臺灣博碩士論文加值系統

提 要
萊辛之《拉奧孔：詩與畫的界限》長久以來最受注目的是以「先後承續」與「同時並列」（或以「時間與空間」概稱）來區分詩與畫的媒介特質以及再現對象。這本批評著作一方面被認為「終結」了文藝復興以來詩畫相似與類比的說法（「詩畫同律」），一方面則被認為「開啟」了從「符號（媒介）」來研究各藝術特質的方向。本篇論文之主旨，在於剖析《拉奧孔》中的批評觀點與理論依據，以之觀察在「詩畫同律」傳統下形成的詩與畫的概念與關係，在進入十八世紀的美術體系與概念中後產生了什麼轉變，繼而思索如何詮釋並凸顯《拉奧孔》在詩畫關係論述中所具有的意義。針對此，我認為，單就表現出來的態度與說詞是強調詩畫「相似」或「差異」這點來看並不充足。本篇論文要提出的是，從十八世紀的美術概念中，才能較為適當的說明「何以萊辛從媒介特質為詩與畫訂定界限」這一事件與現象的意涵。
論文第一章首先界定「詩畫同律」；從十七世紀以前根據古代權威所建立的傳統「詩畫同律」核心內容，以至十七世紀末、十八世紀前半葉盛行的詩畫平行論述以及對詩與畫的比較與區別。而這些區別通常基於「人為符號∕自然符號」、「先後承續∕同時並列」、「聽覺的∕視覺的」這三組對立概念。第二章則是從「圖畫」這一觀點來探討《拉奧孔》中有關詩與畫的說法。在這分析中，一方面凸顯萊辛如何看待詩與畫的方式，而這與他的藝術理想息息相關；另一方面則顯示萊辛與傳統「詩畫同律」的關聯，因為詩應呈現「如圖畫般栩栩如生的意象」正是「詩如畫」的核心概念。從這一視角出發，繼而整理萊辛對「詩的圖畫」以及「物質的圖畫」的看法。第三章著重在檢視支持萊辛這些批評的重要理論基礎，也就是他對詩與畫使用之符號媒介的看法。事實上，萊辛的目的並非單純只在指出詩與畫的差異，而毋寧是在「媒介的差異」這既定前提下解決「不同的藝術應遵循哪些獨特規則才能產生最大的藝術效果」這一問題。從分析萊辛如何在詩與畫中應用「人為符號」與「自然符號」的觀念，我們發現「自然符號」這種符號類型乃是萊辛對藝術（包含詩與畫）符號的理想。而所謂「自然符號」作為詩與畫的理想形式，其意義乃在於要求符號媒介在美感知覺中成為透明、隱退，因而對觀者而言如同「直接看到事物本身」一樣，產生「逼真的幻覺經驗」。
大體看來，「詩畫同律」論述在萊辛所身處的十八世紀中葉，已從「詩如畫、畫如詩」這種互相倣效的關係，走向分析詩與畫的共同基礎，以及因媒介之差別而來的各自再現範圍。相應此的，是藝術概念的轉變，從「詩藝、畫藝」轉至「對美感知覺與經驗的探究」以及「找出符合這種經驗的藝術符號之構造方式」。甚至在論述模式上，也顯現出從「修辭學」到「哲學推論」的轉向。

Abstract
For a long time the interest in Lessing''s Laocoon: an Essay on the Limits of Painting and Poetry has been focused on the claim that "successive" and "coexistent" are the distinguishing features of the media of poetry and painting respectively and thus should be characteristic of their respective objects. This critical essay has been considered putting an end to the long tradition of comparing poetry and painting (ut pictura poesis); it also has been viewed as leading the way of studying the arts from the perspective of the "signs (media)". The theme of my thesis is to analyze the criticism and underlying theory of Laocoon, and thus to observe what happened to the conceptions and relationship of poetry and painting which have been formed under the tradition of ut pictura poesis vis-a-vis the system and conception of the beaux-arts in the eighteenth century. Moreover, it''s also a task of this thesis to try to interpret and manifest the significance of Laocoon in and against the heredity of poetry-painting relationship discourses. In my opinion, it''s not enough just to look at the displayed attitude and statement as emphasizing "similarity" or "difference" between poetry and painting. My thesis proposes that within the conception of the beaux-arts of the eighteenth century could the matter (why Lessing set up rules according to the characteristics of each medium) be better explicated.
The first chapter outlines "ut picture poesis": from the core of the tradition established on the basis of ancient authority to the prevalent "parallels" and comparison and distinction between poetry and painting in the late seventeenth and the first half of the eighteenth century. It''s worth noting that these distinctions are usually based on the three sets of opposite terms: artificial sign/natural sign, successive/coexistent, audible/visible. The second chapter studies the opinions of poetry and painting in Laocoon from the point of view of "picture." In this analysis, we display the way Lessing regards poetry and painting, and this is found to be relevant to his artistic ideal. Besides, we find out Lessing''s possible connection to the "ut pictura poesis" tradition, since the claim that poetry should "present images as vivid as pictures" is just the central concept of "ut pictura poesis." Taking this perspective, We go on exploring and organizing Lessing''s views on "poetic pictures" and "material pictures." The third chapter focuses on examining the important theoretical foundations supporting Lessing''s critical statements, namely, his views and reasoning on the signs (media) used by poetry and painting. In fact, Lessing''s aim is not simply picking out the differences between poetry and painting, but rather solving the problem that "what specific rules should each particular art follows in order to produce the greatest artistic effect" under the given premise of "the differences of media." In analyzing how Lessing applies "artificial signs" and "natural signs" to poetry and painting, we find that "natural signs" is the ideal Lessing holds for artistic signs (including both poetry and painting). And the meaning of the "natural signs" being the ideal forms of poetry and painting resides in the claim that signs or media become transparent and self-effacing during aesthetic perception. Therefore, the seers seem to see the things themselves directly, and have experience of illusion.
On the whole, the discourses of "ut pictura poesis," in the middle of the eighteenth century when Lessing was situated, have the tendency to deal with the common ground of poetry and painting and the respective ranges of representation according to the differences of media, instead of the emulating relationship such as "as is painting, so is poetry" and vice versa. In accordance with this tendency is the change of the conception of art; the emphasis has been gradually transformed from the "art of poetry" and the "art of painting" to "the study of aesthetic perception and experience" and "the finding of the ways of construction of artistic signs which match this kind of experience." And even in the mode of discourses can we see the shift from "rhetoric" to "philosophical reasoning."

目 錄
中文提要
Abstract
誌 謝
凡 例
導 論 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
問題的提出與研究架構 . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
關於萊辛之《拉奧孔：詩與畫的界限》. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
辭彙界定--「人為符號」與「自然符號」. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
第一章、「詩畫同律」的內涵：從古代典據到十八世紀中的發展 . . . . . . . . . . . . . . . . . . . . . .17
第一節、十七世紀以前建立的「詩畫同律」（ut pictura poesis）之核心內容 . . . . . . . . . . .18
一、詩如畫 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19
二、畫如詩 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
三、詩畫之『競賽』（paragone）. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
第二節、十八世紀上半葉 「姐妹藝術」之論 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
一、詩畫平行論述（parallel）的盛行. . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
二、繪畫作為模範 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
第三節、繪畫觀念的新興成份以及對詩與畫的區分 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
一、智性的與感性的 . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
二、詩畫的各自領域 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
小 結 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
第二章、《拉奧孔》的批評行動 . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
第一節、研究觀點的提出--從「圖畫」出發 .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53
第二節、作為隱喻的圖畫. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
第三節、詩的圖畫. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
反對描寫詩 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
典範荷馬 . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
第四節、物質的圖畫 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
詩的繪畫∕散文的繪畫 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77
美∕醜、快感∕不快 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83
美的分析 . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87
集體的動作 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91
小 結 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
第三章、萊辛的藝術符號觀點在十八世紀美術體系與美感幻象中的意義 . . . . . . . . . . . . . . . . . 95
第一節、美術體系的內部格局 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
藝術的分類與結合 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
詩與畫的決定性差異--萊辛的論證 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
第二節、「時間」與「空間」作為區分詩與畫的根據. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
作為人類經驗對象的藝術品乃是融合時空之構造 . . . . . . . . . . . . . . . . . . . . . . . . . 106
從符號的意指作用來分析詩與畫中的時間與空間 . . . . . . . . . . . . . . . . . . . . . . . . . 108
萊辛之理論的修正--詩畫符號的「真正界限」. . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
萊辛所謂之「時間與空間」在繪畫觀念上的意義 . . . . . . . . . . . . . . . . . . . . . . . . . 115
第三節、「自然符號」作為藝術符號之理想 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
一、萊辛對「自然符號」與「人為符號」的三層次區分. . . . . . . . . . . . . . . . . . . . . . . .118
二、「自然符號」的意義 --藝術符號的透明性原則 . . . . . . . . . . . . . . . . . . . .. . . . . . .124
三、符號媒介與藝術再現--繪畫符號的曖昧地位 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
四、美感幻象. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
結 論 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137
參考書目 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145
附錄一 萊辛生平大事及著作年表 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
附錄二 《拉奧孔》內容概要 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix
附錄三 《拉奧孔》第十六章部份摘錄 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiv
附錄四 《拉奧孔》之筆記中關於藝術分類與結合之段落. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv
附錄五 理性主義認識論中「再現」之基本內涵. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii
附錄六 古代到十八世紀「詩畫同律」論述相關著作一覽表 . . . . . . . . . . . . . . . . . . . . . . . . . . xxii
索 引

參考書目
一、萊辛之《拉奧孔》正文與筆記
Lessing, G. E., Laokoon: oder uber die Grenzen de Malerie und Poesie [1766], in Gotthold Ephraim Lessing Werke und Briefe in zwolf Banden, ed. Wilfried Barner, Frankfurt am Main : Deutscher Klassiker Verlag, 1990, Bd. 5/2 Werke 1766-1769
----《詩與畫的界限》，朱光潛譯，台北：蒲公英，民國七十四年。
---- Laocoon: an Essay on the Limits of Painting and Poetry, ed. Edward Allen McCormick, Baltimore and London: Johns Hopkins University Press, 1984
---- LAOCOON/LESSING, ed. Sir R. Phillimore, George Routledge & Sons, 1910, reprinted, [1874], pp.290-332
---- "Letter to Nicolai" in The Origins of Modern Critical Thought: German Aesthetic and Literary Criticism from Lessing to Hegel, ed. David Simpson, Cambridge University Press, 1988, pp.65-66
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二、十八世紀中以前作者之著述
Aristotle''s Poetics, trans. by S. H. Butcher, 台北：書林
Horace, Ars Poetica, trans. by D. A. Russell, in The Art of the Critic: Literary Theory and Criticism from the Greeks to the Present, ed. Harold Bloom, Chelsea House Publishers, 1985, vol.1, pp.265-275
Alberti, Leon Battista, De Pictura, translated as On Painting, by Cecil Grayson, Penguin Books, 1991
Da Vinci, Leonardo, Leonardo On Painting: An anthology of writings by Leonardo da Vinci with a selection of documents relating to his career as an artist, eds. Martin Kemp and Margaret Walker, Yale University Press, 1989
Hoby, Edward, Sir, trans. Politique Discourses on trueth and lying [1586], in Elizabethan Critical Essays, ed. G. Gregory Smith, vol. I , Oxford, 1904, pp.341-344
Du Fresony, Charles Alphonse, De arte graphic, trans. as The Art of Painting, by John Dryden, in A Documentary History of Art, ed. E. G. Holt, vol. II, Princeton University Press, 1982, pp.164-176
De Piles, Roger, Cours de Peinture par Principes, Paris: Gallimard, 1989
Dryden, John, "A Parallel of Poetry and Painting," in John Dryden: Of Dramatic Poesy and other critical essays, ed. George Watson, vol. 2, London J. M. Dent & Sons Ltd., 1962
Addison, Joseph, "On the Pleasures of the Imagination" in Literary Criticism in England, 1660-1800, ed. Gerald Wester Chapman, New York: Alfred A. Knopf, 1966
Shaftesbury, Third Earl, Anthony Ashley Cooper, "A Notion of the Historical Draught or Tablature of the Judgment of Hercules" [1713] in Second Characters, or The Language of Forms, ed. by Benjamin Rand, Bristol: Thoemmes Press, 1997, pp.29-61
DuBos, Abbe, Reflexions critiques sur la poesie et sur la peinture, Ecole nationale superieure des Beaux-Arts, 1993
Batteux, Abbe Charles, Les beaux-arts reduits a un meme principe [1746], excerpts in Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, eds. Peter le Huray and James Day, Cambridge University Press, 1988, pp.31-47
Burke, Edmund, A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful [1757], University of Notre Dame Press, 1968
James Harris, "A Discourse on Music, Painting, and Poetry" in Aristotle''s ''Poetics'' and English Literature: A Collection of Critical Essays, ed. Elder Olson, The University of Chicago Press, 1965; also in Eighteenth-Century British Aesthetics, ed. Dabney Townsend, Baywood Publishing Company, Incorporated, 1998, pp.177-190
Townsend, Dabney ed, Eighteenth-Century British Aesthetics, Baywood Publishing Company, Incorporated, 1998
三、相關研究著作
書籍、文章
Abrams, M. H., The Mirror and the Lamp: Romantic Theory and the Critical Tradition, Oxford University Press, 1953
Babbitt, Irving, The New Laokoon: and Essay on the Confusion of the Arts, Boston and New York: Houghton Mifflin Company, 1910
Barasch, Moshe, "Lessing" in Modern Theories of Art, 1-- from Winckelmann to Baudelaire, New York University Press, 1990, pp.149-164
Batley, Edward M., Catalyst of Enlightenment: Gotthold Ephraim Lessing -- Productive Criticism of Eighteenth-Century Germany, Bern: Peter Lang, 1990
Baxandall, Michael, Giotto and the Orators: Humanist observers of painting in Italy and the discovery of pictorial composition, Oxford University Press, 1971
Bender, John B., "Introduction: Ut Pictura Poesis and the Nature of Spencer''s Imagery & Toward a Theory of Pictorialism" in Spenser and Literary Pictorialism, Princeton University Press, pp.3-31
Bennett, Benjamin, "Lessing''s Laokoon: The Poetics of Experience" in Beyond Theory: Eighteenth-Century German Literature and the Poetics of Irony, Cornell University Press, 1993, pp.116-161
Brownell, Morris R., "Parallels between Painting and Poetry" in Alexander Pope & the Arts of Georgian England, Oxford at the Clarendon Press, 1978, pp.39-67
Cassirer, Ernst, The Philosophy of the Enlightenment, 《啟蒙運動的哲學》，李日章譯，台北：聯經，現代名著譯叢10
Copley, Stephen, "The Fine Arts in Eighteenth-Century Polite Culture" in Painting and the Politics of Culture: New essays on British Art, 1700-1850, ed. John Barrell, Oxford University Press, 1992
Duro, Paul, The Academy and the Limits of Painting in Seventeenth-Century France, Cambridge University Press, 1997
Gebauer, Gunter and Christoph Wulf, trans. Don Reneau, "The Transformation of Mimesis in Lessing" in Mimesis: Cullture-Art-society, University of California Press, 1995 [Hamburg, 1992] pp.186-205
Gombrich, E. H., "The Diversity of the Arts: The Place of the Laocoon in the Life and Work of G. E. Kessing(1729-1781)" in Tributes: Interpreters of our cultural tradition, Oxford: Phaidon, 1984, pp.29-49 [ ''Lecture on a Master Mind'' given at the British Academy in May 1956, also in Proceedings of the British Academy, XLII (1957), pp.133-156]
Greenberg, Clement, "Towards a Newer Laocoon" in Partisan Review, 7:4, 1940, pp.296-310
Hagstrum, Jean H., The Sister Arts: The Tradition of Literary Pictorialism and English Poetry From Dryden to Gray, The University of Chicago Press, 1987 [1958]
Hillen, Gerd, "Gotthold Ephraim Lessing" in German Writers from the Enlightenment to Sturn und Drang, 1720-1764, eds. James Hardin and Christoph E. Schweitzer, Detroit: Gale Research Inc., 1990 [Dictionary of Literary Biography, volume 97], pp.175-190
Hobson, Marian, The Object of Art: the theory of illusion in eighteenth-century France, Cambridge, 1982
Howard, William G., "Introduction" in Laokoon. Lessing, Herder, Goethe, New York, 1910
Jensen, H. James, Signs and Meaning in Eighteenth-Century Art, Peter Lang, 1997
Krieger, Murray, Ekphrasis: The Illusion of the Natural Sign, The Johns Hopkins University Press, 1992
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期刊文章
Alderson, Simon, "Ut pictura poesis and its discontents in late seventeenth- and early eighteenth-century England and France" Word & Image 11:3, 1995, pp.256-263
Angress, Ruth K., "Reflections on Lessing''s Style and Manner as a Critic" Lessing in heutiger Sicht, pp.223-227
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