【摘要】： “現(xiàn)象學(xué)直觀”作為二十世紀(jì)最重要的哲學(xué)思想之一——現(xiàn)象學(xué)——的中心概念極具創(chuàng)見(jiàn)性，因其力圖突破近代哲學(xué)傳統(tǒng)認(rèn)識(shí)論框架——即突破那種將直觀視為只能將個(gè)別之物作為自己考察對(duì)象的認(rèn)識(shí)，從而在二十世紀(jì)的人文學(xué)科中產(chǎn)生了意義深遠(yuǎn)的影響。 本文分成兩大部分，，第一部分主要是從兩個(gè)維度展開(kāi)對(duì)“現(xiàn)象學(xué)直觀”的清理工作：首先，從現(xiàn)象學(xué)在態(tài)度方法上表現(xiàn)出的內(nèi)在同一性的角度——即“直觀的現(xiàn)象學(xué)”出發(fā)，考察作為現(xiàn)象學(xué)普遍原則的直觀及其為知識(shí)尋求合法性基礎(chǔ)的“直觀明證性”；其次，從現(xiàn)象學(xué)內(nèi)容上表現(xiàn)出的具體差異性的角度——即“現(xiàn)象學(xué)的直觀”出發(fā)，考察現(xiàn)象學(xué)家們(主要是胡塞爾和海德格爾)對(duì)“直觀”予以的不同理解。 本文第二部分則是應(yīng)用第一部分對(duì)現(xiàn)象學(xué)直觀的清理結(jié)果來(lái)考察其對(duì)文學(xué)本體論研究的啟示與意義，其具體表現(xiàn)在兩個(gè)方面：首先是胡塞爾和海德格爾對(duì)直觀的不同理解為文學(xué)本體論研究開(kāi)啟了兩條相異的思維進(jìn)路，并由此形成了兩種現(xiàn)象學(xué)文學(xué)本體論研究的模式；其次是作為現(xiàn)象學(xué)普遍原則的直觀為文學(xué)本體論研究鑄就有效性，并為文學(xué)本體論諸研究提供檢驗(yàn)知識(shí)合法性的最終理?yè)?jù)。 本文從現(xiàn)象學(xué)直觀出發(fā)，在對(duì)中國(guó)二十世紀(jì)八十年代中期至今的文學(xué)本體論諸研究簡(jiǎn)要梳理的基礎(chǔ)上，指出了文學(xué)本體論研究在今天這樣一個(gè)充斥著解構(gòu)強(qiáng)音的時(shí)代大潮中，有其存在的合理性和必要性。同時(shí)，筆者指出，對(duì)文學(xué)本體進(jìn)行研究并不是一勞永逸的事情，但對(duì)其的不斷追問(wèn)將引我們?cè)谒嫉穆飞锨靶小?br/>[Abstract]:As one of the most important philosophical thoughts of the 20th century, the central concept of "phenomenological intuition" is very creative. Because of its efforts to break through the traditional epistemological framework of modern philosophy, that is, to break through the understanding that intuition can only be regarded as the object of its own investigation, it has had a far-reaching impact in the humanities of the 20th century. This paper is divided into two parts. The first part is to clean up the "phenomenological intuition" from two dimensions: first, from the perspective of the intrinsic identity of phenomenology in attitude and method, that is, "intuitive phenomenology". To examine the intuitionism as a universal principle of phenomenology and its "intuitionistic proof" for seeking the basis of legitimacy for knowledge; Secondly, from the point of view of the concrete difference in phenomenological content, that is, "the intuition of phenomenology", this paper examines the different understandings given to "intuition" by phenomenologists (mainly Husserl and Heidegger). The second part of this paper is to use the first part of the visual results of phenomenology to investigate its inspiration and significance to the study of literary ontology. It is manifested in two aspects: firstly, Husserl and Heidegger's different understanding of intuitionism opens two different ways of thinking in the study of literary ontology, and thus forms two models of phenomenological literary ontology research; Secondly, as a universal principle of phenomenology, intuition makes the study of literary ontology effective, and provides the ultimate basis for the study of literary ontology to test the legitimacy of knowledge. Based on a brief review of the studies of literary ontology in China since the mid-1980s, this paper points out that the study of literary ontology is in the tide of such an era of deconstruction and strong tone. There is the rationality and necessity of its existence. At the same time, the author points out that the study of literary Noumenon is not a once and for all thing, but the constant questioning of it will lead us to advance on the way of thinking.
【學(xué)位授予單位】：四川大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類(lèi)號(hào)】：I0

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