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題名 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
貢獻者 高國魁
Kao, Kuo Kuei
陳玫儒
Chen, Mei Ju
關鍵詞 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
上傳時間 3-Aug-2016 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。
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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.）
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──, 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.
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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.
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──, 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。
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──, 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.
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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
資料類型 thesis
dc.contributor.advisor 高國魁zh_TW
dc.contributor.advisor Kao, Kuo Kueien_US
dc.contributor.author (Authors) 陳玫儒zh_TW
dc.contributor.author (Authors) Chen, Mei Juen_US
dc.creator (作者) 陳玫儒zh_TW
dc.creator (作者) Chen, Mei Juen_US
dc.date (日期) 2016en_US
dc.date.accessioned 3-Aug-2016 10:26:26 (UTC+8)-
dc.date.available 3-Aug-2016 10:26:26 (UTC+8)-
dc.date.issued (上傳時間) 3-Aug-2016 10:26:26 (UTC+8)-
dc.identifier (Other Identifiers) G0992540081en_US
dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/99634-
dc.description (描述) 碩士zh_TW
dc.description (描述) 國立政治大學zh_TW
dc.description (描述) 社會學系zh_TW
dc.description (描述) 99254008zh_TW
dc.description.abstract (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。		zh_TW
dc.description.abstract (摘要) 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.		en_US
dc.description.tableofcontents 第一章 導論：應然的個體 1
一、破碎的鎖鍊 1
二、法則的社會 4
（一）社會分化 5
（二）先驗社會 6
（三）社交形式 9
三、「應然」的個體 11
（一）現實與應然 12
（二）「應然」不是法則 12
（三）「應然」的整體性 14
四、以藝術呈現生命 16
第二章 研究方法與章節安排 19
第三章 社會學的個體：現代性的視界 22
一、社會結構的條件 22
（一）大都會刺激：強化心智計算 22
（二）勞動的分工：擴大互動距離 24
（三）貨幣的中介：概化交換價值 29
（四）時尚的流行：吸引階級模仿 33
小結 37
二、個體能動的抵抗 38
（一）維持距離的個體：陌生和保存 38
（二）潛在衝突的關係：防禦和競爭 42
小結 46
附記：如橋與門的能動個體 48
第四章 美學的個體：印象派的眼光 50
一、 齊美爾的藝術與社會 50
（一）量與質的個人主義 50
（二）從審美看個體 55
（三）美學的距離 58
（四）文化的衝突 61
小結 64
二、印象派的藝術與社會 65
（一）資產階級與攝影技術 65
（二）莫內以光影穿越距離 71
（三）卡莎特以視線製造空間 73
小結 76
附記：藝術感性的非凡冒險 78
第五章 結論 81
（一）個體性的先驗條件：倫理學視域 81
（二）個體性的經驗限制：社會學診斷 82
（三）個體性的可能機會：美學的救贖 83
參考文獻 86		zh_TW
dc.format.extent 1107214 bytes-
dc.format.mimetype application/pdf-
dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0992540081en_US
dc.subject (關鍵詞) 個體性zh_TW
dc.subject (關鍵詞) 印象主義zh_TW
dc.subject (關鍵詞) 齊美爾zh_TW
dc.subject (關鍵詞) 美學zh_TW
dc.subject (關鍵詞) 應然zh_TW
dc.subject (關鍵詞) 大都會zh_TW
dc.subject (關鍵詞) Individualityen_US
dc.subject (關鍵詞) Impressionismen_US
dc.subject (關鍵詞) Georg Simmelen_US
dc.subject (關鍵詞) Aestheticen_US
dc.subject (關鍵詞) Sollen(Ought)en_US
dc.subject (關鍵詞) Metropolisen_US
dc.title (題名) 從社會學到美學的個體：齊美爾的印象觀zh_TW
dc.title (題名) From Sociological to Aesthetic Individuals: Georg Simmel`s Impressionist Viewen_US
dc.type (資料類型) thesisen_US
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