The thesis is a study on the relationship between “Qi" and the research about subject in Wei-Jin literary theories. The concept" Qi "was popular in Pre-Qin period. Scholars at that time set up a explanation of the universe .“Qi" was seen as the fundamental rule in the world Human being was treated as the most important among all the things. “Qi” and life became the most popular topic of discussion. n those discussion, “Qi” was sometimes associated with “Xin”, “Xing”, “Qing” and “Zhi” which used to describe individuals to show that intrinsic spirit has much to do with ones’ body, especially his “Xue-Qi”. Pre-Qin “Qi”" theories had affected almost every field of ancient life, among which music and “Yang-Sheng" were more obvious. People thought that music originated from “Qi”, the common origin of the universal .In order to stabilize the state, ancient governors ordered to make special music to affect people, keep their “Xue-Qi” calm. This is so-called “Yue-Jiao” of the Confucianism. “Dong-Xiao Fu" was the representative of the rhapsodies on music in Han Dynasty, which embodied the theme mentioned above. As mainly on wind music, the rhapsodies described how to use ones’ “Qi’, in play, That influenced the literary study in Wei-Jin. Ancient people had tried many ways to extend their lives, including taking some kind of special food and medicine and recuperating their “Xue-Qi”. So we consider “Yang-Sheng" as a stand point to investigate the potential intrinsic consciousness of ancient time. The research about subject in Wei-Jin literary theories began from Cao-Pi. He believed that the style of literary works was decided by authors’ “Qi”. We call this the “Ti-Qi” theory, The thesis discussed it from the following angles: the historical background, the form of expression and the sources of thinking. The thesis also mentioned its important significance. Since arts theories had a lot in common with each other in Wei-Jin, the research about subject in Wei-Jin literary theories can be equated with those in arts in a broad sense. At that time, there was a great development on this topic in the fields of music, “'Yang-Sheng" and literature etc., which laid a foundation for the study of relevant questions in Six Dynasties.

本文主要研究“气”这一概念与中国古代哲学和生活中的“主体”之间的关系及其对魏晋文学理论所产生的重要影响。 “气”的概念在先秦即已流行。古人以之为中心和根基建立起一套完整的哲学体系来说明宇宙的生成和构造，并且对自然、政治、文化艺术及生活的关系作出了阐释，这一思想体现在先秦的许多文献中， 天地之气是宇宙大生命;人类个体的生命是宇宙大生命的组成部分。故此，先秦气论特别论述了人的血气、等级和生死等问题，并结合心、情，志性等其他主体范畴，探讨了人的生理与精神的关系。 汉代董仲舒提出“天人感应”说，强化了先秦的宇宙和人相似的观点将天描述为意志神，把人作为天的附庸。这种观点实际上否定了人的主体性其后，王充以“命定”观点对其进行了反驳，重新肯定了人的主体差异性。 中国哲学的气论在古代生活的很多方面都产生了影响，其中最明显且与人关系最为密切的是音乐和养生两个领域。古代乐论认为，音乐以“和”为本质，起源于天地阴阳二气之调。自然界的“气”运动形成风，产生了音声和音律。王者据此作乐以平和民众的血气，达到加强统治的隐定。这就是儒家的乐教理念。以《洞箫赋》为代表的汉代音乐赋具象地阐释了儒家乐论同时，其以吹奏乐器为对象，在“用气”的技巧方面作出了一些描述和总结为魏晋文论“体气说”提供了基础。 另一方面，“养生”的探索从先秦以来一直未曾中断，老庄荀孟以及汉代诸人都有相关的文字传世。“养生”涉及服药、导气、采食特殊食物等具体措施，最为明显地体现了古人对于自身的关注，是审视潜在的主体意识的较好视角。 本文认为，魏晋文论的主体建构始于魏文帝曹丕的《典论·论文》，将其称为“体气说”，从立论根源、形式特色和理论来源等角度对“气”的作用进行了详细的考察，尤其重视了音乐和“养生”这两个具体途径。本文还分析了“体气说”的重要历史意义。 由于魏晋艺术理论相互打通，魏晋文论的主体建构也可以宽泛地理解为魏晋艺术领域中对于主体问题的探讨。其时，在音乐、养生、文学等领域中表现出对于主体的进一步认识，为六朝文论对相关问题的研究奠定了基础。