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¦b­õ¾Ç©M¬ü¾Çªº¤åÄm¤¤¡A¥H¡u§§¬ü¡v©Î¡u±R°ª¡v¡]sublime¡^¬°¬ã¨s¥DÃDªº¸g¨åµÛ§@¦³¤U¦C¼ÆºØ¡C¤À§O¬O¦è¤¸«eù°¨¾ÇªÌ®ü­Û¥§¯Q´µ©Ò¼gªº¡u­×Ãã¾Ç¡v¡B³Í¦è¬y´µ¡]Cecilius¡^©Ò¼gªº¡u½×§§¬ü¡v¡A¦ý³o¨â¥»®Ñ¤w¸g¥¢¶Ç¡A¦è¤¸¤@¥@¬ö®Ô°ò§V´µ¡]Longinus¡^ªº¡u½×§§¬ü¡v¡]On the Sublime¡^¡A½×­zºt»¡©M¸Öºq¤¤ªº§§¬ü­·®æ¡A¬O²{¤µ©Ò¯à§ä¨ì³Ì¦­ªº§§¬ü¤åÄm¡C1756¦~¬f§J¡]E. Burke¡^ªº¡u§§¬ü»PÀu¬ü°_·½ªº­õ¾Ç±´¨s¡v¡]A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful¡^¡F1763¦~±d¼w¡]E. Kant¡^ªº¡uÀu¬ü©M§§¬ü·P±¡ªºÆ[¹î¡v¡]Observations on the Feeling of the Beautiful and Sublime.¡^©M1790¦~ªº¡u§PÂ_¤O§å§P¡v¡F³Ì«á¬O§§¬ü¤ÀªRªº½ÒÃD¡]Lessons on the Analytic of the Sublime¡^¡C³o¨Ç¸g¨å¤§§@¡A¤À§O«Øºc¸gÅç¥D¸q¡B§å§P¥D¸q©M«á²{¥N¥D¸qªº§§¬üÆ[¡C²³æªº»¡¡A¡u§§¬ü¡v´N¬O¤@ºØ¤ß²zÂà¤Æ¾÷¨î¡A±qµh­W¡B®£Äߪº­t­±±¡ºüÂà´«¬°¿n·¥¡B¼ÖÆ[ªº¥¿­±±¡ºü¡C¦]¦¹¡u§§¬ü¤ß¹Ò¡vªº°ö¾i¡A¥»¨­´N¦³Â×´Iªº±¡·N±Ð¨|²[¸q¡C

    ¦b±d¼w¡u§PÂ_¤O§å§P¡vªº²Ä23¸`¦Ü29¸`¡A¥J²Ó¤ÀªR¤FÀu¬ü»P§§¬üªº²§¦P¡A¨Ã¥B´£¥X¼Æ¾Ç©M¤O¾Ç¨âºØ§§¬ü¡A§ó­«­nªº¬O±d¼w¥Ñ§å§P¬ü¾Ç½×§§¬ü¡A±N§§¬üªº®Ú·½¦^¨ìºë¯«¥DÅé¡A¨Ã»»«´¦ÛµM¦X¥Øªº©Êªº±Ò»Xºë¯«¡A¦Ó¥´¶}¤F½×­z§§¬üªº¥þ·sµø³¥¡C¨ä¤º®e¤j­n¦p¤U¡G

 

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     ¤°»ò¬O§§¬ü¡H¦b²Ä¤T§å§P¤Ü¤­¸`ªºµ²§À¡A¦³²M·¡ªº¬É©w¡G¡u§§¬ü¬OÆF»î¤¤ªº¬YºØ®ð½è¡A³oºØ®ð½è¬O§^¤H±Mª`©ó¤Ï«ä§PÂ_¦Ó³Q¬YºØ¯S®íªºªí¶H©Ò³ê¿ô¡A¦¹«D¬ü·P¹ï¶H¥»¦³ªºªí¶H¡C¡v¡]Consequently it is the disposition of  soul evoked by a particular representation engaging the attention of the reflective judgement, and not the object, that is to be called sublime. ¡^

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¬Û¦PÂI¡G¨âªÌ³£¬OµLÃö¤ßªºº¡¨¬(½è)¡B¨âªÌ³£¬O´¶¹M¦³®Äªº(¶q)¡B¨âªÌ³£¬O¥DÆ[ªº¦X¥Øªº©Ê(Ãö«Y)¡B¨âªÌ³£¬O¦³½d¨Òªº¥²µM©Ê¡A¦Ó¥H¤HÃþªº¦@³q·P¬°°ò¦(¼ËºA)¡C

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1. ¦b§Î¦¡¤W¡AÀu¬ü¯A¤Î¹ï¶Hªº¡u§Î¦¡¡v¡A§Y²Å¦XªY½àªÌªº²z¸Ñ¤O»P·Q¹³¤Oªº§Î¦¡¡A²Å¦X§Î¦¡ªº¨Æª«¡Aª½Ä±¥i¥H´x´¤¬Û·í§¹¾ãªº§Î¬Û¡A¨ä¤j¡B¤p¦³­Ó­­«×¡A¬J¤£¯àµL­­¤j¡A¤]¤£¥i¤p¨ì·¥ÂI¡F§§¬üªº¯S¦â«o¬OµL­­¤j¡A¥¦¯A¤Î¹ï¶Hªº¡uµL§Î¦¡¡v¡A¥¦¬O²V¶Ã¡B¤£³W«h¡B¯î²D¡B²Ê³¥¡C¦p¤@±æµL»Úªº·É®ü¡BµL­­©µ¦ùªº¯îºz¡B»P¤Ñ¬Û³sªº¤sÅq¡C¬Y¨Ç¨Æª«ªí­±¤W¦n¹³¤j¤p©M§Îª¬¦³­­¡A¦ý¬O¥¦ªºªí²{¥i¥H¡u¥l³ê¡v¡]Veranlassung¡^¥XµL­­©Êªº·Q¹³¡]®É¶¡ªº¥Ã«í©MªÅ¶¡ªºµL­­¡^¡A¤´ÄÝ©óµL­­©Ê¤§§§¬ü¡C¦pµL­­²`Â㪺²´¯«¡BµL½aµLºÉªº¶m·T¡K¡C

2. ¦b½è©M¶qªº¶É¦V¤W¡AÀu¬ü¸û¶É¦V©ó«~½èªººë½o¡B¨ó½Õ»P¥­¿Å¡A¥u¨ìª¾©Ê©Mª½Æ[¼h¦¸¡F¦Ó§§¬ü¯A¤Î¼Æ¶q©Î¤O¶qªºµL­­¤j¡A¤H¥u¦³¨ì²z©Ê¼h¦¸¤~¯à³B²z¡uµL­­¤j¡v©M¡uµL§Î¦¡¡vªº¹ï¶H¡C¬GÀu¬ü¬O²z¸Ñ¤¤¤£½T©w·§©Àªº®i²{¡A¦Ó§§¬ü¬O²z©Ê¤£½T©w·§©Àªº®i²{¡C¡]The beautiful seems to be regarded as a presentation of an indeterminate concept of understanding, the sublime as a presentation of an indeterminate concept of reason.¡^

3. ¦b¥DÆ[¤ß²z¤W¡AÀu¬ü¬O¹ï¶H§l¤Þ¤O©Ò²£¥Í³æ¯Âªº§Ö·P¡BÀRÆ[ªº´r®®¡B¨­¤ß©M¿Ó³qºZªºª¬ºA¡B¬O¡u§l¤Þ¤O©M¹CÀ¸ªº·Q¹³¤O¡v¡]charms and a playful imagination¡^¡B¬O¡u¿n·¥ªº§Ö·P¡v¡]positive pleasure¡^¡F§§¬ü«h¬Oµh­W©M¬ÈÄß©ÒÂà¤Æ¦Ó¦¨ªº¶¡±µ§Ö·P¡A¥¦ªº²£¥Í¬O¥Í©R¤O¨ü¨ìÀþ¶¡ªºªýê¡A±µµÛ§ó±j¤jªº¥Í©R¤OÀH¤§´é¥X¡A¦b¨º­ÓÀþ¶¡¡A±¡ºü¼È°±¡B·Q¹³¤O¦º±I¡C·í¦¹®É¨è¡A¹ï¶H¹ï¥DÅ骺§l¤Þ¤Oµo¥Í¤F©Ú¥¸ªº§@¥Î¡A»PÀu¬üªº¡u·Q¹³¤O¹CÀ¸¤ßºA¡v¬Û¹ï¤ñ¡A¥¦¸û¬O¥Í©R¤O¨ü«Â¯Ùªº¡uÄYµÂªº¤ßºA¡v¡A¦b¥»½è¤W¤ñ¸û¬OÅå³Y©M±R·q¡B¬O®ø·¥ªº§Ö·P¡]negative pleasure¡^¡C

4.¦b¥D«ÈÆ[ªºÃö«Y¤W¡AÀu¬ü¤ñ¸û¨ã¦³¹ï¶Hªº«ÈÆ[©Ê½è¡A¹ï¶H«ê¦n¾A¦X¤H·Q¹³¤O»P²z¸Ñ¤Oªº¦Û¥Ñ¬¡°Ê»P¨ó½Õ¦X§@¡A¦]¦Ó²£¥Í¹CÀ¸ªº§Ö·P¡F¦ý§§¬ü¦b§Î¦¡¤W«o¬O»P¤Hªº§PÂ_¤O­I¹D¦Ó¹£¡A¥L¤£¾AÀ³©ó¤Hªº»{ÃÑ¥\¯à¡A¥B¡uµL­­¤j¡v©M¡uµL§Î¦¡¡v¬O¹ï¤Hªº·Q¹³¤O¬I¥[¼É¤O¡A¹ï¶H¦¨¬°¡uµL¬Û¤§¬Û¡v¡C·Q¹³¤O©M²z©Ê¬O³B©óÄYµÂªº¹ï¥ß¡A·Q¹³¤O¥u¯à´x´¤¦³­­ªº²{¶H¡A¦Ó²z©Ê¤~¯à´x´¤¥Ã«íµL­­ªº¥»Åé¡C©Ò¥H¡A·Q¹³¤O©M²z¸Ñ¤Oªº¾÷¯à¨üªý¤§«á¡A¥DÅé»P¹ï¶Hªº¹ê½èÃö«Y¤w¸g¼È®ÉªýÂ_¡A¥DÅ饲¶·¦b²z©Ê¾÷¯à¤¤§ä¨ì·sªº¥X¸ô¡A¦]¦Ó§§¬üªº¹ï¶H¬O¤Hªº¥DÆ[¤ßÆFª¬ºA¤§¤¤¡C

    ¦b²Ä¤Ü¤C¸`¡u§§¬ü´r§Öªº©Ê½è¡v¤¤¡A±d¼w¯S§O¤ÀªR§§¬üªº¥DÆ[¤ßÆFª¬ºA¬°¤@ºØ¡u±¡·P¤ß¹Ò¡v¡]Gemuthsstimmung¡AGemüte¬O±¡·P¡Astimmung¬O¤ß¹Ò¡^©Î¡uºë¯«¤ß¹Ò¡v¡]Geistesstimmung¡^¡A¤]´N¬O¶W¶V¦Û¨­ªº°Êª«©Ê¼¤±æ¡]§Ñ§Ú¡^¡A¦Ó±ý»P¦t©z¸Uª«¬Û¿Ä¦Xªº±¡Ãh¤ß¹Ò¡C¦b¥»½è¤W¡A³oºØ¤ß¹Ò¬O¡u¥þ¯«³eª`ªº´L·q¡v¡]Achtung¡A³o­Óµü¦b¼w¤å¤¤¦³¡u´L·q¡v©M¡u¶°¤¤ª`·N¡vªºÂù­«·N¸q¡C¦t©z´£¨Ñ¤F¤@­ÓµL©Ò¤£¦bªº¦ÛµMªk«hµ¹§Ú­Ì¡A¦ý·í§Ú­Ì·P¨ü¨ì°ª¤s¥õ¤î¡A«o¤£¯à¦ÜªºµL­­¦t©z¡A«o­¿Ä±¤Hªº´ù¤p»PµL¤O¡A¦]¦Ó¹ï¯EÃv¦t©z§ó¥[´L·q»P¯«©¹¡C¦pªG¤H¥Ã»·Ä±±o¦Û¤v¡u§C¤Ñ¦a¤@µ¥¡v¡AÃø§K°±¯d¦b¦Û¨õ©M¦Û¥Ì¼Z¸¨ªº­t­±±¡ºü¡C¦ý¦b°¶¤jªº¤H®æ¤§¤¤¡A·|¿³°_¤@ºØ¡u°Ñ¤Ñ¦a¤§¤Æ¨|¡vªº¨Ï©R·P¡A¨Ã±N¤j¦ÛµMªº°¶¤j¡u°½´«¡v¡]Subreption¡^¦¨¦Û§Ú¨Ï©R·Pªº°¶¤j¡A¤Ñ¦a¤§±R°ª«KÂà¤Æ¬°¤º¤ßªº§§¬ü¡C³o´N¬O«e­z¡u±¡·P¤ß¹Ò¡v©M¡uºë¯«¤ß¹Ò¡vªº¯u¿Í¡A¦Ü¦¹¡A±d¼w¹ï§å§P«e´Á¬ü¾Çªº¡uºë½o¤Æ±¡·P¡v¦³¤F§ó²M·¡ªº¥æ«Ý¡C

5. ¦b§PÂ_ªº¼Ò¦¡¤è­±¡G¦b¡u§PÂ_¤O§å§P¡vªº²Ä¤Ü¤E¸`¡A±d¼w¯S§O°Q½×¡u§§¬ü¦b¦ÛµM¤¤ªº§PÂ_¼Ò¦¡¡v¡C±d¼w»¡¡G¡u¨Æ¹ê¬O¦b¦ÛµM¤¤ªº§§¬ü§PÂ_¡A¤ñÀu¬ü§PÂ_§ó»Ý­n¤å¤Æ¯À¾i¡A§§¬ü¤£¶È¬O¤å¤Æªº²£ª«¡A¤]¦h¤Ö¬OªÀ·|ºD¨Ò¼vÅTªºµ²ªG¡C§§¬ü¤]¥H¤H©Ê¤¤¦@¦Pªº²z¸Ñ¬°°ò¦¡A¤]´N¬O§Ú­Ì´Á±æ§§¬üªº¥DÅé¨ã¦³¹ê½î²z©Êªº±¡·P¡A¨Ò¦p¡G¹D¼w±¡·P¡C¡v¡]But the fact that culture is requisite for the judgement upon the sublime in nature (more than for that upon the beautiful) does not involve its being an original product of culture and something introduced in a more or less conventional way into society. Rather is it in human nature that its foundations are laid, and, in fact, in that which, at once with common understanding, we may expect every one to possess and may require of him, namely, a native capacity for the feeling for practical ideas, i.e., for moral feeling. ¡^

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    ¦b±d¼wªº¡u¯Âºé²z©Ê§å§P¡v¤¤¡A¦b®©©Ê½d³ò¤ºªºª¾ÃÑ¥u¦³¡u¼Æ¾Ç¡v©M¡u¤û¹y¤O¾Ç¡v¨âºØ¡A¡u¥i«ä¦Ó¤£¥iª¾¡vªº¡u§Î¤W¾Ç¡v¨Ã¤£¥]²[¦b¤º¡F¦b§§¬üªº³¹¸`¤¤¡A±d¼w­n¥Î§§¬üªº¤ß¹ÒÂà´«¯S½è¡A¬°¡u¥i«ä¡v»P¡u¥iª¾¡v³o¨â­Ó¦b²Ä¤@§å§P¤¤³Q¤G¤Àªº»â°ì¡A¥´¶}¤@±ø¥DÅ骺³q¸ô¡A¨Ï®©©Êªº¥iª¾»P²z©Êªº¥i«ä¤£¦A¥Ù¬Þ»P³Îµõ¡A©ó¬O¦³¡u¼Æ¾Ç§§¬ü¡v»P¡u¤O¾Ç§§¬ü¡vªº¤ÀÃþ¥X²{¡C

    ªY½àÀu¬üªº¨Æª«¡AªY½àªÌ³B©óÀRÆ[ªº¤ß¹Ò¡FªY½à§§¬üªº¨Æ°È¡AªY½àªÌªº¤º¤ß«o³B©ó¤@ºØÂà´«ªº°ÊºA¡C¼Æ¾Çªº§§¬ü¬O±N¼Æ¶qµL­­¤jªº²z¸ÑÂà´«¬°·Q¹³¤Oªº¹ï¶H¡F¦Ó¤O¾Çªº§§¬ü«h¬O±N¤O¶qµL­­¤jªº²z¸ÑÂà´«¬°·Q¹³¤Oªº¹ï¶H¡C

    ¬°¤F¨Ï§§¬ü¥i¥H¦¨¬°·¾³q¡u¥iª¾¡v»P¡u¥i«ä¡v¡B¡u²{¶H¡v»P¡u¥»Åé¡v¡B¡uª¾Ãѽסv»P¡u§Î¤W¾Ç¡vªº¾ô¼Ù¡A±d¼w¯S§O±N¡uµL­­¡v§@¬°¬É©w¨âºØ§§¬üªºÃöÁä·§©À¡A¦ÓµL­­¬O·P©Ê»P®©©Êªº«]­­¡A«o¬O²z©Ê¥i¥H¯A¤Îªº»â°ì¡C±d¼w¦b¼Æ¾Çªº§§¬ü¤¤¡A¯S§O±j½Õ¥¦¬Oªø«×©ÎªÅ¶¡«×¶qªºµL­­¤j¡A¬Oµ´¹ïªº·§©À¡A¦Ó«D¬Û¹ïªº¼Æ¶q¡A¥Øªº´N¦b¹üÅã¨ä¾ô¼Ù©Ê½è¡C¦b²Ä¤Ü¤K¸`¬É©w¡u¤O¾Çªº§§¬ü¡v®É¡A±d¼w¹ï³o¤@¸`©Ò¤Uªº¼ÐÃD¬O¡G¡u¦ÛµM§Y¤j¯à¡v¡]Nature as Might¡^¡A¥L»¡¡G¡u¦ÛµM¡A¦b¬ü·P§PÂ_¤¤¥iµø¬°¤j¯à¡A·í³o­Ó¤j¯à¤£·|®_§O§Ú­Ì®É¡A´N¬O¤O¾Çªº§§¬ü¡C¡v¡]Nature, considered in an Aesthetic Judgement as might that has no dominion over us, is dynamically sublime.¡^

    ±d¼w¹ï¤O¾Çªº§§¬ü°Q½×¤F¤T­Ó¥DÃD¡A§Y¦ÛµM¡B¾Ôª§©M©v±Ð¡C¦b¦ÛµM¤è­±¡A¡u§§¬ü±N§Ú­ÌÆF»îªº¤O¶q´£°ª¨ì¶W¶V¥­±e¤§³B¡A¨Ãµo²{§Ú­Ì¤º¤ß¦³¤£¦Pªº¤@ºØ©è§Üªº¤O¶q¡A¨Ï§Ú­Ì¦³«i®ð¯à»P¦ÛµMªº¸U¯à¬Û§Ü¿Å¡C¡v¦b¾Ôª§¤è­±¡A³o¬O¤HªºªÀ·|¤¤³Ì¦MÀI¡B¯}Ãa©Ê³Ì¤jªº¬¡°Ê¡C¤H°Ñ»P¾Ôª§®É¦MÀI¶V¤j¡B¶V¯àªí²{«i´±¡A¶V®e©öªï±o´L·q¡A¨Ã®i²{±R°ªªº¤H®æ»P§§¬üªº¤ß¹Ò¡C¦b©v±Ð¤è­±¡A«H®{¹ï¤W«Ò¦pªG¥u¬O®£Äߨeªº³Ì«á¼f§P¡A¦]µLªk§Ü©Ú¦Ó¦ÚªA¨ä¤U¡A¨º¬O¨S¦³§§¬ü·Pªº¡C¥²¶·¥Ñ«H¥õ¦Ó²£¥Í¦X¥G¤W«Ò¦®·Nªº¥Í©R¹ê½î¤O¶q¡A©¾¸Û¹ê½î«H¡B±æ¡B·Rªº¹D¸ô¡A¦b¹Lµ{¤¤¨É¨ü¤º¤ß®®¼Öªº¥Ì¬u¡A¤è¬°§§¬ü¤§¹Ò¡C

 

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¦b±d¼w¡u§PÂ_¤O§å§P¡vªº²Ä23¸`¦Ü29¸`¡A¸Ô²Ó¤ÀªR¤F§§¬üÆ[©ÀªººëÅè¡A²¦p¤U­z¡GÀu¬ü¬O³æ¯Âªº§Ö·P¡A§§¬ü«o¬O½ÆÂøªº¤ßÆFÂà¤Æ¾÷¨î¡A¨äÂà¤Æ¹Lµ{¤]³\¥u¦b¤@Àþ¶¡¡A¦ý¬O¨ä¤¤«oµo¥Í­«¤jªº¤ß²zÅܤơC¨ä¶¥¬q¦p¤U¡G

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Bernard, J. H. ¡]trans.¡^Kant¡¦s Critique of Judgement.London: Macmillan and Co.

Meredith, J. C. ¡]trans.¡^The Critique of Judgement. ºô¸ôª©¡C