University of Macau / Faculty of Education

本文共分為九章，三十節。首先點出《東坡易傳》的哲學義理概要及其研究價值，由當時時代背景探究《東坡易傳》興起之源由，進而討論時代背景，瞭解其政治因素對學術思想的影響，從三蘇的思想流變到洛蜀黨爭等。 本論文涉及面向包括《東坡易傳》的架構及其內涵、特色，分析蘇軾在《東坡易傳》對〈序卦〉的強調以及對〈雜卦〉的修訂，在《東坡易傳》的思想內涵，討論其儒、道、佛貫穿其中之思想特色，並做一綜述性的小結。而後針對《東坡易傳》卦爻的解釋方法闡述。在五、六、七章分別討論探討《東坡易傳》的宇宙觀、價值觀以及美學三大方面，可以說這三大方面為哲學探討的核心問題，所在這三個章節裡面，分別以宇宙觀、價值觀及美學為主軸，探討幾個重要的觀念。宇宙觀的部分包括其形上思想及「道」，分別論述幾個形上概念在卦爻中出現的情況以及其義理的分析。第六章的價值論即是指中國人所注重的傳統人倫，包括人生哲學、社群生活、家庭、社會、國家等等，本章亦是提出幾個概念作為一主軸思考深入探析，從其心性問題進而討論宋儒注重的性命問題。在價值觀的部分首先會說明宋以前的心性說，然後由蘇軾對前代學者的批評發現其中心思想，批評之後在進而說明《東坡易傳》對「性」論觀點，在美學的部分，第七章乃由《東坡易傳》發現蘇軾這樣一個文學氣質蓋天下的大家，敢批評吳道子，善為文人畫、書法自成一格，為北宋四大家之一，知音律、曉醫藥，堪稱吾所不學無所不能無所不見，對美學思想的把握及闡發。此三個章節的預期效果是希望由宇宙觀、價值觀到美學之間的環節，探討《東坡易傳》對生活世界、對天下萬物的一種生生不息的態度。 最後以時代點來作為一檢視標準，將蘇軾的觀點與宋代的同時代的學者比較，例如程頤以及南宋的朱熹，並由其中分歧之處作交互評論，藉以發揮了解其不同的涵義。本論文展望性之角度重新審視《東坡易傳》，一方面探究《東坡易傳》思想的內在困難與種種問題、一方面總結《東坡易傳》的特色與影響，另一方面討論的是《東坡易傳》之發展及其後世價值。

本論文將檢視非虛構歷史記錄（史料）與虛構歷史書寫（歷史小說），全方位分析歷史意識與書寫間的關係。在考察大量非虛構歷史記錄與虛構歷史文本間的關聯與從屬性後，試圖梳理出隱晦於兩者間之互動聯繫。上述聯繫奠基於認識論、認知學、美學、語言學與本體論，而這些特性皆將於論文中詳細分析論述。 在深入介紹三位重要的歷史／文學理論家—詹明信、保羅‧呂格爾以及海登‧ 懷特—並且比較其作品之異同後，本人將於第二章提出本論文的主要發現之一，即作品中存在著本人稱為「美學倫理」的、一種不斷形塑的思維。本人認為，美學倫理是一種強大且具約束力的複合物，它連結並影響著非虛構與虛構歷史的書寫， 而書寫則涵納了道德／倫理與美學特性之實踐。美學倫理乃是動態、高度審慎的領域，其中包含個人與群體的歷史經驗，並且盤根錯節於深層美學與意識的大架構之下。在此經驗中，歷史首先實際發生，接著由歷史學家載入史料，其後由歷史小說家書寫成為故事。 在此部份，我將於論文中引述一些重要的分析家，其中最具影響力者要算是約翰‧杜威以及丹尼爾‧維克伯格，他們的「感知歷史」理論將會是重要論述因子之一。在本文理論中另一重要元素乃是人類意識敘事基礎對於虛構與非虛構歷史敘事的理解與組織模式。而這將再次點明實際的意識經驗（歷史）是如何先發生，之後由歷史學家書寫（意識）歷史，接著再由小說家撰寫故事。 第三章根據上述論證，透過敘述意識概念的細節回顧，以及意識如何建構歷史敘述之脈絡，進一步闡述理論。本研究較為獨特之處，在於對主體性、客體性與相互主體性之間，整合運作聯繫性之分析。第四章將詳細剖析各種特定的美學因子，以及這些因子在理論架構中，歷史意識兼敘述之「發展中網絡」裡所扮演的角色。此分析之重要元素乃是本人對於生活與文學中表達模式之檢視，在過去此類概念並未被充分陳述。 第五章包含真實與歷史書寫之分析。根據本人研究，仍有許多關於歷史敘述中真相之觀察與「建構」方面的細節，過去尚未有較完備之研究。透過比較異同，並整合當代多位優秀分析家與理論家之理論，本人將描繪出關於歷史真相之完整且獨特的理論。此外，本章亦將概略提出一個與論文其他分析搭配，且獨立建構的真相理論。在結論部分，將針對上述眾多概念，提出其整體重要性之論述，以及這些概念對於人類歷史意識與書寫之衝擊。 關鍵字：歷史、歷史意識、歷史學家、歷史小說家、史料、歷史小說化、史實、美學、敘述意識、道德、倫理 / This paper is an expansive analysis of historical consciousness and writing, examining the principle genres of non-fiction history (historiography) and fictionalized history (historical novels). The analysis examines a host of relevancies and affiliations that cross among fictional and non-fictional historical writing, and seeks to highlight underlying vincula linking these two narrative forms. These linkages stem from epistemological, cognitive, aesthetic, experiential, linguistic and ontological qualities, all which will be examined and related in detail. The work begins with a thorough preamble that compares, contrasts and critiques the works of three major historical/literary theorists—Fredric Jameson, Paul Ricoeur and Hayden White—and applies their theory to my own ideas, I introduce my main theses and themes, to be examined throughout the study. A principal finding of this study in Chapter Two is the existence of a conditioning conception I call the “aesthetics ethic.” The aesthetics ethic is I posit a strong, binding amalgamation that links and influences these two genres, comprised of transacting moral/ethical and aesthetic features. The aesthetic ethic is a dynamic, densely deliberative field comprising individual and community historical experience, embedded within profoundly aesthetic and conscious contexts, in which history is first lived, and historical writing by historians and historical novelists is then composed. I refer to a number of important analysts in this section of the work, perhaps most importantly John Dewey and Daniel Wickberg, whose theory of “histories of sensibilities” is an important factor. An additional important element of my theory is that the narrative basis of human consciousness maps onto historical narratives, fictional and non-fictional. This again refers to how conscious lived experience (history) is first lived, and then (conscious) historical writing by historians and novelists is then composed. I follow this examination, in Chapter Three, with a detailed review of conceptions of narrative consciousness, and how this consciousness maps onto historical narrative, proper. A unique element of this study is my analysis of a given combinatory transaction linking subjectivity, objectivity and intersubjectivity. Chapter Four is a lengthy analysis of specific aesthetic factors, and their roles in a “burgeoning matrix” of historical consciousness-cum-narrative within my overall theory. An important component of this analysis is my examination of modality in life and letters, and important conception that has not been adequately addressed in the past. Chapter Five includes an analysis of truth in historical writing—and we find that there are intricate details about the apprehension and “construction” of truth in historical narrative that have not been adequately described before. I delineate, compare, contrast and combine ideas from several premier analysts and theorists in this area, reaching what I hope is a coherent and unique theory of historical truth. In this chapter, additionally, I provide a small sketch of an independently created theory of truth that is in accord with the rest of the analysis. The work concludes with final summaries and thoughts about the overall importance of narrative historical writing, and their impact on human historical consciousness and writing.

「當代的教育有被多數人當成一項藝術來實踐嗎？我們的教育有美嗎？教育如何成人之美？我們又如何觀看教育之美？」本研究採用藝術家、教師與教育研究者三位一體的研究取徑a/r/tography（art-based forms of educational inquiry）並混合多元研究方法、跨領域理論交互辯證以及表達性藝術實踐行動，旨在試圖超越目前科學家、藝術家、心理分析學家與教育家各自觀看世界的方式。本研究戮力創新教育美學研究取徑，以跨領域對話回應研究提問。 本研究借喻近代攝影史上最重要的變革演化：新紀實（The New Documentary），將其預設並倡議為一種後現代背景下之教育美學的多元視野（長鏡頭），以做為「教育的生命（神經性）、生成（藝術性）、生態（靈性）」的觀看之道。研究者並創作一系列新紀實攝影作品，期以多元真相涵化單一紀實的缺陷，改以不完美的長鏡頭與檔案的中性特質，一方面認清教育紀實的虛妄無明，另一方面則從教育的限制裡生出另隻眼。 教育美學所揭示的實踐智慧，大多來自「人如何描述眼前的世界」，故本研究深入梳理近二十年的神經科學對於視覺腦（visual brain）與靈性冥想（meditation）活動的研究成果，探究藝術家的實踐歷程以及進行藝術評論文本分析，並依多年田野經驗重新設計了一系列合作式彩繪曼陀羅（Cooperative Mandala Coloring）表達性藝術活動，以求能更充份反映榮格學派（Jungian Psychology）之共時性（synchronicity）理論與推演新時代靈性生態觀點，最終援引本質直觀的現象學（phenomenology）進行詮釋。 本研究成果特別關注青少年處於神經美學、藝術實踐與靈性成長之間精神流變（spirit flux）歷程，建議首先提供真誠友善的安全空間（safe space）、引入神馳（flow）的靈性體驗、以藝術活動滿足個體化的表達性需求（expressed needs）、在人我關係中創造利他的美感經驗。新紀實視野下的後現代教育美學倡議「自我陶養」、「德美一致」與「三性一體」，教育必需讓人有力量、有光芒、有夢想，始能真正啟動教育最美的樣子。 / This study borrows ‘the New Documentary’, the most important evolution in the photography history, as a metaphor to presuppose and advocate ‘the Lens’ as a diverse vision of education aesthetics under its post-modern context. It is utilized as a way to perceive the life (Neurological), the formation (Artistic), and ecology (Spiritual) of education. In this study, a series of the New Documentary work has been created. Two decades’ research on visual brain and meditation in neuroscience has been reviewed. The researcher also inquired into the artists’ journey of praxis and criticized numerous art reviews. Moreover, a series of Cooperative Mandala Coloring work has been redesigned based on the researcher’s years of practical teaching experience. This Cooperative Mandala Coloring, an expressive artistic activity, is adopted in present study to reflect Jungian Psychology’s theory of synchronicity, deduce the spiritual and ecological perspectives of new age, and interpret the phenomenology. The results of the present study particularly focus on adolescents’ spirit flux in neuro-aesthetics, art praxis, and spiritual development. The researcher proposes friendly safe space and spiritual experience in flow. It is also suggested that young individual’s expressed needs be fulfilled through artistic activities and altruistic aesthetic experience be created through relationships with others.

十世紀的文化創意產業伴隨著科技的進步，已經逐漸成為生活文化中重要的產業項目。文創產業成為世界各國注意的焦點。台灣能不能吸引創意新貴、文化創意人久居 將決定台灣未來是否衰退。 文化及文創產業之所以受到矚目，乃是因為現實生活中，文化掌握關鍵角色的社會階層愈來愈有影響力。所謂的「創意新貴（Creative Class）」的社會階層會是肩負二十一世紀發展最為重要的階層。 文化創意人非常關心自然環境、人權、和平、和精神層面，是六○年代市民.學生運動的始祖。 對於「創意新貴」沒有吸引力，缺乏文化性的國家、區域、以及都市將會日益衰退。 本研究透過個案研究方式，使用Rchard Florida、Elizabth Currid、出井伸之、青木貞茂、村上隆、野中郁次郎、茂木健一郎、李仁芳等美、日、台等產學業者的創意經濟理論，對京都3家文創老產業、藝匠產業，進行個案研究，尤其針對其中一家四百年歷史的唐長進行深度個案研究，分類歸納這三家老文創產業長青因素何在。 研究發現，京都老產業之所以長青是因為吸取了京都歷史、地理所孕育而來的京都特有文化風格與美學，並且以嫡傳精簡家族為經營核心；將京都的山川文明、歷史文化、家族傳承精華內化成自己的內隱知識；並且不斷地歷史、在地文化、甚或國際衝擊，以螺旋方式激盪出屬於自己的有機學習組織。 不過這中間最關鍵的還是這個藝匠達人是否對所繼承的藝匠家業充滿熱情與中興的慾望；以及京都市政府本身是否有意持續維持京都的優勢。 研究結果建議1︰民間業者方面，必須能向時間縱軸──歷史學習；也必須能向所在地理橫軸──所在地的文化孕育老產業的美感，做知識螺旋，結合時空環境下，孕育而來的美學創新素養，將外顯知識內化，內化之後，再成為文創產業的內隱知識，再繼續傳承下去。 建議2︰國家及在地政府必須重視各個地方的歷史與文化的原味封存以及鼓勵觀光客來個文化之旅，才能活絡地方的新陳代謝。 / As technolgy innovations accelerate, creative industries have gained more prominance in our daily life in the 20th century.Creative Industries have drawn attentions in every develped country.Whether Taiwan can attract the new creative class and culture glitterati will determine Taiwan's path fo development. The creative industries have gained more and more influence in today's society. The so-called "Creative Class" is the most primary and significant social class in the 21th century. The creative class is concerned about environment, human rights, peace, and spiritual wealth. They are the forerunners of civil movement and student activism in the 1960s. The countries, regions, and cities, who failed to attract creative class, will face the inevitable fate of decline. This study attempts to explore the reason of longevity and sustainibilty of Kyoto's creative industries. Through the methodology of case studies. This thesis draws on theories of Richard Florida, Elizabeth Currid、 Nobuyuki Idei 、Takashi Murakami、Yuichiro Nonaka、Ken Mogi、Renfan Lee This thesis focus on deep analysis of one 400-years-old 唐長 and discussion on other 2 craftmanship and creative enterprises in Kyoto to arrive at the conclusion of ever-gr0wing vitality of Kyoto's creative industries. This studies find out that the old creative industries in Kyoto has absorbed the historial tradition, geographical characteristic, and culture uniqueness of Kyoto. The core philosophy of management is familial succession. The historical tradition, geographical characteristics and family management have become implicit knowledge and gives birth to Kyoto-unique organic learning organiztion. This research suggests that private enterpreneur should learn from local history and local culture and distill geniune local flavors, refine the aesthetic flavors into "knowledge spiral," and make the implicit knowledge of knowledge to pass on to future generations. The second advice is that county and local government should encourage the preservation of local culture and culture tourism to lay the foundation for future new creative enterpreneurship.