名著《「粹」的構造》（1930）是分析日本傳統「粹」（iki） 的文化現象的經典佳作。哲學家九鬼周造（1888-1941）得自於 海德格的詮釋學因素啟發，嘗試用柏格森與胡塞爾、海德格《存 在與時間》的概念系統，以更鮮明規格化的解讀揭示「粹」的意 涵。九鬼以江戶末期深川藝妓的特質為本，橫跨歌舞伎、清元、 浮世繪、文様等各藝術層面，勾勒出「粹」的理想。∗ 本論文由九鬼的成長經歷，鋪陳他來自於「失父記憶與藝妓 的心」的「粹」的哀愁，並由九鬼在「粹」的定義與演繹詮釋方 法上所使用的「普遍化的語言精神」與具體事實性的「民族特殊 個性的存在」，確認其實證性格的詮釋學方法。再以江戶藝妓的 邊緣詩學所展現的「媚態」、「骨氣」、「死心」等特質，說明 江戶「色道」遊樂哲學中「粹」的虛幻美學意識。檢視日本近代 由「粹」的「色」轉化為「愛（love）」的過程中，「粹」的二 元性緊張所顯現的「粹」的戀愛觀與他者性。再以1930 年代日本思想家對現代主義抵抗的「近代的超克」觀點，解析九鬼東洋同一性「帝國主義」主張中呈現的慾望敘事特質，詮釋「粹」周邊的日本文化本質與近代性，論證九鬼《「粹」的構造》一書以海德格詮釋學進行東洋哲學實踐性的實證意義與歷史評價。

The well-known book The Structure of “iki” (1930) is a canon analyzing the Japanese traditional cultural phenomenon of “iki.” Philosopher Kuki-syuzou (1888-1941) is enlightened by Martin Heidegger’s hermeneutics and tries to apply the concept system of Henri Bergson, Edward Husserl, and Martin Heidegger in Being and Time to formalize vividly and dig out the meaning of “iki.” Kuki-syuzou takes the characteristic of geisya 芸者 of Fukagawa 深 川 in the late phase of Edo 江戸 as the basis for stretching across different artistic phenomena, such as Kabuki 歌舞伎, kiyomoto 清元 (the background music played during Kabuki performance), and ukiyoe 浮世絵 (the pictures of the floating world), and mon’you 文様 (a design pattern, frequently using geometric shapes or abstracted images of nature or man-made objects) for the purpose of drawing the ideal outline of iki.” The article shows that Kuki-syuzou’s sorrow of “iki” which comes from his “memory of lost father and heart of geisya” by narrating his adult experience. This article also applies “general spirit of language” which is Kuki-syuzou’s definition of “iki” and method of deduction as well as specific “being of particular national character” to confirm the hermeneutical way of positivism. At the same time, in the study, I use the examples of coquetry（bitai 媚態）brave composure（ikiji 意気地）, resignation（akirame 諦め） expressed by Edo geisya poetry to explain the illusory aesthetics consciousness of “iki” in the entertainment philosophy of “erotica.” By surveying the process of modern Japanese “iki” transforming to “erotic” and then to “love,” the article also explores the love concept and the otherness of “iki” in terms of duality of “iki.” In the long run, from the modernist viewpoint of “Overcoming Modernity” resisted by Japanese intellectuals in the 1930s, this article analyzes the erotic narration points shown in the Kuki-syuzou’s position of “imperialism” of Asian sameness and illustrates Japanese peripheral cultural essence and modernity of “iki,” as well as demonstrates Kuki-syuzou’s The Structure of “iki” employing Martin Heidegger’s hermeneutics to reveal the positive meaning and historical evaluation of Asian philosophic practice.