MetStyle是一個IT加上時尚元素的個案，本研究論文希望找出成立新IT加上更多創意、時尚與創造因素的品牌之關鍵成功因素。MetStyle是一個實際發生在IPO公司的新個案，它是一個試圖為下一代品牌建立跨域可能的生活型態的IT品牌。這個品牌的遠景是要擺脫作為「科技的奴隸」，它的主題是提供終端使用者、製造商、經銷商一個全新的舞台，透過這個舞台，連結不同的城市與文化，建構嶄新的數位生活型態，擁有全球視野與無疆界。 MetStyle不是第一個結合時尚非IT元素於IT產品的品牌，但在當前市場上，很少IT品牌可以成功的將非IT元素納入。本論文試圖找出成功的關鍵要素。 有四大問題必須找出解答：採納文化時尚與生活美學於IT品牌的意義為何？跨域結合的策略為何？這些品牌、產品與通路的定位為何？推出這類品牌的困難為何？ 加入創意時尚於IT品牌的價值在於找出下一代的IT品牌結合更多的生活時尚，為使用者、製造商與經銷商產生實質利益。科技應運用於日常生活，科技不應只是有錢人或高科技企業人士的專利。從小孩到老年人，數位生活化將成為所有電腦周邊產品的主題。目前台灣是周邊產品的主要製造商，但都是為了歐美大廠生產；並未找出自己的路去建立滿足數位生活型態的品牌，我們有能力生產自己的品牌，MetStyle正是朝這個方向努力。 MetStyle品牌產品的市場定位，在於年輕族群為了享有新科技的樂趣，經常旅行，需要有新式樣而又與一般人不同的裝備。其產品種類包括各種電腦包、清潔液、滑鼠板、電腦螢幕保護片、手護套等，舒適與特色是主要考量。MetStyle是個試圖為年輕人在數位生活中找個好幫手的新品牌。 跨域建立新品牌的成功策略，從低階技術產品開始，容易快速的採納應用時尚元素；找出IT通路但銷售非IT概念，以找出藍海，然後再回到主流市場與產品。就新品牌言，行銷需要用聰明的方式，通路也需要規劃。MetStyle的產品策略將其通路適合於IT與非IT通路，建構一個稱為跨越IT的品牌。 建構跨域品牌的困難在於如何連結不同種類的人力與資源，基本上，所有IT產品的發展團隊需要與非IT的傳統製造商共同工作，許多時候，溝通會是供應商或是內部團隊成員的重要議題，如何訓練出好的管理團隊會是解決這類問題的關鍵。 下一代的IT周邊產品融入非IT與更生活美學時尚元素，會是所有亞洲周邊廠商必走的路，本研究論文藉檢討MetStyle個案找出成功因素，希望有助於亞洲廠商建構世界級的品牌。 / MetStyle – an IT + fashion elements case study , To find out the core successful factors for building a new IT brand with more innovation , fashion and creation elements. MetStyle case study is a real new business happened in an IPO company, we are trying to build a next generation brand with “cross over “possibility to create a more life style IT brand. The vision of the brand is trying to “escaping from being technology slave”, so main theme is trying to offer a brand for end users, manufacturing and distributors a new branding platform. By joining this platform, linking with different cities and cultures will help to build this new digital life style brand a global vision and concept of no boundaries. MetStyle is not the first brand trying to adapt the fashion, non IT elements into a IT products, however, in the current market, there are few IT branding, really successfully build up a brand with non IT elements, this report is trying to find out the core successful factors for any other people who like to build up a new IT peripheral brand. There are four major questions we like to find out solutions: What meaning and value for adopting culture, fashion and life style to IT brand? What is the strategy for doing such crossing over brand? What is the positioning for this brand, product, marketing channel strategy? What will be the difficulties doing this type of brand? Value for adding creation and fashion life style into an IT brand is trying to find a next generation IT brand with more life style and also create the benefit for end users, distributors and product producers. Technology will be implemented into our daily life, technology is no longer just for rich or high tech business man. From kids to old men, digital life will become soon a major subject for all computer peripheral products. Nowadays, there are brands built only by American or European companies, we as major makers for all types of peripherals products never find out way to build an accessory brand for the coming era filled with digital life style. We have power and chance to create a brand successfully. MetStyle like to build this chance. MetStyle brand, product , marketing positioning will be for “ youth “ , fun with all type of new technology product, travel a lot, need stylish equipped characters and try to find unique from other regular peoples. All non sophisticated IT product will be our categories, cleaning, gear and computer cases, screen protectors, mouse and wrist pad, comfort and stylish are major subject for the product position. MetStyle is trying to build a brand positioning itself as best partner for youth people in their daily digital life. Strategy for doing brand with crossing possibility, MetStyle is trying to build up a new brand with crossing over possibility. The strategy for running this type of brand exist several key factors. Starting from low tech products, easily and quickly to find the fashion elements implemented. Find IT channel but sale Non IT concept to get the blue ocean, then starting back to the main stream market and products. For new brand, marketing need a smarter way, also need to in line with channel developing plan. MetStyle make a product strategy suitable for our channel partner for both IT and no IT channels. This will help to build a so called cross over IT brand. Difficulties for bring this type of brand, mainly is linking between two type of people and resources. Basically, IT channel is still focusing in box moving and spec features. Trying this type of new way to do brand will still face challenging in beginning. In supply chain, all IT product development team will need to work with Non IT traditional makers, a lot of time; communication will be the main issue no matter with suppliers or even internal team members. How to train a good management team will be key task to solve this issue. Working in IT industry over 20 years, a next generation IT peripheral brand adopting non IT, more life style and fashion elements is a very important for all Asian peripheral companies. This report is trying to find those successful factors by reviewing the MetStyle case. We do hope this will help Asian companies in this field will get any chance to build a real successful worldwide brand.

在去經典化的後現代情境中，大眾小說從低俗、不入流的文本中擢升為熱門的文化研究題材。過去二十年，大眾小說的相關研究不勝枚舉，其方向不外乎是從文化研究的觀點，探討資本主義社會與文本商品化的文化現象以及從結構的內涵中，建構大眾文學的形式與指涉。大眾小說以公式化寫作(formula writing)為主，但類似故事以不同的形式組合與文本相互指涉(intertextuality)的運作，往往帶給讀者創新的感受，將我們從純粹的結構思維拉進入美學層次。本文將針對此美學議題，提出討論，從狹隘的結構與形態論述出發，來分析大眾驚悚小說的美學意涵。 本文選擇了三本美國當代驚悚作家丁.昆士(Dean Koontz)的驚悚小說(thrillers)Watchers, Mr. Murder以及Phantoms，運用Propp在故事形態學(Morphology of the Folktale)一書中所提出的敘述功能(narrative functions)以及戲劇人物(dramatis personae)來分析此小說的敘述形式，指出此敘述功能的複製，並非Koontz小說成功的唯一要素，而是要從形式美學的觀點出發，才能透視其小說的獨特性與大眾性。因此本文進一步使用Santayana在其The Sense of Beauty一書中形式(form)之美學理論來探討文本的美學脈絡。 Propp在Morphology of the Folktale中提出了敘述功能及戲劇人物兩個觀念來分析任何公式寫作的基本架構。敘述功能與戲劇人物的夾雜運用，產生了小說結構的複雜性。從此一形態學的理論出發，來檢視Koontz的驚悚要素，不得不進入美學的討論，才能完整地看出小說吸引人或成為bestsellers的特質。Santayana在The Sense of Beauty中提到美學最重要也是最有特色的問題就是形式美。他解釋並歸納出事物的形式美，存在於 “對稱性(symmetry)”、“單一形式的多樣性” (multiplicity in uniformity)”以及“心靈自然的創造性(the spontaneous creation in mind)”等形式標準。從形態與結構的研究進入美學的範疇，正是本文的主要架構。 本文第一章分析美學的基本論述，從Propp的形態學到Santayana的形式美學作為本論文的理論基礎；第二章討論Watchers中的敘述功能及戲劇人物如何體現對稱性的美學元素；第三章試圖挖掘Mr. Murder裡符合單一形式的多樣性之美學結構及角色設計；第四章則是分析Koontz如何善用心靈自然的創造性來運用類型(types)及想像力(imagination)的結合，幫助塑造Phantoms中的The Ancient Enemy一角；第五章總結本文是如何結合大眾小說的結構研究及美學思維，突破以往驚悚小說的狹隘結構與公式論述，也超越文化研究忽略文本的內在性與美學性，希望透過挖掘驚悚小說的美學價值，來解釋大眾小說的大眾性與美學之間的關係，重新定位驚悚小說的文學地位與小說家Koontz在此文類寫作的獨特性。 / During the recent two decades, the reputation of the popular genre, especially of those popular fictions, has been raised from chintzy stories for the purpose of entertainment to literary or cultural works, attracting great attention from academics. Popular fictions have been studied culturally and structurally to probe into the social phenomena and cultural significance. Known as the formula writings, popular fictions employ the intertextuality and the various combinations of elements used in similar stories to create the freshness for the reading experience, and, by those narrative strategies, elevate themselves into the realm of aesthetics. Here, the noted American thriller writer Dean Koontz’s three novels, Watchers, Mr. Murder, and Phantoms, are brought into discussion. Using Propp’s ideas of 31 narrative functions and the dramatis personae in his Morphology of the Folktale alone with Santayana’s three elements in the beauty of form stated in his The Sense of Beauty, this thesis strives to see through the regular formula writings and uncover their aesthetic uniqueness in these three thrillers. The three elements in terms of the beauty of form discussed here are “symmetry,” “multiplicity in uniformity,” and “the spontaneous creation in mind.” This thesis aims to pinpoint the aesthetic values in popular thrillers, illustrating the relationship between the popularity and aesthetics by morphologically analyzing the finite patterns and structures and aesthetically unspooling the beauty elements in them. It is anticipated to relocate the position of popular thrillers in literature and to redefine Koontz’s status as the master of popular and classical thriller writings

客家，在歷史上是指中國大陸的南遷漢人與福建、廣東、江西地區之原居民雜居、融合後，繼而形成的一個民族，其血統與本質仍被視為漢人，出現的時間一般認為在宋、明時期左右；爾後的明、清時期，由於人口、經濟壓力……等因素，客家人播遷到全國各地，除了上述原居區域，更擴散至西邊的四川省，其他部分更涵蓋了香港、台灣，甚至其他非亞洲地區，繼而形成今日在全世界分布範圍最廣、人口眾多的民族之一。 在台灣地區，客家人的數量僅次於閩南人，處處皆有客家人的蹤跡，而又因為歷史背景及地形環境的影響，以南部六堆地區的美濃客家庄保有著最傳統、完整的客家文化，當地更有以傳承客家服裝文化為使命的【錦興行】藍衫店，以推廣客家傳統服裝及改良式服裝為主。不僅對美濃客家而言，甚至在整個台灣客家佔有舉足輕重之地位，因此筆者將客家服裝民族美學的研究重點聚焦在美濃地區，更實際走訪【錦興行】藍衫店做田野調查與深度訪談，了解美濃地區近年來客家民族服裝的發展狀況。 由於客家自身形成的歷史原因和自古以來聚居的地理環境，其性格與形象在在反映至其民族服裝上。服裝，是人類學上物質文化的一種代表象徵，從中也可看出一個民族的文化背景與歷史興衰；它不僅是文化，也是一種藝術，服裝展現出一個民族的美學，同時透露人民的審美觀。 因此，服裝可說是一個民族文化的歷史標記，也可被視為民族歷史的文化象徵；而一個民族的傳統文化不僅代表著其形象，同時可看出其民族性格，更象徵著民族的興衰起落，因此傳統文化的傳承與發揚是相當重要的。客家服裝作為其民族美學與文化意象的代表，在歷史與傳統的傳承上背負著絕對重要的責任；隨著近年來商業性產品與文化創意產業的備受重視，相對地卻使客家服裝這樣的珍貴文化及藝術日趨沒落，甚為可惜。 基於上述理由，筆者首先透過蒐集前人與專家、學者的多本文獻來進行文獻探討，輔以田野調查、深度訪談的過程，在綜合分析、交叉比對之下，首先探究客家人的歷史源流、地理環境、精神、民性對美濃客家服裝的影響，再藉著蒐集各種美濃客家服裝的樣本，以藝術方面的美學相關理論分析其款式、顏色、質料，探究美濃客家服裝的民族美學，再從中了解客家人的審美觀，最後從分析來做出結論。

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哥德研究創建了自我的世界。批評與理論努力地透過客製化的方法與術語去捕捉與檢視哥德文學中不同的黑暗與恐怪模式。哥德不只是虛構的故事；它形塑與發聲了某些人類的經驗，並且探索了社會與文化的場境。關於哥德美學研究，大多是關於艾德蒙．伯克與伊曼紐．康德的壯美概念，闡釋人類主觀經驗的黑暗性，其中多著重於壯美與恐怖的力量，特別是其「壓倒性」效果的特色。這些方面，雖經研究開發，但仍未盡察其暗黑藝術。在哥德研究方面，厭噁曾被提及其影響的價值，但卻缺乏有系統地檢視與理論化。除了關於恐怖在哥德小說方面廣泛的研究，另一個原始的情動，厭噁，被指出其影響的價值，扮演重要的角色在於捕捉愉悅的厭噁與厭噁的愉悅於哥德黑暗美學的模稜性，如此重要但仍缺乏闡釋與理論化。此論文目標在於，透過重新解讀在《夜訪吸血鬼》、《沉默的羔羊》與《美國殺人魔》中有名/惡名的哥德怪物，多面檢視研究厭噁美學特性。 / Gothic studies have developed a world of its own. Criticisms and theories struggle to capture and examine various patterns of darkness and eeriness in Gothic literature through employing customized methods and jargons. The Gothic is not just about fictional stories; it shapes and articulates certain human experiences, and explores the societal and cultural circumstances. The studies of the Gothic aesthetics are mostly related to Edmund Burke’s and Immanuel Kant’s concepts of the sublime, elaborating the darkness of human subjective experience, in which the force of the sublime and terror is emphasized, especially the feature of “overwhelming” effect. Gothic aesthetics, in facets of sublime, terror, and horror, has been elaborated but not exhausted its art of darkness. Apart from extensively studied terror in Gothic novels, another primitive affect, disgust, which cannot be denied its affecting value but still lacks elaboration and theorization, plays a significant roles in the grasp of the ambivalence of pleasurable aversion and aversive pleasure of Gothic aesthetics of darkness. This dissertation aims at interrogating the multifaceted aesthetics of disgust via re-examinations of in/famous Gothic monsters in Interview with the Vampire, The Silence of the Lambs, and American Psycho.

七○年代末期的蘇偉貞：同時具備小說同業、編輯、研究者三員身分，引領三重角度「張看」。 歷經角色轉變的蘇偉貞，透過其觀看視野，從其評論文字又是如何看待身為作家的蘇偉貞不同時期的文學創作。試圖用「研究者蘇偉貞」的評論技巧及其提出的文學藝術、文學觀念如何反應在「作家蘇偉貞」的文本創作。且檢證「作家蘇偉貞」的創作是否服膺於「研究者蘇偉貞」的審美規準。當這些角色都是同一人時，彼此間的角色是否有所衝突，抑會激盪出什麼樣的火花，便是本論文欲探究多樣的蘇偉貞是如何看待自我，演繹自我。如何在文學舞台上展演出屬於自我的獨特風格，建構屬於自己的島嶼。 先剖析八○年代台灣女性小說的發展對蘇偉貞作品所造成的影響。藉由蘇偉貞的博士論文《描紅 : 臺灣張派作家世代論》評蘇偉貞為「頹廢美學代言人」為審視主軸，向外延伸探究其作品中的頹廢意識，分析文本中頹廢形象的塑造。而「真實與虛構的寫作姿態」不斷被提出討論，蘇偉貞是如何針對其文本剖析刻畫？文本中呈現出的主題是否符膺其所提出的美學論述。當蘇偉貞被當代定義為張派系譜傳人時，又如何看待這樣身分的自己。希冀從張愛玲文學再出發為主題，探究蘇偉貞與張派的承繼與背離，是堅持走張愛玲路線亦從張愛玲出走？而蘇偉貞又是如何建構出自己的島嶼？ 本論文欲對蘇偉貞如此多重身份的「張看」，分別從不同的角度出發，論述研究者蘇偉貞如何評論作家蘇偉貞，作家蘇偉貞的作品是否服膺於研究者蘇偉貞的評論美學規準。

散景是一種讓影像背景模糊化的拍攝視覺效果，這種拍攝視覺效果以往在攝影領域中都只停留在技術層次的討論，因此本研究希望去深入探討散景對於社會文化的影響，並且描繪出散景在攝影文化中的定位。 本研究採用質化深度訪談的方式，輔以文獻資料分析法，線上資料搜集整理分析，以及散景照片實驗等，透過四種類型的資料交叉對話，從散景的視覺認知及影像訊息控制開始談起，進而發掘出散景的文化意義及符號象徵，最後再探討如何透過散景的符號象徵去建構社會資本。 研究發現如下：(一) 散景透過影像的呈現來畫分出大眾攝影族群、(二) 散景造就人像鏡的神話建構、(三) 沙龍攝影文化的興衰、(四) 透過散景建構的社會資本、(五) 後製對散景的象徵符號及社會資本之解構。 本研究建議：(一)散景研究應該跳脫技術層面，拉高視野、(二) 意識到數位影像時代的散景影響層面擴大、(三) 影像文本分析應該留意容易被忽略的散景。

英國戲劇教育家Dorothy Heathcote在1970中葉發明了專家衣缽（Mantle of the Expert）教學策略，這是一種以社會角色為學習框架，整全系統性思考為基礎，引導學生認識世界，進而建構學生個人知識的方法，主張將戲劇視為學習模式發展出學習劇(drama for learning)。經過筆者由文獻的探究發現，過去對此方法的研究，多半專注在方法的功能性運作和效度的驗證上，卻缺乏的是以哲學的反思，去理解這個方法的背後成因。因此，本研究聚焦在這個基礎，以找出隱身在方法背後的思考與教育理念所產生的運作法則。為此，本研究方法採取溫和的詮釋學與默會致知理論，透過詮釋學的方法對蒐集的文獻進行理解、解釋與應用的檢證，以默會致知的理論與方法，向專家衣缽方法進行深究與開展。首先，本論文為Mantle of the Expert的中文譯名重新定義，在重啟文獻研究，修正過去譯名的模糊性，還原Heathcote命名的真實意義，將此名稱重譯為專家衣缽，強調其著重師徒傳承之意。據此，開展了專家衣缽教學模式的底層的運作系統－教育圖像、功能運作、支持的理論、教育美學（educational aesthetics）的定位。 在教育圖像的研究裡，本論文以師生互動模式為研究中心，建置了學生、教師的圖像，進而開顯出動態的師生互動模式，展現Heathcote的教育視野，視好的教學為動態而非靜態模式；在此教學法的功能運作的探究裡，發現Heathcote主張一種貼近人本來的學習模式－在社會中學習，故此，專家衣缽必定在教師引導和學生一起建置的社會狀態下進行致知；在方法的背後支持的理論體系裡，發現了五種理論支撐：Polanyi的默會理論與個人知識；Vygotsky的社會認知發展理論；Goffman的擬劇論、角色框架理論；Hall的文化理論裡的基礎訊息系統；Brecht的社會傾向的疏離劇場的形式與內容。承上述之研究，本論文發現了專家衣缽的真正目的在優質教育，而不只是戲劇藝術教育，Heathcote關注的是教育的普遍性，而非特殊性，因此，專家衣缽呈現出這樣的特質：一、「專家衣缽」典範是一種以創造來引導學習的教學模式；二、「專家衣缽」典範以「角色」（role）作為學習框架；三、專家衣缽典範定位於教育美學的範疇；四、以內容中心玩出能力。本研究企圖以這樣的深究，了解隱身此方法背後的複合式的內容與深層結構，讓專家衣缽這個教學典範成為可以理解與把握的方法，不再神秘。 / Dorothy Heathcote, a British drama educationist, invented “Mantle of the Expert”, an instructional strategy, in the mid-1970s. This is a method based on holistic systematic thinking. It guides students to comprehend the world, and helps construct students’ personal knowledge. She saw drama as a learning model (drama for learning). From the author’s exploration into the literatures, it was found that previous researches focused mostly on the functional operation and verification of its validity of this method, and is lacking in the understanding for the origin of this method with philosophical reflections. Therefore, this dissertation focused on the basis of the method, and tried to find out the thinking behind it and the principles of operation stemmed from her ideas of education. Thus, the research adopted the theories of moderate hermeneutics and tacit knowing, tried to comprehend, explain and apply the literatures collected in a hermeneutic way, and furtherer explored and developed this strategy though the theory and method of tacit knowing. Firstly, the dissertation redefined the Chinese translation of “Mantle of the Expert”. Then it restarted researches on the literatures, resolved the ambiguity of previous translation, and restored the real meaning behind the name given by Heathcote. “Mantle of the Expert” is re-translated as “專家衣缽” to focus on its emphasis on the inheritance between teachers and students. As a result, the operative systems under “Mantle of the Expert”—education-picture, functional operations, supporting theories, and its position in educational aesthetics—were revealed. In the aspect of education-picture, the dissertation took the interactions between teachers and students as the center for research, established the pictures of students and teachers, and revealed dynamic teacher-student interactions. Heathcote’s perspective on education, which sees good instruction as more dynamic than static, was revealed. In exploring the functional operations, it was found that Heathcote suggested a model that is close to the way men to learn—learning in the society. Therefore, in “Mantle of the Expert”, knowing must be acquired in a social situation constructed by students with guidance from the teacher. As to the supporting theoretical systems, five theories were found: Polanyi’s Tacit Theory and Personal Knowledge by Polanyi; Vygotsky’s theory of social cognitive development; Goffman’s Dramaturgical Theory and Role Distance Theory; Hall’s Primary Message Systems in his cultural theory; forms and contents from Brecht’s Theater of Estrangement. From researches mentioned above, the essay found that the real purpose of “Mantle of the Expert” is for quality education, rather than education of dramatic art. She focused on universality of education instead of particularity. Therefore, these qualities are shown in this strategy: First, the paradigm of “Mantle of the Expert” is an instructional model that guides learning through creation; Second, the paradigm of “Mantle of the Expert” uses “role” as the frame for learning; Third, the paradigm of “Mantle of the Expert” is positioned in the realm of aesthetics of education; Fourth, abilities are developed through content-centered playing. With this in-depth exploration, this dissertation tried to understand the complex contents and deep structures hidden behind this method, and made this instructional paradigm an understandable and applicable method that will no longer be mysterious.

本文試圖藉由齊美爾（Georg Simmel）的社會學觀點指出現代個體的困境，並且參照齊美爾的美學觀點作為個體的出路。假若在大都會生活的社會互動中所面臨的冷漠和物化是個體能動性的宿命，那麼社會衝突和分化的機制就是個體能動性的機會。本文首先藉由「應然」的倫理學前提理解齊美爾個體生命的能動特性。然後，本文將此倫理置入理性社會與感性藝術的雙元環境中考察應然個體的可能。最後，本文將要以十九世紀印象派畫作為理論闡釋的實踐案例，意即從印象派的繪畫風格中經驗證成並且反身思考個體性的概念。 本論文的理論概念和經驗案例一致指向十九世紀作為我們討論的關鍵時期。這一方面是由於當時的西歐社會在政治面經歷了激烈的轉變（例如法國大革命促進了自由與平等的價值），此外經濟面也有了重大的改變（比如工業革命帶動了科技和藝術的發明）。但是，若我們僅是把政治經濟的理性史作為研究焦點，則將會陷入階級、國族或是群眾等集體現實的客觀陷阱，更別說已預設了革命的世俗神學。相對而言，藝術作品經常以非人事物的潛在形象當作客體追求，因而有別於政治事件總是以人群的顯著意義激化主體思辨。再者，此時社會的經濟面已明顯地趨向理性化發展，也使得人們倍感個體性喪失的威脅。因而，深入考察藝術創作與工業技術的奮戰或許反而較有助於發現個體性的潛能。 工業發展造就了攝影技術的產生，並使得傳統的繪畫藝術遭受挑戰。在擬真程度上，繪畫雖然永遠比不上攝影精準，然而印象派注重光與影的效果卻為藝術創作找到了新路。畫作上感性的自我表露反而得以創造攝影技術難以觸及的生命層次。莫內（Claude Monet）的自然紀錄與與卡莎特（Mary Stevenson Cassatt）的社會觀察儼然都是印象派藝術家以獨特的藝術作品具體實踐個體性的豐碩成果。 / This thesis attempts to illustrate the predicament of the modern individual from the sociological viewpoint of Georg Simmel. We assume that the aesthetical viewpoint of Georg Simmel could be the way out for the individual. Given the indifference and objectification of social interaction in the metropolis is the fate of individual agency, the mechanism of social conflict and differentiation is the opportunity for individual agency. This study begins with Georg Simmel’s theory that we utilize the ethics of ‘sollen’ (ought) to interpret the agency of the individual’s life. After depicting the outline of the Georg Simmel’s ethics, we place the theory into the dual condition set by rational society and affective art to explore the possibility of the ‘sollen’ individual. In the final part, we take some paintings from the 19th century impressionism as practical examples of explication. We verify and think reflexively on the concept of individuality by means of the painting style of impressionism. The theoretical concepts as well as the empirical examples of this thesis consistently point to the crucial period of the 19th century as our primal object for discussion. On the one hand, European society at the time had undergone radical changes on the political front (such as French Revolution which exalted the values of freedom and equality). In addition, there was great structural shifts on the economic front (such as Industrial Revolution which drove the inventions of technology and art). Nevertheless, if we take only the rational history of political economy as the focus of research, we would fall into a trap of objectivity interwoven in the collective realities of the classes, nations, or masses, not to mention the presumption of a secular theology of the Revolution. Comparatively speaking, the potential image of inhuman things is frequently the objective pursuit of the artwork. Therefore, it is different from the political state of affairs which always inspires and intensifies subjective speculation with those obvious meanings inherent in the human collectivity. Moreover, the economic aspect of society has now apparently developed towards rationalization, which makes people feel the doubling threat of individual deprivation. In light of these concerns, we look elsewhere into the creativity of the artwork and the struggle of industrial technique in order to discover the potentials of individuality. The development of industry brought forward the photographic apparatus, which posed in turn a challenge to the traditional art of painting. On the scale of verisimilitude, photography will always be much more accurate than painting. However, the fact that impressionism pays attention to the effects of light and shadow on the canvases opens a new way for artistic creation. The affective disclosure of individual selves represented by the impressionist style of painting can create a vital dimension that beyond the photographic technique. Claude Monet’s documentations of nature and Mary Stevenson Cassatt’s observations of society are both fruitful results from which these impressionist artists practice their concrete individualities through their singular artworks.

前人研究詩學的「境」、「意境」、「境界」焦點大力集中王國維、況周頤、陳廷焯等詞評家，尤以王國維為然。唯詩論、文論、曲論亦甚有言之精華者，不免遺珠。本專題特欲「闡幽發微」一窺詞論以外之堂奧，勉力使全貌得而朗現。 分析文獻來源含詩話、詞話、曲話、文話；文集、詩集的序跋；筆記批注；今人著作專書及期刊等等。 鑒於中國傳統批評所謂「雜而不章」抑或隨筆叢談，兼以實際批評原為理論基點，故筆者擬采類似「后設美學」的方法（一）為片斷截句的評語間設架構，（二）自批評的實踐中歸納出一些重要理論，（三）運用「后設語言」進行理論內容的詮釋；準此，大綱略舉如下： （一）說明研究目的、方法、文獻概要。 （二）析論境、意境、境界諸詞義界、淵源及本論文在清代以前的發展。 （三）基本理論：含詩之本質論、創作者的條件、創作過程的要求。 （四）美學特征：意象的塑造、雄渾與優美風格的區分、審美心理的描述。 （五）探討摘句為評的批評方法及其與評點方法的異質同流。 （六）評價與應用可能性之厘測。 研究結果將凸顯本命題與詞論「境界說」分歧之處，并深入了解一個理論的圓熟與不足，提供繼起者一小片磚瓦，以期引出瑰麗的玉石。