the imagery and conception in every poem in TheTwenty-four Poems, no matter read individually or as a part of the whole, manifests the central idea consistently and harmoniously. The phenomenological interpretation, which describes the ordered manifolds of the object that are synthesized through intuition, not only provides us with a microcosmic comprehension of the poem and a dialogue between the traditional study of imagery and theories on artistic conception, but also justifies some scholars in Ching dynasty who insisted the principle of ''understanding without understanding.'' Finally, Husserl' s theory of consciousness field reminds us of the characteristics of the precomprehension of the poetic subjects-the poet and the reader. Ingarden' s postulate of ''places of indeterminacy'' emphasizes the active role that the reader should take. ~ordingly, the roles of the poet and the reader overlap, and the reader has more freedom in his interpretation and appreciation of poetry.