政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/99634
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文笔数/总笔数 : 113318/144297 (79%)
造访人次 : 51075721      在线人数 : 950
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜寻范围 查询小技巧：
  • 您可在西文检索词汇前后加上"双引号"，以获取较精准的检索结果
  • 若欲以作者姓名搜寻，建议至进阶搜寻限定作者字段，可获得较完整数据
    •  进阶搜寻


    请使用永久网址来引用或连结此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/99634


    题名: 從社會學到美學的個體：齊美爾的印象觀
    From Sociological to Aesthetic Individuals: Georg Simmel`s Impressionist View
    作者: 陳玫儒
    Chen, Mei Ju
    贡献者: 高國魁
    Kao, Kuo Kuei
    陳玫儒
    Chen, Mei Ju
    关键词: 個體性
    印象主義
    齊美爾
    美學
    應然
    大都會
    Individuality
    Impressionism
    Georg Simmel
    Aesthetic
    Sollen(Ought)
    Metropolis
    日期: 2016
    上传时间: 2016-08-03 10:26:26 (UTC+8)
    摘要: 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.
    參考文獻: 何政廣，1996，《莫內》。台北：藝術家。
    何政廣，1999，《卡莎特》。台北：藝術家。
    范夢，1997，《寫實到印象》。台北：藝術圖書。
    洪麟風，1996，《莫內的魅力》。台北：藝術圖書。
    游美惠，2000，〈內容分析、文本分析與論述分析在社會研究的運用〉。《調查研究－方法與應用》（8）：5-42。
    鄭志成，2014，〈藝術作品的社會性如何可能？一個Georg Simmel觀點的審視〉。《社會分析》（9）：1-44。
    劉曉風，1996，《現代性社會理論緒論》。台灣：牛津大學出版社。
    魏書娥，2002，〈辛默爾與現代／後現代──一個社會學的回應基礎〉。《歐美研究》32(3): 393-435。
    ──，2006，〈陌生人與我（們）何干？Georg Simmel陌生人概念的社會與文化分析〉。台灣社會學年會暨國科會專題研究成果發表會。
    Arditi, Jorge, 1996, “Simmel`s Theory of Alienation and the Decline of the Nonrational.” Sociological Theory, 14(2): 93-108.
    Benjamin, Walter，1935，〈機械複製時代的藝術作品〉。頁57-119，收錄於許綺玲編譯，《迎向靈光消逝的年代》。台北：台灣攝影。
    Coser, Lewis A.著、石人譯，1990，《社會學思想名家：歷史背景和社會背景下的思想》。北京：中國社會科學出版社。（Coser, Lewis A., 1977, Masters of Sociological Thought Ideas in Historical and Social Context. New York: Harcourt.）
    Davis, Murray S., 1973, “Georg Simmel and the Aesthetics of Social Reality.” Social Forces, 51 (3): 320-329.
    Dube, Wolf-Dieter著、張言夢譯，2005《表現主義藝術家》。上海：三聯書店。（Dube, Wolf-Dieter, 1972, The Expressionists. London: Thames & Hudson Ltd.）
    Durkheim, Émile著、狄玉明譯，1995，《社會學方法的準則》。北京：商務。（──, 1894, Les Regles De La Methode Sociologique. Paris: de Presses universitaires de France.）
    Effeny, Alison著、辛治寧譯，1993，《卡莎特》。台北：國巨。（Effeny, Alison, 1991, Cassatt. New York: Portland House.）
    Entwistle, Joanne, 2000, The Fashioned Body: Fashion, Dress, and Modern Social Theory. Cambridge: Polity Press.
    Frisby, David著、盧暉臨、周怡、李林艷譯，2013，《現代性的碎片》。北京：商務。（Frisby, David, 1986, Fragments of Modernity: Theories of Modernity in the Work of Simmel, Kracauer and Benjamin. Cambridge: Polity Press.）
    ──，1990，〈論齊美爾的《貨幣哲學》〉。頁215-282，收錄於劉小楓選編、阮殷之譯，《金錢、性別、現代生活風格》。台北：聯經。
    ──, 1991, Sociological Impressionism: A Reassessment of Georg Simmel`s Social Theory. New York: Routledge.
    ──, 1992, Simmel and Since: Essays on Georg Simmel`s Social Theory. New York: Routledge.
    Graña, César, 1971, Fact and Symbol: Essays in the Sociology of Art and Literature. New York: Oxford University Press.
    Gronow, Jukka, 1997, The Sociology of Taste. New York: Routledge.
    Hauser, Arnold著、居延安譯，1990，《藝術社會學》。臺北：雅典。（Hauser, Arnold, 1974, Soziologie der Kunst. München: Beck.）
    Hegel, Georg Wilhelm Friedrich, 1999[1920], The Philosophy of Fine Art I. England: Thoemmes Press.
    Highmore, Ben著、周群英譯，2009，《分析日常生活與文化理論》。台北：韋伯文化。（Highmore, Ben, 2002, Everyday Life and Cultural Theory: An Introduction. New York : Routledge.）
    Hobsbawm, E. J.著、王章輝等譯，1997a，《革命的年代：1789-1848》。臺北：麥田。（Hobsbawm, E. J., 1962, The Age of Revolution: 1789-1848. New York: Vintage Books.）
    ──、張曉華譯，1997b，《資本的年代：1848-1875》。臺北：麥田。（──, 1975, The Age of Capital: 1848-1875. London: Weidenfeld and Nicolson.
    ──、賈士蘅譯，1997c，《帝國的年代：1875-1914》。臺北：麥田。（──, 1987, The Age of Empire: 1875-1914. London: Weidenfeld and Nicolson.
    Kant, Immanuel著、鄧曉芒譯，2004《判斷力批判》。台北：聯經。（Kant, Immanuel, 1790, Kritik der Urteilskraft.）
    Lee, M., and Silver, D., 2012, “Simmel’s Law of the Individual and the Ethics of the Relational Self.” Theory, Culture & Society, 29(7-8): 124-145.
    Levitt, Steven D. and Dubner, Stephen J.著、李明譯，2006，《蘋果橘子經濟學》。台北：大塊文化。（Levitt, Steven D. and Dubner, Stephen J., 2005, Freakonomics: A Rogue Economist Explores the Hidden Side of Everything. New York: William Morrow.）
    Lukács, György著、王玖興譯，1988，《理性的毀滅：非理性主義的道路──從謝林到希特勒》。濟南：山東人民出版社。（Lukács, György, 1954, Die Zerstörung der Vernunft. Berlin: Aufbau Verlag.）
    Marx, Karl, 1965[1867], Capital. First Edition. Moscow: Progress Publishers.
    ──、中共中央馬恩列斯著作編譯局編，1995，《馬克斯恩格斯選集》。北京：人民。
    Müller, Lothar, 1990, “The Beauty of the Metropolis: Toward an Aesthetic Urbanism in Turn-of-the-Century Berlin.” Pp. 37-57 in Berlin: Culture and Metropolis, edited by Charles W. Haxthausen and Heidrun Suhr. USA: University of Minnesota Press.
    Pollock, Griselda，1992，〈現代性與女性特質的空間〉。頁469-518，收錄於Norma Broude and Mary D.Garrard編、謝鴻均等譯，《女性主義與藝術歷史：擴充論述（Ⅱ）》。台北：遠流。
    Pool, Phoebe著、李長俊譯，1991，《浪漫主義》。台北：大陸書店。（Pool, Phoebe, 1967, Impressionism. London: Thames & Hudson Ltd.）
    Rapelli, Paola著、謝慧青譯，2003，《莫內》。台北：貓頭鷹。（Rapelli, Paola, 1998, Monet. Milano: Leonardo Arte.）
    Salz, Arthur, 1959, “A Note from a Student of Simmel’s.” Pp.233-236 in Georg Simmel, 1858-1918; A Collection of Essays, edited by Kurt Wolff. Columbus: Ohio State University Press.
    Simmel, Georg，1895，〈時尚心理學──社會學研究〉。頁148-156，收錄於林榮遠編譯，《社會是如何可能的：齊美爾社會學文選》。桂林：廣西師範大學。
    ──，1896, “Sociological Aesthetics.” Pp.68-80 in Georg Simmel: The Conflict in Modern Culture and Other Essays, translated by K. Peter Etzkorn. New York: Teachers College Press.
    ──，1900，〈勞動分工作為主觀文化和客觀文化分野的原因〉。頁103-139，收錄於林榮遠編譯，《社會是如何可能的：齊美爾社會學文選》。桂林：廣西師範大學。
    ──, 1902, “Tendencies in German Life and Thought since 1870.” Pp.5-27 in Georg Simmel: Critical Assessments, edited by David Frisby. London: Routledge.
    ──, 1903, “The Metropolis and Mental Life.” Pp.11-19 in The Blackwell City Reader, edited by Gary Bridge and Sophie Watson. New Jersey: Wiley-Blackwell.
    ──, 1905, “The Philosophy of Fashion.” Pp.148-156 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1907a, “Sociology of the Senses.” Pp. 109-120 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──，1907b，〈基督教與藝術〉。頁140-158，收錄Michael Landmann & Margarete Susman選編、涯鴻等譯，《橋與門》。上海：三聯。
    ──，1908a，〈社會是如何可能的〉。頁358-376，收錄於林榮遠編譯，《社會是如何可能的：齊美爾社會學文選》。桂林：廣西師範大學。
    ──, 1908b, “Adornment.” Pp. 206-211 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1908c, “On the Essence of Culture.” Pp. 40-45 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1909a, “The Future of Our Culture.” Pp. 101-102 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1909b, “Bridge and Door.” Pp. 170-174 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1910a, “Sociology of the Meal.” Pp. 130-135 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1910b, “The Adventure.” Pp. 221-232 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1911a, “The Sociology of Sociability.” Pp. 120-130 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1911b, “Rodin─mit einer Vorbemerkung ueber Meunier.” Pp. 168-186 in Philosophische Kultur: Gesammelte Essais, edited by Georg Simmel. Potsdam: G. Kiepenheue.
    ──, 1913, “Freedom and the Individual.” Pp. 217-226 in On Individuality and Social Forms: Selected Writings, edited by Donald N. Levine. Chicago: University of Chicago Press.
    ──, 1916a, “The Crisis of Culture.” Pp. 90-101 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1916b, “The Change in Cultural Forms.” Pp. 103-107 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──, 1917a, “Sociability─An Example of Pure, or Formal, Sociology.” Pp. 40-57 in The Sociology of Georg Simmel, edited by Kurt H. Wolff. Glencoe. IL: The Free Press.
    ──, 1917b, “Individual and Society in Eighteenth-Century and Nineteenth-Century Views of Life: An Example of Philosophical Sociology.” Pp. 58-84 in The Sociology of Georg Simmel, edited by Kurt H. Wolff. Glencoe. IL: The Free Press.
    ──, 1918, “The Conflict of Modern Culture.” Pp. 75-90 in Simmel on Culture: Selected Writings, edited by David Frisby. Calif.: SAGE Publications.
    ──、陳戎女譯，2002a，《貨幣哲學》。北京：華夏。（──, 1900, Philosophie des Geldes. Leipzig: Duncker & Humbolt.）
    ──、林榮遠譯，2002b，《社會學》。北京：華夏。（──, 1908, Soziologie. Leipzig: Duncker & Humbolt.）
    ──、習承俊譯，2003，《生命直觀：先驗論四章》。北京：三聯。（──, 1918, Lebensanschauungen: Vier metaphysische Kapitel. München und Leipzig: Duncker & Humblot.）
    Swingewood, Alan, 1986, Sociological Poetics and Aesthetic Theory. Basingstoke: Palgrave Macmillan.
    Veblen, Thorstein, 1953, The Theory of the Leisure Class: An Economic Study of Institutions. New York: The New American library.
    描述: 碩士
    國立政治大學
    社會學系
    99254008
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0992540081
    数据类型: thesis
    显示于类别:[社會學系] 學位論文

    文件中的档案:

    档案 大小格式浏览次数
    008101.pdf1081KbAdobe PDF22119检视/开启


    在政大典藏中所有的数据项都受到原著作权保护.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - 回馈