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題名：康德論自然美與藝術美: 鳥鳴與音樂
作者：王嬿翔
作者(外文)：Yen-Hsiang Wang
校院名稱：國立臺灣大學
系所名稱：哲學研究所
指導教授：文哲
學位類別：博士
出版日期：2016
主題關鍵詞：康德美學；鳥鳴；音樂；自然美；藝術美；「彷彿」的關係；Kant’s aesthetics；birdsong；music；beauty of nature；beauty of art；as if relation.
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本文藉由康德美學處理鳥鳴是否可被視為音樂的爭論。此問題有許多科學研究，但很少有學者由美學的進路探討之。本文第一部份陳述此爭論，並提出三個問題：一、如何以康德美學回應此爭論？二、康德美學會如何解釋鳥鳴與音樂的關係？三、康德有沒有可能同意鳥鳴是一種音樂？第二部份我詳述康德美學理論。第三部份我解釋康德的自然美和藝術美，以及在審美中兩者之間的「彷彿」關係。最後從康德的審美原則，尤其是「彷彿」的關係回答第一部份的三個問題。我論證，一、康德的審美原則能消解此爭論表面的對立。二、依據康德的天才理論的精神,我們能證成鳥與藝術家，以及鳥鳴與音樂的相似關係。三、基於和道德的親近性，自然物在康德美學中有一特殊的重要地位。與其思考鳥鳴有多接近音樂，我認為康德更重視音樂能有多接近自然。因此我們沒有理由在康德美學的框架中，宣稱鳥鳴在存有學上可被視為音樂這種藝術形式。然而，這不是對鳥鳴的貶抑，反之，這突顯了對康德而言，藝術和自然各有其特有的價值。
This dissertation discusses the question “whether birdsong can be regarded as music” in terms of Kant’s aesthetic theory. There is a great amount of scientific research that deals with this question. However, there is still a dispute over the relation between birdsong and music. In part one of this dissertation, I discuss studies which affirm that birdsong can be regarded as music and those which deny this. I also pose three questions: 1. How could we respond to the debate about the relationship between birdsong and music by means of Kant’s aesthetic theory? 2. Would Kant’s aesthetic theory affirm the parallel between birdsong and music in our appreciation? 3. Would Kant’s theory allow us to regard birdsong ontologically as music? In part two, I explain Kant’s aesthetic theory. In part three, I explain the relation between beauty of nature and beauty of art in Kant’s aesthetic theory. Then I answer the three questions according to Kant’s principle of appreciation, in particular the “as-if relation” between beauty of nature and beauty of art. I argue that first, Kant’s aesthetic principle dissolves the debate because in our aesthetic response to the beauty of birdsong, both sides (birdsong is or is not music) make sense. Second, Kant’s theory of genius could support the parallels between 1) birds and artists and 2) birdsong and music under an aesthetic view. Finally, I point out that the beauty of nature is significant in Kant’s aesthetic theory because it is akin to morality. This significance cannot be replaced by artworks. Accordingly, I argue that there is no reason to regard birdsong as music ontologically in the framework of Kant’s aesthetic theory. Nevertheless, this does not imply that birdsong is less than or not does not qualify as music.
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