《莊子》思想的現代詮釋──以「創意」為討論核心

MODERN INTERPRETATION OF ZHUANGZI THOUGHTS── “CREATIVITY” AS THE CORE OF DISCUSSION

林宜蓉(Yi-Jung)

指導教授 ： 吳順令

國立臺北大學/人文學院/中國文學系/碩士(2012年)

摘要

本論文的研究目的，是期望經由《莊子》思想的現代詮釋，呈顯其立足於今日社會的新價值；並以《莊子》參與「創意」領域的討論，開拓吾人對創意的理解。本論文分為六章，第一章是緒論，說明研究動機、目的、範圍與方法，並進行相關研究的回顧；第二章從「個人」、「歷程」、「產品」、「環境」等取向來探求「創意」的本質，不僅引述西方心理學家的研究成果，亦從中國傳統文學、哲學、藝術等領域裡提出例證；第三章討論「創意」的根本問題，從《莊子》的「道」、「心」談起，重新審視了創意的泉源、創意的關鍵以及創意人的心靈境界；第四章從《莊子》思想探討「創意」的心靈如何開發，首先指出人心失道之原因，復以「大心」、「無己」、「物化」的進路來理解其心靈修養工夫的重點，最後論及「積厚」的重要性；第五章以《莊子》作為實例，探究其語言和思想所具備的「新穎性」與「恰當性」，藉以透視《莊子》的「創意」；第六章是結論，總結本論文的研究成果，兼及研究限制與後續研究之展望。
本論文嘗試從「創意」這樣一個新的面向去詮釋《莊子》，使《莊子》以兩條路徑參與了「創意」領域的討論：其一是從《莊子》思想的義涵，來理解創意的泉源、關鍵以及創意的心靈如何開發；其二是將《莊子》視為創意作品的典範，探討它如何表現創意作品所應具備的特性。就《莊子》與「創意」的可溝通性而言，《莊子》對現代人的影響便擴大到了新的層面上，《莊子》的新價值亦由此彰顯。而另一方面，當我們看到西方對於創意的研究，不僅是心理學家接踵投入研究工作，並已具備了生理學、社會學、教育學、文化人類學等不同學科的研究基礎，本論文以《莊子》參與「創意」領域的討論，從而開拓一個人文學的視野，也就格外具有意義。

關鍵字

莊子、創意、創造力、現代詮釋

並列摘要

The purpose of this thesis is to reveal the new value of Zhuangzi in the modern society through the modern interpretation of his thoughts, and to broaden our understanding to creativity by the discussion of "creativity" field involved with him. This thesis is divided into six chapters; Chapter 1 is the introduction, explaining the research motives, purposes, scale and method, and reviewing the relevant researches. Chapter 2 not only quotes the research achievements from Western psychologists but also provides examples from Chinese literature, philosophy, art, and other fields to pursue the nature of "creativity" from orientations of "person", "process", "product", and "place". Chapter 3 discusses the fundamental problem of "creativity"; starts from the "Tao (principle)" and "Mind" in Zhuangzi, it examined the source of creativity, the key to creativity and the spiritual realm for creative people. Chapter 4 discusses the ways to develop an " creative " mind through Zhuangzi thoughts; firstly it points out the reasons people lost their Tao (principles), then it explains the points for spiritual cultivation practices through the approaches of "disinterestedness", "selflessness" and "objectification", and lastly discusses the importance of the "accumulation". In order to perspectively understand Zhuangzi's "creativity", Chapter 5 takes the book as an example, exploring the "novelty" and "adequacy" of his language and thoughts. Chapter 6, the conclusion, summarizes the research achievements of this thesis, the research limitations and expectations for future researches.
This thesis attempts to interpret Zhuangzi from the new orientation of "creativity" and includes Zhuangzi in the discussion of "creativity" filed in two ways: firstly, the connotation of Zhuangzi thoughts helps us understand the ways to develop the source and key of creativity and the creative mind; secondly, since Zhuangzi is considered a model of creative work, this thesis discusses how it presents the essential characteristics of a creative work. Speaking of the communicability between Zhuangzi and "creativity", its influence to modern people as been elevated to a new level, where the new value of Zhuangzi can be seen. On the other hand, when we see that the researches of creativity in Western involve not only psychologist devoted in research works but also research foundations of different subjects including physiology, sociology, pedagogy, cultural anthropology and other fields, the discussion of "creativity" involving Zhuangzi that opens up the literary horizon is significantly meaningful.

並列關鍵字

Zhuangzi, Creativity, Modern Interpretation

參考文獻

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