Open this article: "Body -Heart -Things" in "Fusion of the Scenario" three -dimensional relationship

Author:Chinese school Time:2022.06.26

Abstract: Explaining theory regards history. This article is regarded as the historical and life movement process of this article and its previous interpreters. They have formed a problem perspective that continuously develops and continues to open to the future. For Wang Fu's scene relationship theory, in addition to the interpretation method of the dual theory of the master and guest, and transcending the dual theory, it advocates the interpretation method of pursuing the original meaning from the cultural tradition of the unity of heaven and man, and you can also propose a breakthrough of both the dual theory and being able to modernize it with the modern times. Knowledge talk system compatible explanation method. Bergson's discussion on physical and mental relations in "Materials and Memory" inspired us to focus on the "body" dimension when thinking about the problem of scenario, and understand the scene "at first" from the three -dimensional relationship of "body -heart -material". The meaning of "hiding its houses" and eventually regarded "blending the scene" as a aesthetic experience to organic theory world view. This interpretation method leveraged the shackles of "original intention", showing this article that contains huge power to connect the future.

Keywords: scene blended with Berguson's body memory of heaven and man

Author Wang Qian, Professor of International Chinese and Cultural Institute of East China Normal University (Shanghai 200062).

Source: "Chinese Literature Critical" 2022, Issue 2 P103 -P111

Editor in charge: Chen Lingxiao

1. Interpretation of the relationship between rejection of scenarios

"Love" and "Jing" are a pair of important categories in traditional Chinese poetry. In ancient poetry theory, the two were linked to discuss the development of the Tang Dynasty. After the development of Wang Changling, Xie Zhen, Fan Yanwen and other scholars, to Wang Fuzhi in the Qing Dynasty, it was quite systematic and mature to the situation in poetry. Discuss. Modern researchers distinguish the contextual relationships in traditional poetry theory into two levels: creative theory and work theory. Article), the relationship between the scene becomes the relationship between the subject and the object in the creative process, the relationship between the heart and the matter ... (2) When the meaning of the "scene" refers to the image of the work (see 'scene "article), the scene relationship relationship It becomes the relationship between emotional content and artistic image. The dependence and blending of emotion and scenery is the dialectical unity of poetic emotional content and artistic image. " From the perspective of which level, traditional poetry theory has always emphasized that "love" and "scenery" are inseparable. Fan Yanwen's "The Night of the bed" proposed "the scenery is ruthless, the love is not born", Fang Hui's "The cure of the Kui Kui" believes that "the scenery is in love, the love is in the scene", the Xie Zhen's "Four Poetry Poetry" is called : "Poetry is like the scene, and you are lonely, and you do n’t do each other." To Wang Fuzhi, it was "breaking the theory of" The Secret of the Mirror "to the Yuanming poetry. "The narrow mode of love, scenery (meaning) relationship", from the level of poetry text and creative techniques to the philosophical aesthetic level involving the relationship between heart and material relationships, propose "the scene is divided into things, but the scenery, love scenery, sadness and joy Touched, glory, hiding each other's house. " And in -depth expression.

However, there are differences in the interpretation of the theory of scenarios in later generations. One of the most common ways is to explain the integration of the scene from the perspective of the dual theory of the main and guests, and understand the "scene blending" as "scene" or "appearance of the scene" and the synthesis process of feelings in the aesthetic psychology. The category of 'love' belongs to 'heart', 'scene' belongs to the category of 'things'. At this time The perspective of dual theory explanation and the incompetence of traditional Chinese poetry theory should be vigilant, and it is advocated that the situation relationship should be explained from the ideological context of traditional Chinese philosophy itself. For example, Xiao Chi believes: "Re -explaining the concept of ancient literary theory based on the achievements of modern psychology was irresistible ... But it is necessary to understand. Yishan. "" The theory of the integration of Pianshan Poetics' is the extension of the second movement and five treasures of the second movement and five treasures of their lives. It is based on a kind of Yi Xue, which is based on the combination of the Qiankun and the co -authors of the yin and yang. It is this profound ideological heritage that makes his "scene" theory that can form one Unbalanced confrontation and competing ".

From the earliest proposal of the situation relationship to the various explanations of it, we saw the kind of thing that was interpreted by Gadammer as "tradition": that is, a thing that originated from the past merged with history pairs. All the interpretations of it have stretched towards today and moved towards the future. "Scenario Relationship" is not exclusive to any of the subjects in history. It is a stacking problem of stacking piles consisting of the discourse of the proposal and the interpreters of the past. "Previous understanding" is involved in the dialogue about it. The dialogue will not end because an interpreter has made a complete interpretation of the original intention, because based on the historical interval, the so -called complete coincidence cannot be achieved. Essence The seemingly dual theory explanation does not fit the original intention, but the scholars' pursuit of the original intention is to interpret the dual theory as an interpretation; secondly, even if they can propose a real understanding of the original intention, they still cannot be regarded as a perfect explanation. Because the conceptual belief of the "unity of heaven and man" is outside the modern knowledge and discourse system, and the original intention is that the original intention is still different from people who really understand and agree with it. Both of these points means that the discussion of the "scenario relationship" will not end, and there is still room for further interpretation. This article is exactly in this historical dialogue that is based on this "situational relationship". On the basis of the predecessors, it explores the way to interpret both the "situation relationship" that exceeds both binary theory and compatible with modern knowledge discourse systems. This is to treat ancient poetry theory as a trigger point to promote contemporary people to understand the problem of "scenario relations", and use it to continue some kind of thinking tendency to break through the binary theory in contemporary knowledge. It is based on this motivation to enter the research field. Berguson was an important philosopher in the European anti -modern scientific and rationalist thought in the 19th century. The book "Materials and Memory" published in 1896 to demonstrate the materiality of the spirit and materiality by re -adopting the physical and mental relationship. Try to bridge the gully that is difficult to cross between realism and conceptualism, materialism and idealism. As the author wrote in the "foreword": "Frankly speaking, this book has a dualism. However, from another aspect, we hope that the way this book discusses the body and mind. The earth has always been troublesome to trouble the theoretical difficulties of dual theory, eliminating the reasons why the dual theory is poor among philosophers, although those reasons have been hinted from the direct judgment of consciousness and accepted by common sense. "Berguson did not take his body without his body. It is simply a matter of material body that provides nutrients as a spiritual or soul, but it is based on the basic channel that can be presented to people in the material world. Human beings can only walk into the world with the body, and the world can only appear through the body. Modern scholars have almost never touched the dimension of "body" when explaining the problem of scenarios. They usually directly attach emotions into spiritual activity, so it is difficult to avoid the dual theory. Although the relationship between ancient scholars such as Wang Fuzhi has never mentioned the word "body", in the traditional Chinese theory that laid the foundation, "life" is a chaotic man, body, heart, material, and spiritual spirit Extremely rich concepts. Therefore, there is a possibility of dialogue between the ancient Chinese poetry theory and Western discourse. The following will try to explain how "love" and "scenery" are blended from the body dimension that has always been ignored. The overall world appears at the level of aesthetic experience.

Second, Jing: as a "image" thing

Jiang Yin believes that Wang Fu's "scene" should actually be distinguished as the "image" and the "image" referred to as the "image" of the natural landscape, and "Wang Fu does not distinguish between the scenes in the poem and the scene as part of the experience world. ", Often mixes the two, which makes it easy for subsequent researchers to make ambiguity." This kind of two -purpose situation should be due to the lack of concepts. " In most people's eyes, the shape belongs to the objective material world, and the aesthetic image belongs to the spiritual activity. The distinction between the two is obvious. But how can the shape be transformed into an image? How to communicate with a wide range of material world and the non -Guangyan spiritual world has always been a problem facing dual theory, and it is naturally difficult for modern aesthetic psychology based on dual theory to give a convincing explanation. If we think from another perspective, is it not that the color and image of the traditional Chinese poetry theory are not caused by the "poverty of concept", but originally meaning a continuous relationship?

The "scene" in ancient Chinese initially refers to Sunlight. Duan Yucai's "Note of the Word of Said": "Scenery, the sun also ... the fire part said:" Light, Ming also. '"Zuo Chuan" said: "The light is far away and he has a shine. The moon is all out of light. And the things where the light is in the mirror is like a mirror, so it is called the scenery. "With the rise of the landscape learning of the Wei, Jin, northern and southern dynasties, the meaning of the scene has gradually changed to visual matter. But visual matter cannot be equivalent to the so -called "objective things" of modern people. In the Tang Dynasty, Wang Changling shared the "scene" and "object": "At the beginning of the sun, the mountains and mountains of the river and mountains, and Cebu and Qi, all opened with the Japanese color. In the place, it was gone by the sun. By the day of the day, although the qi entered, the yang was very good, and everything was blinded, but it was unbearable. By the evening, the qi was not up, the yang was a little rest, and everything was quiet. Used. As for one thing, it is all of the light, and at this time, it can be used. It must be like four o'clock. "In Wang Changling, in the early morning and noon due to fog and light, all things cannot be clearly presented clearly. Only in the evening in the evening, everything is quiet, and it becomes a scenery that can cause poetry. It can be seen that the scene is different from the thing. There is no subjective distinction between Chinese traditional poetry words, only the world that expresses only in the only world of perception experience, which is also reflected in "Wenxin Eagle Dragon". "Spring and autumn prelude, yin and yang are miserable, the moving, the heart also shakes ... ... The age has its own things, and the thing has its own tolerance; "Liezi Emperor": 'Everyone who has a sound, is all things. It can be seen that "things" cannot leave the "color" as its "appearance". In its image. Bergson proposed the concept of "image" to replace the objective things we said. He said: "Matter is a collection of" image ". What we call 'image' refers to a kind of existence, which is greater than the expression of the idealist, and smaller than the objects referred to as the actual theory. It is a existence between ‘object’ and “expression”. "The world is composed of material materials, but at the same time, material materials are also presented as recognizable" images ". The image is greater than the manifestation of the idealist because it has the real nature of the matter that is not possessed by the mind; The object mentioned is because the image is also limited by the body of the perception. The body is like a channel. The image presented to people is only the part of the material material that can pass the channel. A consciousness is the true body based on the needs of survival needs. The operation is prepared, "the reason why it presents certain facts without showing other facts, which indicates the actual needs of the body and the action that the body is about to implement. Therefore, Bergson also called the "virtual action" (that is, the "virtual action" translated in "Materials and Memory" -Or Note). "In addition, Bergson also believes that human body is the same as everything, but" I can grasp it with external observations, but also grasp it through internal emotions. " The process between images interacts.

When a free image becomes the object of physical perception, it changes from "presentation" to "expression". For example, in the relationship between a tree and the surrounding things, and under different seasons of climatic conditions, it has unlimited and diverse attributes, but when it is conscious in a certain situation, it can only It shows relatively limited attributes, and the original "image" richness will be reduced. This is the transformation from "presentation" to "expression". Bergson explained to this: "The image of the presentation has to give up some of his own things in order to convert its pure presentation into a manifestation. Therefore, there is an image called me as a material object. The performance. So why does it not show that it exists for me? This is because it is closely connected to other images. It is inherited by the subsequent image, just like it extends the image in front of it. . In order to transform its own existence into a performance, as long as the image behind it, the image in front of it, and all the images of it, just keep its shell and its epidermis. The performance is not required to project more light to the object, but on the contrary, it must make it hazy in some aspects, and it must be cut to reduce its remaining parts to decompose it into an image (picture), and It is not surrounded in its environment and becomes objects. "

The transformation of the image from "presentation" to "expression" has formed a "scene". "Scene" is the image that is highlighted from the overall system that is located because of perception betting. It is a product that participates in the body image and other images. However, if according to Bergson's view, the transformation from general image to "scene" is not because emotion is added to things, but in the body consciousness as a virtual action, some of the original attributes of the image have been filtered out of the filtering out of the image. Only those attributes that have special correlation with body virtual action are highlighted. Broadly speaking, everything we goes is "scenery", "scenery" is different from objective things, because it is the product of physical participation, the image of the same structure with the body, which is the "thing" with Zheng Xuan. The same is equivalent to "figure" or "thing of things". By defining the "scene" as "image", the confrontation of the dual theory preset as an objective existence and the scene of the spiritual image is broken. However, as a broad -minded scene of the world image, it is not equivalent to the "scene" in scenarios, because the latter is concerned about aesthetic experience. Third, love: "real action" of the body

In aesthetic activities, love and scenery touched each other and developed each other. Wang Fuzhi said: "The scenery of the love is the mustard, although the scene is distinguished by the heart, and the scenery, the love of the scene, the touch of the love, the glory of the glory, the heaven. Emotional physics, mourning and cola, uses endlessly, flowing without stagnation; those who are poor and stagnant are unknown. "Wang Fu's unity of the scene is attributed to their common cosmic theory. Those who have the birth of the heavens and the earth. There are many people who are in love with my love. The world is not lacking in its birth, yin and yang does not lose their affection, and it is not enough to ask him about it? "Because emotions and things are the products of the heaven and earth, they can Corresponding to each other. Xiao Chi believes that the philosophical basis of the theory of Wangfu's scene relationship is "Correlative Thinking philosophy. Developed ideas ". The interpretation of the "sensory combination" has traced back to the traditional beliefs that consider all the mysterious connections between all things, but it is also precisely the incompatibility between the traditional belief and the modern ideological system that hinders further exploration of the relationship. Where does the mysterious correspondence between "love" and "things" come from?

In contrast to a virtual body action, Bergson defines emotion as a real action of the body. He said: "The more decreased the distance between us and the object, the more virtual operations tend to transform into a real action ... ... assuming that this distance is reduced to zero, this means that the perceptual object is in line with our body with our body. In other words, in other words, our body is an object to be performed. Then, there will be no such specialized perception of virtual actions, but only real actions, and this is emotion. " Perception mainly occurs in the relationship between the body and external things, and emotions occur inside the body. Perception is inseparable from things. Human eyes, hearing, and touch are the vibration of the color, form, and material of things; This is the occurrence of emotions. Therefore, emotions and perception are actually continuous. Awareness as a virtual body action can be converted into emotions as real physical action at any time because of its strength changes. From perception to emotions, there are not two very different physiological mechanisms, but a gradual process. In this case, the image and emotion are not the two things that have nothing to do. They maintain the original unity in their bodies. As Bergson said: "Emotion is the one in the image of our body and the external entity mixed with each other. Part or one aspect. "

Emotions are not added from the outside to the image, and the emotions contain images. Those images that have a relationship with emotions constitute the "scene" in aesthetic experience. Compared with the general image of as a broad scene, the "scene" in the aesthetic experience is the result of the subject from actual action to participate in the image generation. "Through I called emotional feelings, I can understand this central image from the inside, instead of understanding it from the outside surface like other images. Therefore, there is a special status in the image collection. The image, I can penetrate its surface, and no longer just see its surface -it is the location of emotion, and at the same time it is the source of action: I use this special image as my universe’s The center is used as the material foundation of my personality. "It can be seen that the" love "and" scene "in the aesthetic activities are not first separated and then blended, but from the beginning to each other and promote each other. "Love" is transitioned from the "scene" with the same structure, and "Jing" continues to transform from general image to aesthetic image under the promotion of "love". The scene is "at the beginning" because they were originally in continuous physical actions, and "scenery love" and "love scene" are described in different stages in this process of life.

Wang Fuzhi said: "Elegant's chest victory, heaven and earth mountains, all of them to become their honor." When starting from a real body action as emotion to perceive the external image, the constitution of the image itself may change, or it may be large, or it can be reducing, or it is re -connected. The landscape world centered on the body is the "scene" of the aesthetic image of poetry. Take the "Mingyue Zhao Jixue", "Ponds Spring Grass" and "Butterfly Flying South Garden" as an example. These verses reshape a clear and complete landscape world of only Mingyue snow, pond spring grass, and Butterfly South Garden. Simple and full of moving power. They are "perceptions" by Dellez. The vitality. "How do perceptions be created? "Eliminate all those things that have been admitted to our experience and existing consciousness, all those things that provide the amount of food for the cricket novelists, only retain the feelings of giving us perception." In the above poems, in the poems above As a "perceptual" as aesthetic image, it is generated by shaking some details of the image or image that has not triggered a strong emotion or image. Although the rich attributes of the original image were reduced in the process, it was true because The participation of physical actions makes the retained part of the filtering revealing the moving force that cannot be achieved in the image. Wang Fuzhi said: "On the occasion of the heavens and the earth, the new trace, the view of glory, the opportunity of flowing, the color of the heart, the shape of the person outside me, and the same; And getting together, between one down and one back, it is flirting ... ... Between the piercing, a few must be through, and the people's hearts are also the same. " In the process of life movement, if the way of Bergson's words can be described in this way: the body is sometimes calmly perceiving those images that are not related to themselves, sometimes they become active because of the approaching of certain images, and the perception becomes emotional; the image becomes emotion; the image becomes emotion; Sometimes it is presented, sometimes because the intervention of physical actions is the object of perception or emotion. This is the process of taking each other between the heart and the pitch between the pitch, and it is also the process of the universe that the body and everything are involved in each other. Starting from the standpoint of people, the world has the distinction between "beyond my body" and "born inside me", and from the surpassing cosmic theory position, the body is only one of the thousands of images of the universe. It participates in other images in a perception and emotional way, and continues to intake other images into itself, and a world that is the same as its own life activity method is generated. Of course, from another perspective, the body as an image is constantly being intake and participated by other images. Theoretically, a complete world can be generated with each image as the center, but the world we generate for other images cannot feel the same. Essence The seemingly mysterious joint induction between the hearts and scenes is exactly the physical nature of the human body, so things can be used in the way of acting with physical actions (as a consciousness of virtual body action and emotion that acts as a real body). Life has become a "scene". "Scenery" is neither an objective thing nor the subjective feeling or imagination of the subject, but a response from things to physical actions.

Fourth, the situation blend: the poetic blooming of the world of time consciousness

Poetry implications that blend with scenarios can always bring people's implicit and deep feelings, and limited visual landscapes are connected with infinitely deep life worlds. Wang Fuzhi wrote in "Poetry Biography": "Poetry is happy, happy and beautiful, and" Poetry "is also bright. The image of the puppet slightly winds, the desert is spiritual, the truth is true, the life of the heavens, and the god of the human be ... ... The coming of the person is not too much, and the one who is "achieved 'is not only the one who has a" successful'. The past is not available, and the "dare not to be healthy" is used to call it. The image of the image, such as 人; everyone is God, love is affectionate, rituals, and respect, so they can worship God. "This paragraph was originally describing the poems of the sacrifice. With the effect of communicating with "You Ming", Xiao Chi believes that this passage may also be regarded as Wang Fu's definition of poetry art and linked it with the situation. He said: "Although when writing" Poetry Guangzhuan ", the theory of the" Fusion of Fusion "of the Pianshan has not yet fully developed and completed, but from this attitude of seeing poetry as the destiny and the world of the form of the gods.上述思想之萌芽:在形上、形下的贯通中,诗得以'绩不可见之色','播不可闻之声','执不可执之象',以使'人皆神,物皆Love ', that is, the poet's "Ling Yan' and the Frequent" Freshy 'Frequently', make the faint and bright, dense and explicit, gods and shapes, there are words and silent, and there is no visibility and inaccurate conference. , Make 'love is not false, love is available, the scene is not stable, the scene is always affectionate'. "If the image of the poetry blended with the scene is compared to a picture, then the essence of the painting is not in the beauty of the surface of the picture It can be led to the "invisible", "invisible", and "invincible" of the "invisible", "invisible", and "invisible" through the visible scene of the picture image. The dialectics between "visible" and "invisible" is The core charm is where. Why can poetry do this?

When discussing physical and mental relations, Bergson specifically explained the memory that is generally regarded as pure consciousness activities, and memory acts as a bridge to communicate substances and spirit. Bergson believes that the body perception of the moment occurs in the halo in the memory time. For example, in front of a tree in front of the eyes, the reason why the color, height, and form of the tree can be identified as meaningful rather than a pile of messy physical signals is because all our past experience of the tree acts as The background of consciousness at this moment. "Only through the combination of" memory -image "by it (the self -emitted and converging) can be determined and distinguished." Sex; Moreover, in the sum of the close parts, we are also aware of the whole, and later consciously to the part. From similarity to similar objects. The embroidery is the same as the common fabric or canvas. "Perception actually begins to directly feel between the current feeling and the" category of concepts "about things. In the middle of the individual nature, the distance is equal to the two. With the help of a decomposition process, it has not only obtained universality, but also obtains individuality. Memoral analysis clarify this feeling as a common appearance; Memory condenses it into an individual consciousness. "Due to the role of memory, the moment of perception of the moment is always dragging a huge halo consisting of the past and the future. Riveting at a fixed time point, but moving before and after this halo circle, this can explain why even the same thing is at the same time, different people will have a slight difference in perception. Wang Fuzhi is very sensitive to the time dialectics that gathered in the past and the future. He said: "There are people who have been in the past, and the source of the flow is also the past. And the future is called the future, I do n’t know it will come. The current person is the present name, the name is instant; Only for a moment. "This was explained by the distant space -time analysis of Husserl's analysis of the internal time consciousness in the past three hundred years. Husserl analyzed the time dimension in the internal conscious structure, but Bergson always linked memory to real physical action. Memory can only be awakened in physical perception. If it is not because the body is involved in the action of the material world, memory can only disappear to the void. From another perspective, the memory dimension means that the image of the same structure also contains memory dimensions in the image of the same structure. Each image that expresses to the body is the overlapping of various related images that have been intertwined with the body. The world in front of us is firmly embedded in the history of human life, and all the history of human life is accumulated in every current image of the body. Therefore, the world is neither pure material nor human impression. It is the internal time consciousness of the material blooming in the material, and has the spiritual dimension of material and time. It continues to grow in the interaction between people and things. The world is rich and chaotic, thick and vigorous, and not scientific.

The poetry image of the scenario is presented by the image of such a world. With the help of the former, it is easier for us to experience the latter. Although we are always in the material world (or the material world with internal time consciousness), we are mostly in the physical passage of time. The occurrence of aesthetic experience seems to be a crack that collapses on the daily experience of the dull daily experience. As a result, the main body enters the rich meaning of the river bed under the material appearance, countless silent memories and related associations and imaginations in the image. The activation and surge of triggering and surging have become the forces that make the aesthetic image vivid and encouraged. The aesthetic experience aroused by the image of poetry is the emergence of the world's hard shell in the world that breaks through the physical time of the physical time. Individual memory, group memory, and imagination of the future bloom at the same time under the activation of perception experience at the moment. This is the bloom of the spiritual dimension of material image. The method is also the cardinal of poetry that can be "invisible", "unable to hear", and "unable to persevere". The "scenery" in poetry seems to just reappear ordinary scenery in the daily experience world, but after the creative ingenuity, it has the power of the world of time consciousness that is subtle and deep.

Conclusion: Open this article and aesthetic experience to organic theory world view

It is easy for people to think of "scene" as objective things, and "love" as spiritual activities. "Love" to the appearance of "scene" or scenery has produced art works that blend in the scene, but you can't tell these two kinds of these two types. How can different things blend with each other? Although Wang Fuzhi advocated that the scene was "at the beginning," and "hiding its houses" and supported the worldview of heaven and man, it was difficult for modern people to suffer from the sense of truth about the modern world. However, regardless of ancient and modern, people experienced people in daily life and art works, and the aesthetic experience that it is difficult to discern from the world, and the hard -to -distinguish, is really cut. The "scenario blending" is to make this aesthetic experience. Reasonable explanation. Wang Fuzhi's poem contains some vague direction, which is an opportunity to trigger us to repeat this problem. Bergson provides a set of modern thinking tools for this issue. Berguson set up a "body" bridge between materialism and idealism, and opened up the path between the body and material, soul and things, memory and perception with the body. He acknowledges the real nature of the world, but also adheres to the image of things as homogeneous as the body; he believes that the body is materially, but he also believes that the body has the spiritual dimension of memory. Therefore The material image also has the dimension of spiritual or meaning. The separation of the body and the heart, mind and matter is overcome by the reinterpretation of the body. We do not need to go outside of our lives and then imagine another material life, and we do not need to imagine how the soul can break through the body. The boundary of the tentacles is extended to the outside world. The body's material -the dual dimension of the spirit determines that everything that is shared with it also has the same dual dimension, and the homogeneousness of the body and the material occurs in the physical action. From this perspective, the scene relationship has changed from the relationship between "heart -things" to "body -heart -object" relationship. As the "image" of the body's intention, "love" and "scene" are part of the body action that is stretched, so there is no need to find two external mechanisms that make them fusion.

Bergson's theoretical guidance is an organic worldview. Because each image of each consciousness contains historical time, the world of general image is not a pure material world, and it is also the meaning of human survival. On the other hand, the meaning of human survival is actually a rich and diverse material image world. Various images form a whole with an internal meaning relevance in the torrent of human survival actions. The aesthetic experience and poetry image of the integration of the scene are the epitome of it. The concept of the concept of the heavenly man or the inductive thinking of the foundation of Wang Fu's scene relationship. Although its speculation cannot be discussed with modern Western philosophy more than 2,000 years later, this simplicity philosophical thinking based on direct daily life experience is based on direct daily life experience It contains the integrity of the world that has not been blocked by scientificism. It believes that life is dynamic and continuously generated. It is believed that people are just limited parts of this endless universe; it does not distinguish between materiality and spirituality, the universe is greatly vividly flowing, and the "qi" of all things in the world and the world It is a concept that cannot be defined by materiality nor spirituality. In this concept, as far as people are concerned, there is no spirit of independent material body; as far as things are concerned, there is no dead silence substance without internal autonomy. As the projection of this world, as Xiao Chi said: "Poetry is in the mountains, it is one of the flowing and shadow of the flowing universe."

Gadamer believes that there must be differences between the interpreter and the original author due to the unrelated historical distance. Therefore, "each era must understand the history of history passed down in accordance with its own way, because this article belongs to this article belongs to The entire tradition, and each era has a practical interest in the entire tradition, and tries to understand itself in this tradition. When a certain article is interested in the interpreter, the authenticity of this article does not rely on The accidental performance of the author and its initial readers. At least this significance is not exactly here. Because this significance is always stipulated by the historical situation of the interpreter, it is also stipulated by the entire objective historical process. … The meaning of this article is not just temporarily, but forever. Therefore, understanding is not just a copy of a copy, but always a creative behavior. "Bergson and Wang Fuzhi The dialogue of scenario relations theory is exactly the practice of understanding the historical text in our own way. It is not to comment on the latter, but to use the latter to create to answer our own problems and doubts. I believe that many people have the experience of being intoxicated with natural landscapes or drunk fans of the Poetry Mesity Center that blends the scene. If you are willing to admit that such moments are not accidental, they are willing to regard them as an entrance to the road of organic worldview, then It is an important step to overcome the limitations of scientificism and move towards the world's reconciliation as the subject. For ancient Chinese poetry theory, this attempt dialogue pry open the shackles of "original intention" in the interpretation activity, showing that this article contains great power to connect the future.

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