本論文試圖從霍布斯在形上學的立場，關聯至他政治思想中的相關討論。霍布斯同時兼有決定論以及懷疑論的哲學思維，他藉此劃出理性與啟示之間的界線。本論文認為霍布斯藉由「事實存在」（de facto）主權的論證方式，消解了代表論的弔詭以及第一履約者的弔詭。再者，霍布斯藉由獨特的末世歷史觀，使人對於啟示領域的焦慮與盼望，轉為支持塵世和平的重要助力。

在高科技運用的年代，吾人已習慣與科技共處，新型態的智慧科技逐漸影響現代人的生活，科技愈是進步就愈加速人類摒棄傳統靈光的傳承，使人類養成依賴科技技術完成各項任務的態度，這種現象在當今的教育場域已蔚然成形，使教育現場的風景發生異化與質變，這樣的現象是有助於教育更趨近於理想？抑或是與教育本質越行越遠？本論文從Walter Benjamin面對機械複製時代提出的美學觀出發，因十九世紀複製技術造成市場的流通，導致資本主義的發達，文化工業量化的劣質品充斥，降低人們的生活品味與品質卻不自知。Benjamin採取一種彌賽亞救贖的美學觀試圖消解資本主義與文化工業造成的危機，並企圖在傳統靈光消失的現代化社會中，嘗試尋找適合新時代的靈光。當今社會已邁向人類與科技相互交纏的後人文時代，針對「教育美學蘊義探析：數位科技與教育靈光的靜態辯證」而言，本研究建議面對科技與人界線混淆的後人文境遇，教育可以應用Bejamin強調「否定性」與「星叢思維」之「救贖美學觀」，透過多元觀點的自省與開展，應注重「去標準化作業模式」、「陶養美學人文內涵」、「數位科技作為輔助工具」、「鼓勵創意文化發展」與「合作分享共好共榮」等面向，據此導引教育本質的靈光持存，重塑新時代的靈光。 / Living in the high-tech era, human and technology have been closely intertwined. Emerging Technologies not only gradually change people’s way of life, but also unconsciously influence educational practice. Facing this condition of overdependence on science and technology, the author is curious to ask: will high-tech application make education better? Or worse? This dissertation takes Walter Benjamin’s aesthetics in age of mechanical reproduction as starting point, the author analyses Benjamin’s Messianic redemption aesthetics for replying the crisis which is caused by capitalism and the culture industry, and attempting to seek ”Aura” which is disappeared with the death of tradition. Under post-human context of humanity and science entanglements, this study suggests education can apply Benjamin’s aesthetics of "negativity" and "constellation of thinking" to unfold pluralistic educational horizons, and also can pay attention to "di-standardizing of educational practice "," cultivating humanities "," integrating digital technology as a instructional supplementary tool", " encouraging creativity and cultural development "and "cooperating for sharing common prosperity ", the author anticipates to lead and reshape new “Aura” for the age of digital reproduction.

東尼•庫許納的劇本《美國天使》曾經被批評為「宣揚啟蒙主義式的進步觀，即使這種觀點造成的災難正在二十世紀末顯現」。儘管明顯受到華特•班雅明 (Walter Benjamin) 的歷史觀點影響，批評者仍認為庫許納在《美國天使》劇中刻意忽視班雅明對進步的歷史觀發出的警告。然而，事實上庫許納在《美國天使》劇中，藉由劇中角色所刻畫的，即是班雅明對於歷史中進步 (progress) 的觀點，而非啟蒙主義式的進步史觀。造成這種批評觀點上的差異的原因，乃在於《美國天使》的批評者未能真正了解班雅明對於進步的概念，以及此概念在庫許納劇中的重要性。本文欲以班雅明進步的概念為出發，來檢視《美國天使》劇中對於進步與救贖 (redemption)的應用，並在其中闡明庫許納以班雅明的進步與救贖概念為基礎，試圖在劇中發現自我救贖 (self redemption) 之可能的企圖。 《美國天使》分《千禧年近了》和《重建》上下兩部，是庫許納分別在一九九一及九二年完成的劇作。劇中主要描述主角普萊爾華特 (Prior Walter) ，一位男同志愛滋病患，在遭遇愛人的拋棄，以及美國天使 (American Angel) 的啟示之後，努力尋找在千禧年的各種災難與異象的威脅下，人類生存的希望的過程。在劇中，庫許納以美國紐約多元的種族、文化、信仰為背景，探討世紀末的各種問題與困境，並且尋找對於未來的展望。 　　　本文的第一章為總論，將介紹庫許納的生平、《美國天使》的故事情節、批評家與劇評對於該劇的分析、以及班雅明的理論對此劇的影響。根據班雅明的看法，在人類的歷史中真正的進步並非在空洞的時間 (homogeneous, empty time) 之中前進，而是察覺到人類歷史真正的組成分子─辯證影像(dialectical images)，其型態為不斷反覆出現的歷史影像。當人類認知到此種影像的存在時，此認知將使人類從現有的歷史框架中解放，進而認識到徹底改變現有狀態的可能性。這種革命性的 (revolutionary) 認知即是班雅明所謂的進步，這也是第二章的討論範圍。在第三章中，則是以班雅明的救贖理論 (theory of redemption) 解釋庫許納劇中角色的「彌賽亞式的救贖力」(messianic power) 的覺醒 (awakening)。根據班雅明在歷史哲學綱要 (Thesis on the Philosophy of History) 的說法，人類擁有彌賽亞式的救贖力，並且憑藉之發現以「彌賽亞式的視界」(messianic vision) 的形式出現的辯證影像。此即為班雅明定義下的救贖。第四章則以解釋庫許納對於班雅明理論的修正—重建 (restructuring)—為出發點，探討《美國天使》劇中救贖的完成。第五章為結論，以劇中角色的得到救贖為《美國天使》一劇的結尾，同時也是另一個偉大的工作 (The Great Work)—人類在新千禧年的救贖—的展開。 / Tony Kushner’s Angels in America has been accused of its proposing the Enlightenment progress when its disastrous consequence is seen at the end of the 20th century. In spite of the obvious color of Walter Benjamin’s philosophy of history in the play, critics still consider that Kushner ignores Benjamin’s warning of the idea of progress for human history in Angels. Nevertheless, what Kushner describes in the play, through the struggles of the characters, is actually a Benjaminian progress instead of an Enlightenment one. The reason for such a difference of critical viewpoints is: the critics of Angels fail to fully understand Benjamin’s concept of progress and its real significance in the play. Starting from Benjamin’s concept of progress, this thesis aims at examining the application of Benjamin’s concept of progress and redemption in Angels and discovering Kushner’s intention to propose a self-redemption. Angels is comprised of part I: Millennium Approaches (premier in 1991) and part II: Perestroika (1992). It is Kushner’s most celebrated play. The play begins when a gay man, Prior Walter, has found his infection with AIDS. Facing his destined death and deserted by his lover, one day, Prior is visited by an American Angel, who calls him the “prophet” and gives him a gospel of anti-migration to spread. Since then, his life becomes a journey searching for self-awareness and hope in the future. In Angels, Kushner discusses the questions in the United States at the end of the 20th century against the multi-cultural background of New York and America. The prospect of the human race’s future becomes his ultimate concern in the play. This thesis is divided into five chapters. The first chapter, “Introduction,” provides the background information of Angels, including the plot summary, critical history, and my concerns on the critiques of play. In Chapter Two, Benjamin’s theory of progress will be used to analyze the idea of progress in Angels, which means discovering the dialectical images of history that are suppressed in historical time. This concept of progress is “revolutionary” because it will change mankind’s recognition of history and their conception of themselves. Chapter Three begins with Benjamin’s definition of “redemption” of human history, which means the awakening of the “weak messianic power,” the power that a whole generation of human beings is endowed with. This power gives human beings a “messianic vision,” a glimpse of the redemptive world. In Chapter Four, Kushner’s supplement to Benjamin’s theory of redemption, the idea of “restructuring,” will be applied as the key word for the completion of redemption for the characters in Angels. Chapter Five concludes this thesis with the self-redemption of the characters in the play and the beginning of the “Great Work”: the redemption of the entire humanity in the coming Millennium.

本文以11、12世紀伊斯蘭蘇非大師Ghazzali的靈與心之救贖作為宗教心理學理論探討的典範，主要著眼於他個人在宗教心理的意義中，以虔誠和謙卑體現信仰實踐的重大轉變，除了其本身擁有豐富的知識和深刻的思想，更重要的是，他履行蘇非之道，徹底改變信仰態度，真正捨離世俗，最終獲得靈與心的救贖。在分析和詮釋的理論依據上，本文採用荷蘭宗教心理學家Han F.de Wit結合自己的心理學素養與靈修經驗，在20世紀晚期發展出的一套理論，稱為「靈思心理學」（Contemplative Psychology）。在這套理論中，de Wit呈現宗教的冥思傳統(contemplative tradition)與個人的心理洞見、信念之間的連結，經驗和思想可以相互為用。在他所提出的觀點之中，本文透過如下幾個主張，包括皈依、關鍵時刻、斷裂、危機、懷疑、改變、與捨離，說明Ghazzali如何成就伊斯蘭密契傳統的最高典範，同時也突顯靈思心理學試圖闡釋人類靈與心互相超越，同獲救贖的理想。 / The thesis regarded Ghazzali, the outstanding thinker and great Sufi of Islamic world in the 11th and 12th centuries, as a perfect example, who embodied an inward transformation of religious action with piety and humility. Other than his profound knowledge and thoughts, Ghazzali is also an authority on theology and law of Islam, and furthermore he performed a Muslim’s devotion by proceeding on the path of Sufi. He gave up all his possessions, followed the instructions of Sufism to survive a serious crisis of spirit, and obtained the ultimate salvation of his soul and heart in the end. The theory used in this thesis to analyze and interpret Ghazzali’s spiritual experience is the “contemplative psychology” of Han F.de Wit, who is a religious psychologist of the Netherlands. De Wit spent more than ten years combining his psychological training and spiritual experience to develop the theory in late twentieth century. In this theory he presented the connection between contemplative traditions of many religions and the insights & beliefs within individual mind. Among those concepts stated by de Wit in his theory, the thesis used mainly several of them, such as conversion, moments, break, crisis, doubt, change, and renunciation, etc. Accordingly, Ghazzali could be the most perfect example of the contemplative psychology, when we refer to salvation of both human Soul and Heart.