华东师范大学学报(哲学社会科学版) ›› 2000, Vol. 32 ›› Issue (4): 87-96.doi: 10.16382/j.cnki.1000-5579.2000.04.014

• 文学  语言 • 上一篇    下一篇

正统与异端——试论魏晋清谈中“音声之辨”的意义

程怡   

  • 收稿日期:2000-02-20 出版日期:2000-07-01 发布日期:2025-12-18

Orthodoxy and Heterodoxy——On the significance of the distinction between sound and music in pure conversation during the Wei-Jin Period

Yi CHENG   

  • Received:2000-02-20 Online:2000-07-01 Published:2025-12-18

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摘要：

言意之辨是魏晋玄学重要的思想方法。王弼创造性地提出了以有训有之不足的原则, 这其实就是用语言来进行语言批判, 是玄学向传统经学发难的基本思路。所谓“有”, 就是指现实语言世界。嵇康的《声无哀乐论》用言意之辨的方法, 剖析“乐教”被统治者用语言“造立”起来的过程, 以其悖谬颠覆其天经地义, 堪称文学艺术理论自觉时代的“独立宣言”。然而, 在我们绵延了五千年的语言世界中, 它始终只是一个异端的声音。

关键词: 先验的结构, 有, 天人之际, 乐教, 造立, 清商, 失正

Abstract:

Distinction between meaning and language was the main approach of thinking in Neo-Taosim during the Wei and Jin periods. Wang Bi proposed a principle which emphasized the insufficiency to define being with being. It is the basic approach adopted by Neo-Taoism in challenging the orthodox Confucianism. In his essay, "Sounds Carry no Sadness or Happiness, Ji Kang adopted the approach to analyze the process in which the Confucian music doctrine was established by the political rulers. He exposed the absurdity of the process, thus toppling the fundamental principles of the doctrine. That essay can be regarded as the proclamation of independence for literature and art criticism in an era of self-consciousness. However, this critical approach has been taken as a school of heterodoxy for many years in the Chinese literary history.

Key words: Wei-Jin metaphysics, Ji Kang, an apriori structure, being, between the heaven and this world, Confucian music doctrine "The Pure Shang"