“形而上学性质”的中西比较释读

茵加登运用现象学的方法分析文学作品的构成,在四层次结构说之外,他又提出了一个更为重要的因素--形而上学性质.因其所论抽象玄奥令人费解,故本文特从功能、来源、存在方式三个角度,借助于中西美学的比较对其作出释读.文章指出,"形而上学性质"的含义与中国古典美学中的"道"、"气"、"神"、"意"有相近或相通之处,即通于"道"、"气"、"神"、"意"的哲理层面.但这个哲理层面,不是指抽象的纯思想,而是包含了情感、形象和思想于一体并被气化之后而通向虚无通向无限的一种东西.功能、来源、存在方式这三个角度,恰恰可以被看作是对"形而上学性质"的三个方面的规定.借助于这些规定,就可以深化我们对它的理解.

Comparative Explanation to "Character of Metaphysics" between China and the West

Roman Ingarden analyzed the composition of literary works in the way of phenomenology. Besides the four-level-structure theory, he put forward a more important element-character of metaphysics. Because of the abstract and abstruseness of his words, I'll explain it from its function, origin and way of existence through the comparison of aesthetics between China and the west. This article shows that there is some similarity between the meanings of "character of metaphysics" and the philosophic theory of the four concepts of "Tao", "Air","Spirit", and "Will" in classical aesthetics of China. This philosophic theory is not a kind of abstract and pure idea, but something contains emotion, image and idea and leads to nihility and infinity after being saturated by"Air". The three aspects of function, origin and way of existence may be exactly regarded as the stipulations for "character of metaphysics". We can understand it further through these stipulations.