本論文首先闡釋同理心在心理學上使用以及其侷限，而藉由現象學無預設的方式來奠基心理學理論的不足，主要透過馬克思‧謝勒的同情感理論，剖析其中對於同情感的描述，提供當代對於同情或是同理的疑惑新的解決之道，為未來人文療癒之路作一鋪成。 / This thesis first explains the use of empathy in psychology and its limitations. Through the phenomenological approach of presuppositions to be the foundation of the psychological theory, mainly by the Max Scheler’s theory of sympathy. Analyzed the differences between sympathy and empathy. To provide a new solution to the doubts about sympathy and empathy that people know how to use in the future. Especially offer the new way of Humanities Therapy open the bright horizon for us.

京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第19423号 / 文博第701号 / 新制||文||627(附属図書館) / 32459 / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 大谷 雅夫, 教授 大槻 信, 准教授 金光 桂子 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

就業歧視問題日益受重視的今日，同志族群卻仍然受到漠視與打壓，中外所有的就業歧視理論幾乎都忽略了性傾向這個要素，國外的法規政策對同志在就業權益上的保障亦是近幾年才開始浮現，而國內的規範至今仍停留在就業服務法第五條的階段，對就業歧視問題的預防禁絕功能已屬有限，同志族群更依舊處於不被涵括的部分，因此本文主要欲探討同志在就業上所遭遇的不公平待遇與壓迫。 研究方法上採多元研究法，包括文獻的整理分析、深度訪談與焦點團體的運用，除了比照國內外文獻，以突顯同志所遭受就業歧視現象的內涵與嚴重性外，更進一步顯現台灣社會中，同志員工的處境與感受，研究範圍與抽樣母體以有工作經驗的男同志為主，除了縮小研究範圍集中分析焦點外，受訪者尋訪不易更是主要限制，研究結果呈現，國內男同志在就業歧視問題上，不論現身與否，主要遭遇的皆是敵意工作環境的困擾，而這亦是國內同志現身狀況不如國外顯著的重要原因。 此外，本文用了相當的篇幅陳述對同志歧視形成的原因，從眾所週知的標籤理論與歧視心態與行為的關聯，推導出標籤背後的根源是恐同情結，而恐同情結的產生則由於異性戀主義的作崇，再分析之，發覺異性戀主義的發展是根源於父權意識的長期作用，因此歧視現象不單純只是同志被貼上污名標籤而已，其背後有層層的因素導致。並且因為是探討就業歧視問題，難以脫離資本家（雇主）的權力與意識的影響，故亦深入分析資本主義運作邏輯對父權與歧視心態及現象產生的消長關聯。 在本論文中，特地談論到社會運動與就業歧視的關聯，就業歧視可說是一個重要議題，而此一議題在本文主張中，便是同志運動、婦女運動與勞工運動串聯合作的關鍵，本文的論述立場站在鼓舞同志族群的立場，因此就同志運動而言，希望其掌握與婦女運動一同對抗父權意識的共職上，去攜手結合；而面對父權把持的勞工運動，則強調就業歧視議題上，對抗資本家壓迫的焦點，或許共識不高，但仍存在相互援引的空間，至於更細部的策略陳述，並不在本文探討範圍中。 最後，作者提出數點的建議，希望能對法令政策、教育文化、政治社會、運動面向及同志員工個人有些許幫助；而在反思部分亦希望既有就業歧視理論能思考從前忽視的同志族群，重新檢視理論的周延性。

本論文以康德和經驗主義美學切入討論維多利亞文學中女性的家庭和社會奉獻，論證女性家庭奉獻的美感並非單純呼應家內天使的形象，而是作者藉此美感，提供女性一符合性別期待的社會奉獻管道。十九世紀的家內天使意識型態，歌頌中產階級女性角色為男性的幫手，其家庭奉獻象徵秩序與道德，讚揚女性的道德美感。此兩性空間的意識型態視女性的主要活動範圍為家庭，看似縮減其參與社會奉獻的相關性，但作家實以女性家庭奉獻的美感為敘事手法，傳達慈善始於家庭的想法，傳達女性情感與落實社會奉獻。 本論文檢視三本1850至1870期間的英國小說：喬爾斯‧狄更斯（Charles Dickens）、喬治‧愛略特（George Eliot）、伊利莎白‧蓋斯凱爾（Elizabeth Gaskell）的小說皆以女性奉獻為主，但各展現不同的美感與社會奉獻的關係，融合社會對家庭奉獻的傳統要求和實踐女性自我主體性。論文第一章介紹美的概念演變、維多利亞時期的女性奉獻美感、以及本論文的章節架構。第二章探索美感與道德的同異性。從康德美學的觀點，探討維多利亞的家內天使形象和狄更斯《荒涼山莊》女主角的家庭奉獻，論證美雖不等同於道德，但卻是道德的象徵。第三章分析女性的愉悅美感是源於奉獻行為。愛略特《米德爾小鎮》的女主角，融合利己情感和利他奉獻，以道德和愉悅感為奉獻的基礎，彰顯女性奉獻與道德愉悅感的關係。第四章檢視女性的同情美感和社會改革。蓋斯凱爾《北方與南方》女主角的同情美感，塑造出獨立能幹的形象，致力於家庭奉獻和排解階級糾紛，並促使男性角色改善階級衝突。結論章節論述，維多利亞小說中的家內天使形象和女性奉獻所產生的美感，隱藏複雜多樣的奉獻和主體關係，雖然女性以家庭奉獻的美感為出發點，實為進行社會奉獻，蘊含豐富的改革和情感動力，挑戰傳統家內天使形象的寓意。 / This study uses Kantian and Empiricism aesthetics to explore women’s devotion and effect to home and society in Victorian literature. The beauty of heroines’ devotion to home does not simply convey the conventional image of an angel in the house but offers women a socially acceptable access to social commitment in the Victorian novels written by Charles Dickens, George Eliot, and Elizabeth Gaskell. The ideology of an angel in the house regards middle-class women as helpmates. Women obtain the sense of beauty via their domestic devotion, which symbolizes order and morality. This female image not only reinforces the ideology of separate spheres but also cooperates with women’s participation in social commitment. Female devotion is used to reinforce the notion that charity begins at home and express women’s feeling and pursuit of social commitment. This study examines three Victorian novels between 1850 and 1870. The novels of Dickens, Eliot, and Gaskell accentuate female domesticity and present different aspects of female beauty in women’s participation in domestic devotion relevant to their social commitment of improving the world. They reconcile the society’s demands of women’s domestic devotion with personal pursuits for female subjectivity. In the first chapter, the study defines beauty, particularly of devotion in the Victorian time. It also shows the structure of the work through describing how other chapters are organized. The second chapter examines the affinity of beauty and morality in women’s devotion to home. Kantian aesthetics which explains the exercise of aesthetic judgments is helpful to explore Dickens’s angelic heroine’s moral beauty in Bleak House. The heroine’s beauty is not synonymous with morality but is, instead, symbolic of morality. The third chapter centers on the relation between female agreeable feelings, virtues, and beauty in Eliot’s Middlemarch. The heroine undergoes the process of reconciling self-regarding feelings and altruistic devotion to make virtuous contributions. Empiricist David Hume’s virtue theory helps explore the motivation and transformation behind the heroine’s virtuous action based on agreeable feelings and approbation of virtuous actions. The fourth chapter explores women’s beauty resulting from sympathy with family members and the poor. The independent heroine of Gaskell’s North and South dedicates herself to domestic devotion and class conflict. Her sympathetic beauty causes men to change present condition for the improvement of working-class life. In the fifth chapter, the analysis of female beauty and devotion in the three Victorian novels helps discover that various, complicated relation between devotion and subjectivity under the conventional disguise of women’s moral image. Although the women’s beauty originates from their devotion to home, the domestic devotion functions as their social commitment of reforming the world which contains rich, dynamic challenge to the ideological image of female beauty.

本論文研究伊恩．麥克尤恩的《贖罪》、《愛無可忍》及《星期六》這三部小說中的同情與想像力。第一章仔細爬梳亞當．史密斯的哲學文本《道德情感論》，並闡述幾個重要概念如同情與想像力、公正觀察者的角色、同情與戲劇性質、及同情與敘事。第二章運用史密斯的同情與想像力的概念來檢視《贖罪》這部小說，並指出布萊妮最初反映了史密斯式的同情概念，但在她贖罪的過程中，她實踐了自我反省及自我批判的另一層次的同情。第三章從演化、利他主義及同情的觀點來閱讀《愛無可忍》這部小說。敘述者喬．羅斯所面臨的拯救小孩及保存自己性命的道德兩難彰顯出利他行動與利己行為間的衝突。本章以史密斯的同情概念來解釋小說中約翰．羅根的利他主義，並呈現出同情與利他行為的關連性。本章指出同情並非完全是利他的情感展現，同情實際上包含了利己與利他的動機。第四章檢視《星期六》中同情與敘事的關係，並闡述貝羅安對其病人泰勒伯的同情與泰勒伯透過口述去敘述其在伊拉克所遭遇的苦難具有關連性。本章並分析貝羅安在聆聽黛絲朗誦馬修．阿諾的多佛海灘詩集時所展現的同情與想像力。本章最後聚焦在貝羅安對巴克斯特的同情，並指出貝羅安對巴克斯特的仁慈實際上強化了同情者與被同情者之間微妙的權力關係。 / The dissertation aims to study the concept of sympathy and imagination in Ian McEwan’s three novels Atonement, Enduring Love and Saturday. In the first chapter, Adam Smith’s philosophical text, Theory of Moral Sentiments, is carefully scrutinized. The chapter includes several key ideas such as sympathy and imagination, the role of the impartial spectator, sympathy and its theatrical quality, and sympathy and narratives. In the second chapter, I use Smith’s concept of sympathy and imagination to examine McEwan’s Atonement and propose that Briony’s sympathy at first reflect Smith’s model of sympathy, but in the process of her atoning for her crime, Briony achieves a new level of sympathy which is more self-reflected and self-critical. Chapter Three reads Enduring Love from the perspective of evolution, altruism and sympathy. The narrator Joe Rose’s moral dilemma between saving the child and preserving his own life dramatizes the conflict between altruistic actions and self-interested behaviors. Smith’s idea of sympathy is employed to account for John Logan’s altruism and the connection between sympathy and altruistic acts is then presented. The chapter shows that sympathy is not an other-oriented emotion but a sentiment that contains both self-interested and other-interested motives. Chapter Four looks at the relation between sympathy and narratives, and demonstrates how Perowne’s sympathy to his patient Taleb is related to Taleb’s oral report of suffering in Iraq. It then analyzes Perowne’s sympathy and imagination during Daisy’s recitation of Matthew Arnold’s Dover Beach. The final section focuses on Perowne’s sympathetic sentiments to Baxter, arguing that Perowne’s benevolence to Baxter only highlights the subtle power relationship between the sympathizer and the sympathized.