教育學傳記研究乃是19世紀初期發跡於德國教育學的新興派典。2001年，在臺灣教育學傳記研究學者的專業旨趣下，於政治大學的教育學院中以一門研究所層級的課程型態現身。研究者在修習該課堂的學習歷程中，開展出不同視域的世界觀，發生內在思想及學習樣態的轉變，原生命存有的傷痛經驗也逐漸舒緩治癒。同時，在修習課堂滿兩年，體察到課堂群體他者亦產生相似的學習轉變歷程，生發過往受教經驗中不曾有過的「美」之體驗。作為中等教育的師資培育生，基於對現今教育現況「苦難」的體悟，進而欲探究教育學傳記研究課堂的美學價值，它對師資培育歷程將存在何種教育意涵與啟示。 本研究以政治大學教育學院於2014年開設的「教育學傳記研究」課堂作為美學文本，採美學探究取向進行實徵性的研究。透過爬梳教育學傳記研究領域在德國的發展，及其蘊涵的學理內涵，以勾勒其美學的價值，並解讀與詮釋課堂中三位學習者學習體驗的口述經驗資料，最後綜合美學論述觀點以及學習者於教育學傳記研究課室中的互動經驗，探討該課程在臺灣高等學府脈絡下呈顯「悟」、「變」、「識」的美學樣貌;同時揭露傳記性經驗陶養的知識觀、以「生命的理解」作為教育行動的基礎、對人性關懷的教育行動三面向的教育意涵。整體而言，教育學傳記研究課堂的存在正朝向還原長久以來在「人力資源」論述中人被異化的教育本質，企圖孕育一種能變革社會的深化動能，在陶養的循環歷程中開顯出「人性關懷」的教育使命。 / Pedagogical Biography Study has become a research paradigm for educational studies in Germany since the 19th century. Its values, principles and significance were put into practice as a graduate-level course in National Chengchi University in Taipei, Taiwan in 2001. The author, who also participated in this academic journey, has developed a different perspective of viewing the world throughout the learning process. The course has contributed to a changed outlook on life for me, including the change of learning attitude and the consolation for the loss of my cousin. Most importantly, with the two-year-long participation in the course, it became self-evident that I share similar transitional experiences with my classmates, which brought about an unprecedented aesthetic experience. As a student in junior high school teacher education, I am well aware that the current situation of education in Taiwan is “suffering.” Therefore, I attempted to inquire the aesthetic value of the “Pedagogical Biography Study” course and explore its pedagogical implications in teacher education. This research is conducted based on an aesthetic inquiry into the “Pedagogical Biography Study” course, which was offered in Fall, 2014. Individual oral narratives as well as the conversation among class members were treated as aesthetic texts. Through the analysis of the documents concerning the development and implications of Pedagogical Biography Study in Germany, this research constructed its aesthetic significance. Besides, I analyzed and interpreted three class members’ narratives of their learning process throughout the semester. At the end, I integrated the aesthetic discourse and the learners’ interactional experience to discuss three kinds of aesthetic conceptions, Awareness, Change and Consciousness. Furthermore, three elements of pedagogical implication were found: 1) the conception of knowledge constructed by biographical experiences, 2) an educational practice agency of understanding the life and 3) taking educational practice with the concern for humanity. In conclusion, this research unraveled the existence of the Pedagogical Biography Study course in the university and discovered the possibility of restoring the essence of education which has long been ignored in the social discourse of “human resources.” It attempted to provoke social transformation and to launch the educational mission of raising the concern for humanity in the Bildung process.

本研究旨在探討國民小學教師美育教學、創造人格特質、美感經驗、美感 活動、工作價值觀的實際情形，其次也探討教師背景變項、美感經驗、美 感活動、工作價值觀與美育教學的關係。本研究以台北市與台灣省國教研 習會之國小教師 612人為樣本，以美育教學量表、創造人格特質量表、美 感經驗量表、美感活動量表、工作價值觀量表為工具進行研究，以因素分 析、積差相關、信度分析、ｔ考驗、變異數分析及典型相關等統計方法， 進行分析，所得結果如下： (一)就美育教學的得分情形而言，在美育教 學的實施方面並不理想，介於「稍微做到」與「大致做到」間，就創造人 格特質而言，與國內外相關研究常模比較為低，就美感經驗而言，分數集 中在較高分部份，顯示教師美感經驗尚佳，就美感活動而言，平均數較低 ，分數又多集中在較低分部份，顯示教師的美感活動量少，就工作價值觀 而言，其平均數高，分數集中在較高分部份，顯示教師工作價值觀高。 (二)在背景變項中，不同性別、學校規模在美育教學上並無顯著的差異存 在，其餘皆有顯著的差異存在。其中最有意義的是任教後有無再學習藝術 的經驗，曾再學習者在美育教學上明顯地高於未曾再學習者。 (三)創造 性人格特質與美育教學呈顯著正相關；而「聰慧能幹」得分與「美育目標 」、「美育原則」、「美育活動」、「美育課程」美育評量」、「美育配 合措施」皆有典型相關。 (四)教師美感經驗與美育教學呈顯著正相關； 「音樂藝術」、「造型藝術」、「環境美感」、「規劃製作」的得分與「 美育目標」、「美育原則」、「美育活動」、「美育課程」、「美育評量 」、「美育配合措施」有典型相關存在。 (五)教師美感活動與美育教學 呈顯著正相關；「視覺藝術」、「文學藝術」得分與「美育目標」、「美 育原則」、「美育活動」、「美育課程」、「美育評量」、及「美育配合 措施」皆有典型相關。 (六)教師工作價值觀與美育教學呈顯著正相關； 其得分低中高組在美育教學上皆有顯著的差異。「美感創意」、「成就權 力」、「同事環境」、「利他主義」之得分與「美育目標」、「美育原則 」、「美育活動」、「美育課程」、「美育評量」、「美育配合措施」皆 有典型相關。 (七)就教師創造性人格特質、美感經驗、美感活動、工作 價值觀各因素與美育教學各因素的典型相關而言，「美感創意」、「成就 權力」、「同事環境」、「利他主義」得分與「美育目標」、「美育原則 」、「美育活動」、「美育課程」、「美育評量」、「美育配合措施」有 典型相關

藝術欣賞二階段模型所發現的第二階段美感提升現象，若根據流暢性理論加以解釋，為單純曝光造成流暢性提升而導致的結果，未涉及認知處理歷程的影響，然而情緒評估理論以及Leder等人（2004）的美感經驗與評價歷程神經模型，都強調美感經驗為認知與情感的交互作用。針對上述兩類不同的理論觀點，本研究的目的在於探討認知涉入在美感歷程中的重要性，同時亦嘗試瞭解美感經驗中認知與情緒的關係。本研究讓參與者欣賞不同時代、流派與國家的具象藝術畫作，共分成三個實驗。實驗一收集美感相關情緒詞彙，發展美感情緒量表；實驗二與實驗三延伸Locher等人（2007）之實驗設計，分別收集美感偏好與美感情緒的資料，包含顯性與隱性指標，欲從美感提升現象中檢驗認知涉入對兩種美感歷程產物的影響力。實驗二關心美感偏好隨時間的變化，結果顯示認知涉入有助於偏好的提升，而隱性偏好亦有相似的趨勢；實驗三則發現美感情緒並沒有隨呈現時間增加而提升，而認知涉入的影響力也較不明顯，臉部EMG測量則未能反映出隱性美感情緒。本研究也發現，國畫較西畫更顯著地出現美感偏好或情緒的提升現象且較受認知涉入影響，此外，主觀偏好與不偏好的西畫在美感偏好與正向情緒類別之結果中，皆有類似適應的效果，其中主觀偏好畫作隨時間增長而正向情緒減少、負向情緒增加。綜合而言，本研究結果支持認知涉入為美感偏好提升之要素，但是無法確認認知與情緒兩者之間的互動關係，此外，藝術欣賞的第二階段不只有美感提升的現象，亦有美感下降的現象。 / The increase of aesthetic preference over viewing time was found in the study of the two-stage model of art appreciation. This phenomenon could be interpreted by mere exposure effect on improvement of fluency, not involving the influence from the cognitive processes. However, some theories (Silvia, 2011; Leder et al., 2004) emphasized the interaction between cognition and emotion in aesthetic experience. Based on these two kinds of theoretical perspective, the purpose of this study is to explore the role of cognitive involvement in aesthetic processes, and to understand the relationship between cognition and emotion in aesthetic experience. There are three experiments in this study, using the figurative art paintings from different era, genre and countries as the material. In Experiment 1, the emotional adjectives were collected to develop the scale of aesthetic emotion. In Experiment 2 and 3, the effects of cognitive involvement on aesthetic preference and emotion were tested, respectively. We extended the experiment design from Locher et al. (2007) to manipulate the degree of cognitive involvement additionally, with both the explicit and implicit indexes measured. Overall, the results showed that cognitive involvement helped the increase of preference, but not of emotion, because there was no increase of emotion founded. In addition, the effect of cognitive involvement in Chinese paintings was more obvious than that in West paintings. We also found that there could be adaptation effect in aesthetic process. In conclusion, the importance of cognitive involvement in preference increase was supported. But we cannot confirm the interaction between cognition and emotion. In addition, not only the increase of aesthetic preference and emotion, but also the decrease of them could be found in the second stage of art appreciation.