摘要
“中国抒情传统”论述在台湾历经近四十年的热议之后,2009年突遇“热讽”。批判的矛头直指此一学术谱系的理论奠基者高友工先生,龚鹏程以“戏论”“谬说”评价其学术观点,颜昆阳以“死路”“绝路”定义其研究方法。高友工在“形式”能够体现“精神”这一背景下,试图将“体类美典”与“文化美典”两大论述路径融合统一到对中国美学的阐发中,这种学术意图未被龚鹏程认可和理解,造成了龚鹏程的“戏论”之说。颜昆阳和高友工关于人文学术研究范式的差异理解是二人分歧的根本原因所在。龚鹏程、颜昆阳“苛评”高友工,使用了以不同观点驳斥对象论述之失误、反证说明对象论述之偏颇、先将对象论述绝对化再指陈其失当的三种批评模式,这三种模式在当下学界颇具代表性。二位教授对高友工的批判虽然“矫枉过正”,但对于“中国抒情传统”议题的持续传承与开放讨论自有其学术史意义。
After a heated debate for nearly forty years in Taiwan,the discussion of Chinese lyrical tradition ran into hot sarcasm in 2009,on a sudden as the spearhead was directed towards Mr Yu-kung Kao,the theoretical founder of the genealogy of this theory,with Peng-cheng Kung commenting on his academic views as’a funny theory’and’a fallacy’and Kunyang Yan defining his methods of research as’a dead road’or’a dead end’.Against the background where form can reflect the spirit,Yu-kung Kao tried to integrate the two paths of exposition of genre aesthetics and cultural aesthetics in the explication of Chinese aesthetics but his academic intention is not recognized or understood by Peng-cheng Kung,leading to Kung’s’funny theory’.And,on the other hand,the difference between Kunyang Yan and Yu-kung Kao’s understanding of the paradigms of academic research in the humanities leads to the essential disagreement.When Kung and Yan severely took Kao to task,they employed three modes of critique by using different views to repudiate the error of object discourse,disapprove the bias of object discourse and absolutize it before pointing out its inappropriateness as these modes are quite representative in the scholarly world at the moment.Although the criticism of Kao by the two professors is an overkill but it is of academically historical significance in the continued inheritance of the topic of Chinese lyrical tradition and its open discussion.
出处
《华文文学》
2022年第6期90-99,共10页
Literatures in Chinese
基金
广东省哲学社会科学规划项目“海外华人学者‘中国抒情传统’现代建构研究”,项目编号GD18XZW01
广东省普通高校特色创新类项目“华人学者中国文艺理论海外建构的总体视野研究”,项目编号2018WTSCX153。
关键词
高友工
中国抒情美学
抒情传统
龚鹏程
颜昆阳
Yu-kung Kao
Chinese lyrical aesthetics
lyrical tradition
Peng-cheng Kung
Kunyang Yan
