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王昌齡「意興說」之作品存在觀及對詩教的接受及轉化
Wang Chang-ling's "Thought of Creation" on Being and the Acceptance and Transformation of Poetry Education
摘要
本文以王昌齡意興說的作品存在觀作為主要論題，以此基礎，再附帶概論王昌齡意興說對詩教精神的接受與轉化。文中藉由取徑海德格的非對象性、非現成性的「存在之思」及藝術作品觀，並站在「作品存在緣發結構」的基礎上，以及將藝術作品接受的主動權交給「作品存在」而非讀者的觀點，來對王昌齡的「意興－物色」觀作一梳理，以期掘發其潛在的意蘊。最後歸結出作者、作品、讀者三者「共屬一體」，以及此在「世界」與物色「大地」交融共遊的本真歷史性、命運化演歷，即是王昌齡「意興說」承先啟後的核心所在；至於在對漢代以降略屬「陳述」性的詩教理論，王昌齡則以更具根源性、生命性、「在世界之中」的「領會」方式，予以接受、轉化。
並列摘要
This paper revolves around the discussion of ”being” expressed in Wang Chang-ling's ”On Thought of Creation.” On this basis, Wang Chang-ling's views on the acceptance and transformation through the poetry education will also be briefly discussed. Wang Chang-ling's ”On Thought of Creation” will further be analyzed for the purpose of clarifying its potential connotation which ”being” suggests by means of quoting Heidegger's opinion about how ”being” arises from the non-objectified and non-ready-made thinking mode, where artistic works originate from and how ”being,” rather than the reader's viewpoint, interprets the artistic works on the foundation of ”being's dynamic structure.” As for the conclusion, this dissertation boils down to the thesis that the author, artistic work and reader can perfectly blend together in ”being,” and that the author's spiritual world and the nature and earth can mingle each other to result in the sincerity of ”being,” which is the time-proven core value of Wang Chang-ling's ”On Thought of Creation.” Compared with the spirit of the concept that poetry education was instilled by reasoning after the Han Dynasty, Wang Chang-ling faces and transforms it in a more affectionate and sincere way.