| 题名 |
論《莊子》思想中的「差異」概念 |
| 并列篇名 |
On the concept of the ＂Difference＂ in the philosophy of Zhuangzi |
| 作者 |
吳億修(I-Hsiu Wu) |
| 关键词 |
莊子 ； 差異 ； 卮言 ； 崇有論 ； Zhuangzi ； Difference ； Zhiyan (random words) ； Theory of Chongyou |
| 期刊名称 |
東華漢學 |
| 卷期/出版年月 |
35期（2022 / 06 / 01） |
| 页次 |
65 - 99 |
| 内容语文 |
繁體中文 |
| 中文摘要 |
本文藉由對《莊子》地籟與天籟的分析，重新對語言進行反省。卮言並非道言，而是支離了天均、天倪的語言。在定物性質的語言與流衍出語言之畛而不具常規性的物化萬物之間，正是《莊子》「差異」思想之發生處。然而，本來應該具有無窮創造性的差異，卻有可能被「勢」思維掌握流變的方向，朱利安以王弼註老，更全面地談論了這種政治操作技術。因此，在一種反功效的思考基礎上，本文認為：主體的去中心化不應該是為了更深層慾望所實行的自我節制，而是持續不斷地分支，形成新的系統。《莊子．天運》中黃帝為北門成奏樂，提供了一種有關於差異，又逃離「勢」思維的解釋可能。北門成「形充空虛」，褪去人稱性而成為無人稱的個體，但「虛」並非泯為某種被畢來德批評的氣化整體，而是「以物為量」的差異之「實」；再者，以「不同形相禪」之異質個體，又是「莫得其倫」而「流之於無止」。最後，因為人稱化動力的「天機」不再運作，北門成雖「五官皆備」，但每個聲音都發散出無法被形式化的獨特性，所以「天樂」正是「天籟」－感官之「聽」無法對應所聽之「聞」，感官之「視」也不對應所視之「見」，天樂無形式之表達促使北門成在與現實詭譎相即之非現實處，持續更新著自身。 |
| 英文摘要 |
Based on the analysis of terrestrial and celestial sound in Zhuangzi, this paper revaluates that Zhiyan (random words) are not the words of Tao, but a kind of language separated from Tianjun (heavenly equalizer) and Tianni (heavenly equality). The idea of ＂difference＂ in Zhuangzi comes into being between the language of definite things and the materialized things that flow out of the boundary of language and are not conventional. However, differences, which are supposed to be infinitely creative, are in danger of being shifted in the direction of ＂propensity＂ thinking. Julian discusses this technique of political manipulation in a more comprehensive way, using Wang Bi's note. Therefore, on the basis of anti-efficacy, this paper argues that the decentralization of the subject should not be a self-restraint practiced for a deeper desire, but a continuous branching to form new systems. In Zhuangzi-Tianyun, the Yellow Emperor plays music for Beimencheng, providing an explanation of the possibility of difference and emergence. Beimencheng is a figure ＂full of form but quiet within＂, which removes his personhood and becomes an individual with no personhood, but ＂quietness＂ does not disappear into some kind of qi-chemistry, but is a ＂reality＂ of ＂a certain state＂ that can ＂be measured by nature＂. Moreover, as the heterogeneous individuals ＂transform into different forms＂, ＂no one can grasp its pattern＂ and thus ＂the flow is endless＂. Finally, ＂the sound of no indolence＂ points to a state of flow in which ＂there is no movement in the heart at all＂ and ＂everything changes according to the laws of nature＂, and all heterogeneous individuals play with each other, and the heterogeneous elements do not merge into a harmonious whole but create a field of intensity. Within which, the personified ＂heavenly mystery＂ no longer operates, and what operates is a constant differentiation that cannot be expressed by the same variation. |
| 主题分类 |
人文學 >
人文學綜合 人文學 > 歷史學 人文學 > 語言學 人文學 > 中國文學 |
| 参考文献 |
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