摘要
声无哀乐论是一个旨在追求思辨乐趣的论辩命题,未必是嵇康思考成熟的美学思想。其理由是:其一,《声论》的立论依据不充分。音声不变论是用声音的特点来代替音乐的特点;声情无常论错误地把音乐与感情的关系说成是符号和实体的关系;情在听众论回避了作曲家和音乐的关系。其二,《声论》的驳论之所以具有张力,主要是在论辩术的层面上。主方在大多数情况下并不能真正战胜对手,他或者用诡辩法暂时胜人之口,或者提供一种新解释,却不能完全否定对方观点。其三,《声论》的这种特点与魏晋清谈的特点是一致的。清谈在很大程度上具有一种游戏性质,很多论客热衷清谈,目的不在探求真理,而在寻求思辨的快乐。《声论》可以说是清谈的文字版。
The theory of music without emotion is a proposition that aims at seeking the fun of debate, which cannot be simply regarded as the mature aesthetics of JiKang. The reason first is that the argument basis of this theory is not sufficient. According to the view of sound does not change, people use the feature of sound to replace the one of music. The point that sound and emotion is not necessarily linked, however, mistakenly regards the relationship between music and emotion as the one between symbols and entities. Also the view of emotions comes from the audience avoids the relationship between composer and music. Secondly, the counter argues of the theory of music without emotion is convincing mainly stay in the level of the method of debate. In most cases, the hosts cannot really defeat the rivals. He or uses the sophism or offers a new explanation, which cannot completely deny the other point of view. At last, the feature of the theory of music without emotion is consistent with the one of Wei and Jin Dynasties Talk. This talk is a kind of form largely with the nature of a game. The purpose of which a lot of arguers were keen to discuss is not to explore the truth, but happy for the speculative reasoning. The theory of music without emotion can be said to the text version of Talk.
出处
《社会科学》
CSSCI
北大核心
2011年第3期177-184,共8页
Journal of Social Sciences
基金
上海市重点学科建设项目资助(项目批准号:B404)
关键词
嵇康
《声无哀乐论》
魏晋清谈
JiKang
The Theory of Music Without Emotion
Wei and Jin Dynasties Talk
