碩士 / 華梵大學 / 東方人文思想研究所 / 92 / Heidegger’s definitions of poetic language and the original source of art, the paper begins to interpret Spillover Saying Theory. In the chapter of fables in Zhuangzi, these sentence—talk is as ambiguous, elusive and fluid as the water in a wine beaker), harmonize them by means of the unity of God, and follow their natural evolution, so that we may complete our allotted span of life—is understood by Heidegger as: talk is as ambiguous, elusive and fluid as the water in a wine beaker—a world appears in Tao; the presence of the existent is both ambiguous and clear as it is in the intimate argument of “Tao” and “the world;” harmonize them by means of the unity of God—through language, which contains a strong tendency of consolidation, truth is revealed; follow their natural evolution—in his world of game, Ereignis open up the Fourfold, commanding earth, sky, divinity and mortals, reflecting the infinite light between itself and the other three folds; complete our allotted span of life—Art is truth setting itself to work, and the existent enters into illuminating eternity.
The paper concludes that the two perspectives of poetics and aesthetics offered by Heidegger helps us examine Zhuangzi’s Spillover Saying Theory with a new eye and interpret the ideas of language of Laotse and Zhuangzi in a new approach, providing a new way to revive Taoism Renaissance.
| Identifer | oai:union.ndltd.org:TW/095HCHT0189011 |
| Date | January 2007 |
| Creators | Su,Ho-Cheng, 蘇何誠 |
| Contributors | Wu,Zhi - Xue, 伍至學 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 123 |
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