中西“游”和“游戏说”的对话

中西对“游”和“游戏说”都有着丰富的理论探讨，且存在诸多的共通性，但两者毕竟植根于两个相距遥远的文化，它们之间有着巨大的差异，特别是表现在中西不同的人生态度和思维方式上、不同的审美体验方式上、不同的话语体系上。当然，这并不等于说，两者便没有任何对话的可能：（一）思维方式，对于西方的“游戏说”而言，应当淡化主客二分和主体性原则，提倡人物融合的诗化之境；而对于中国的“游”而言，既要引入西方的主客二分和主体性原则，但又不能重蹈西方文化的覆辙，真正的道路或许便是于中西思想的边界处的冒险。（二）审美心态，海德格尔的“诗化之思”或许为中西“游”和“游戏说”之审美心态的融合和对话提供了某些指引。（三）语言，自从“语言转向”以来，西方传统的语言观受到前所未有的挑战，其不再是那种表象一工具型的现成性的语言观，而成了一种生成性的语言观，这似乎与我们中国的“道言”观有着某种契合之处。

A Dialogue between Chinese "YOU" and the Theories of "Play" in the West

On one hand, we can find much sameness between Chinese "YOU" (游) and the Western theories of "play"; on the other hand, there are great differences between Chinese "YOU" and the theories of "play", since they come from different cuhures, especially in the attitudes to human life and the ways of thinking, in the manner of aesthetic experience or in the systems of language. Of course, it is also important to consider the likelihood of dialogue between Chinese "YOU" and the theories of "play" in the West.Firstly, the theories of "play" should desalt their subject-object dichotomy or subjectivity, and call for oneness of heaven and man, and Chinese "YOU" should bring in subject-object dichotomy or subjectivity, and try to avert from the track of an overturned cart. If we take risk in the borderline, we may find the real road. As for the manner of aesthetic experience, the poetry of Heidegger's thought probably inspires us with the dialogue of Chinese "YOU" and the theories of "play". Since "language changing direction" in Western philosophy in the 20th century challenged the traditional view of language, theirs is not the idea-tool language view but the creating language view. Apparently, this agrees with Chinese "Tao".