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題名：人性恬靜ˋ哀傷的樂章: 華滋華斯詩中美學與倫理觀之間的互動關係
作者：游明正
作者(外文)：David Ming-cheng Yu
校院名稱：淡江大學
系所名稱：西洋語文研究所
指導教授：史文生
學位類別：博士
出版日期：2001
主題關鍵詞：美學；倫理觀；美的經驗；自然界；想像力；Aesthetics；Ethics；beauty；the；sublime；aesthetic experience；Nature；Imaginaiton
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本論文主要研究目的為探討英國詩人--威廉．華滋華斯詩中美學與
倫理觀之間的互動關係。導論將以閱讀Tintern Abbey帶出本論文之主
題﹕華滋華斯詩中三階段的“主體”發展過程。華滋華斯在調整他和
“自然界”與“人”之間的關係時，既已不斷地游走於美學與倫理觀
之間，進而產生不斷互動的關係。第一章將由“人”與“自然界”之
間的互動關係來探討華滋華斯詩中第一（感官）階段的“主體”發展
過程。經由感官經驗，心靈首先得到其運作的素材。第二章將探討華
滋華斯如何從他對“自然界”的“記憶”中不斷地“記得與忘記”的
過程中體會出另一個不同於第一階段的“主體”。“自然界”不再只
是心靈運作素材的泉源，進而成為另一“主體”與 人的“主體”產
生互動的關係。故稱此一主體為“主體間倫理的主體”。第三章將探
討“想像力”如何在“人”與“自然界”之間不斷互動關係中扮演重
要的角色。第四章將探討華滋華斯如何從對“自然界”的敬仰到同情
轉而對“人的世界”的“悲情”而產生了第三階段的主體 -- “普遍
倫理的主體”。第五章將探究美學與倫理觀之間的互動關係如何成為
華滋華斯創作力的來源。當為一個浪漫時期的詩人，華滋華斯時而不
斷地在他的詩中表現“自然界”對他的重要性。“自然界”雖為其
創作力之來源，卻也是其體會失去創作力的地方。經由這種美學與
倫理觀互動的過程，華滋華斯得以獲得不斷地失而復得之創作力。
In this dissertation I will show how certain tensions and inner contradictions between aesthetics and ethics cause Wordsworth to vacillate between the two in both his poetic theory and poetic practice, and how his creative powers are nourished by this dynamic, dialectical process. I will therefore analyze the evolution of the poet's subjectivity in terms of three stages -- the aesthetic (immediate man-Nature interaction), the intersubjective-ethical (man-Nature interaction mediated by the sense of Nature's own subjectivity), and the finally universal-ethical stage (Nature taken as a totalized form of humanity). In the first stage the poet is primarily aware of his own pleasurable sensations of the natural world around him and seeks to express these in verse; this is in some ways the egocentric standpoint of his thoughtless youth. But here the groundwork is laid for the second stage, in which man-nature interaction is viewed phenomenologically as an intersubjective field of experience; Nature is experienced as another subject, signalling the move toward a more ethical awareness of it. In this second stage the role of memory becomes more significant: here the poet's own past experience (perception of nature) becomes another form of the object now perceived as subject. In the third stage Wordsworth, largely due to his own personal experience of the French Revolution and of poor vagrants and woodland dwellers, projects Nature into a kind of universalized Humanity. That is, his sense of compassion now plays a key creative role: his purely aesthetic imagination becomes, in effect, a pathetic or sympathetic imagination, drawing force from the sense of universal human suffering. This then can also be interpreted, in terms of Kant's aesthetics, as the move from a purely aesthetic concern with beauty as unified form to a concern with the sublime as that which pushes beyond the limits of aesthetic form, filling us with awe, fear and pity; in terms of Hegel's evolution or phenomenology of Spirit it can be interpreted as a move from isolated (particularized) subjectivity toward a more universal intersubjectivity or social consciousness.
SELECT BIBLIOGRAPHY
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William Wordsworth
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