The Research Of Kao Yu-kung’s "Chinese Lyrical Tradition" Theory

Kao Yu-kung’s "Chinese lyrical tradition" theory is based on Chinese classical aesthetics context. He draw on the theory of structural linguistics, and absorb Kant’s aesthetics, Husserl’s phenomenology, Fry’s anthropology, Jung’s theory of the collective unconscious, Gestalt psychology and the traditional Confucian culture purport Mind theory to construct a huge lyrical theoretical system.The first chapter introduces the theoretical framework of Kao Yu-kung’s "lyrical tradition" theory. This paper considers that Kao Yu-kung, who under the background of analytic philosophy, affirms the "experience of knowledge" in the theory of knowledge legitimacy from the distinguish of "reality of knowledge" and "experience of knowledge". Thus he establishes the possibility of borrowing "symbolic language" in art appreciation, which lies the philosophical foundation of his theory; While under the premise of the aesthetic experience as the core, Kao Yu-kung provides a clear presentation of the traditional poetic theory about the "state of mind" and "experience". Then he combines the criticism and traditional forms to present the "lyrical criticism" theory as a purely aesthetic activity. All these show that the "Chinese lyrical tradition" theory has a classical poetics position and humanist ideals.The second chapter focuses on Kao Yu-kung’s diachronic "lyrical aesthetics" under the "Chinese lyrical tradition" theory. It outlines that Kao Yu-kung use the aesthetic experience as the object on early days, with the "internalization" and "symbolization" as the point to tap the Qin’s music theory, the Six Dynasties’s literature theory, the Tang Dynasty’s aesthetics of regulated verse and paint and Song and Yuan Dynasty’s painting theory. And later, he adds the opera’s aesthetic and "lyrical tradition of the narrative works". On this basis, this paper argues that the theoretical framework and historical narratives of Kao Yu-kung’s "Chinses lyrical aesthetics" are with structuralism binary oppositions. Meanwhile, under the lyrical aesthetics theory, the classical arts showing as a "thousands of people side", which shows the essentialism of "Chinese lyrical tradition".The third chapter starts from the creation and appreciation theory of "Chinese lyrical tradition", discussing Kao Yu-kung’s "Chinese lyrical tradition" on the origin of Chinese classical theory and its creation. About the creation, through the creation of origin ("Lyrical":under the Experience of the "Poems Expressing Wills"), the creation of the core ("Symbolization" Theory:"Image to Meaning" under the Structure) and the purpose of creation ("Lyrical Realm":Perfect "Image out of Images") to explore Kao Yu-kung’s inheritance and transformation about the traditional poetic theory under the influence of Empiricism and modern Neo-Confucian, and believes that under this experience,the "feelings" in tradition is changed and the difference between the feelings, the knowledge,the will and the significance are disappear, which make the lyrical theory looks like as a "fiction"; About the appreciation, by comparing the "re-experience" theory and the "lyrical criticism" theory of Kao Yu-kung with the criticism of traditional theory, this paper points out that Kao Yu-kung’s "Chinese lyrical criticism" is actually under the "lyrical tradition" theory, it combines traditional Chinese impressionistic criticism and criticism of New Criticism’s analytical methods, which with the color of cultural determinism and drop into the loop traps of interpretation.