本文是對人類自由心靈的探究，藝術作品則是做為探索的中介；藝術作品中的審美感性作用本是「私己的」，然而，由於藝術作品來自於社會的集體生產，使得藝術作品在私人審美之前，早已沾染「他人」的價值判斷─私密的審美其實是社會性的。審美價值的傾注及接收皆在不知不覺中進行著，審美之人在接受、認同審美價值的過程中，總是帶有拜物教的形式意味；而拜物教又與人類的宗教崇拜心境直接關聯著，因此，本來看似「自由」的審美體驗，其實與象徵「束縛」的權威互為條件，事實上，走在自由的路上就是走在服從權威的路上。「詮釋」則被視為是審美價值傳遞的必要媒介，亦是使得拜物教形式得以可能的必然現象。 / This article is an inquiry about freedom of human’s mind, the artwork is presented as intermediary of it. Aesthetic function is originally private, but actually is embedded with “fait social” by dint of artwork’s social-production character , which makes every man’s aesthetic values is utterly infiltrated by ”Others” before they make their own judgment : aesthetic judgment which appears private is in fact social-collected. The impregnation and absorption of aesthetic values always processes in state of unconsciousness. When people intake and approve the values given by others, they worship in form of fetishism ; Fetishism is associated with the worship of religion, therefore aesthetic experience containing human’s free choice is correlated with authority symbolizing constraint. In fact, when we quest for freedom, we’re at the same time in quest of conformity. Explanation is regarded as necessary intermediary communicating aesthetic judgment as well as indispensable phenomenon conditioning the worship of fetishism.

本論文以「課綱微調」與「教師中介」的角色，帶出學校教育裡頭「升學主義」下的「異化」現象，並以馬克思的「拜物教理論」為指引，整理並分析資本主義的內在邏輯如何滲透到教育系統之中，而形成學校教育裡頭的「分數拜物教」。對「分數拜物教」的掌握是理解學校教育現況的鑰匙，並重新構造學校教育中的「異化學習」。本文認為「金錢拜物教」與「分數拜物教」之間的符應關係並非偶然，資本對於共同勞動能力的需求，國家對於「資本積累」和「社會整合」之間矛盾的調和，以及教育階層平均化與階層化之間的辯證張力，形成學校教育的底層結構，而規定教師、學生以及行政人員的意識與行動，產生種種異化現象。因此任何的教育改革都不能只是課綱的改革，因為課綱的有效性來自於資本主義結構的支撐；任何的教育改革也不能只是寄望於教師個人的理想與熱情，因為對於現實的缺乏認識，將會導致種種非預期的結果，甚至與原有的理想背道而馳，只有正確的認識才是改造的真正前提。

電影《購物狂的異想世界》中麗貝卡的消費情境揭示當代消費者追求時尚以表達自我認同的普遍現象。不同於社會學傳統將時尚現象貶抑為脫序行為的輕視，本研究欲探討消費社會中的時尚實作，再思「社會秩序如何可能」的古典問題。本研究基於Benjamin對時尚的現代性考察，假設新社會秩序的理論模型為「消費社會=時尚+拜物教性質」。據此假說，本研究主張兩大論點：首先，消費社會中的時尚實作是一種社會模控機制，具有穩定社會秩序的功能。其次，有別於拜物教的常識與科學認識，物神實際上扮演著社會秩序的中介角色。 本研究的具體分析目標有三：第一，釐清Simmel、Bourdieu、Bauman時尚社會學的理論意涵以便確立分析框架，並進而指出三者錯失的社會場景。第二，將時尚社會學常用的「階級性」和「個體性」這兩個分析概念操作化，並從社會歷史到個人心理的經驗現象層面漸次闡明消費社會中「拚行頭」和「風格穿搭」的時尚實作。第三，重新梳理「原始社會拜物教」、「商品拜物教」與「精神分析戀物癖」的概念歷史，並將此概念組應用到時尚現象中進行拜物教性質的詮釋。承上述，研究結果發現，消費社會的秩序已脫離社會契約論與社會互動論等觀點，改以物神誘惑時尚主體的新形式進行社會整合。換句話說，消費者在時尚遊戲中同時扮演主人與奴隸的矛盾角色；不過，本研究最終又提問拜物教作為政治策略的可能性，以便為將來的研究提供方向。 / In the film Confessions of a Shopaholic, Rebecca is addicted to the overconsumption of fashionable clothes and shoes. Her singular case reveals an universal phenomenon of the consumer society in which consumers pursue fashion as an expression of self-identity. In counter to the conventional sociological dismissal of fashion to individual anomic behaviors, this thesis seeks to explore the logic of practice of fashion in the consumer society with an aim to rethink the classical question of social order. After being initiated into Benjamin's enchanting world of fashion, the thesis hypothesizes a theoretical model of the new social order which may be formulated as "Consumer society = Fashion + Property of Fetishism". Based on this hypothesis, the thesis puts forward two lines of arguments. Above all, practices of fashion in the consumer society are an integral part of cybernetic control in the maintenance of social order. Subsequently, the notion of fetish should be severed from conceptions of substance or subject prevalent in commonsense as well as scientific understanding, and reconceived as playing a medating role in the structuring and restructuring of society. The thesis is organized around three objects of analysis. First,we clarify dominant sociological accounts of fashion in the works of Simmel, Bourdieu and Bauman to outline an analytical framework whilst questioning the social-historical scenes those theoretical perspectives have possibly missed. Second, we operationalize the analytical notions of "social class" and "individuality" within social settings of fashion known as "dress to compete" and "dress in style", and then expound these widespread empirical phenomena of fashion by means of social history as well as individual psychology. Third, we review the conceptual development of "primitive fetishism ", "commodity fetishism" and "sexual fetishism" in relevant intellectual histories, and then apply the conceptual triad to the reinterpretation of fashion as a social phenomenon imbued with the practical property of fetishism. As a result, the thesis finds that the question of order in the consumer society is radically different from what the proponents of social contract and symbolic interaction have usually conceived. Instead, contemporary society mobilizes various mechanisms of fetishism to seduce consumer subjects so that they can actively contribute to social integration. In other words, a consumer is both master and slave in the game of fashion; nevertheless, this thesis ponders on the final possibility of fetishism as a political strategy, a heuristic question which might lead to future research.