本文旨在探德國當代文學批評家 Hans Robert Jauss 在「接受美學」的視域 下,發展出作者、文本與讀者「互為主體性」之理論架構,如何可能實踐於古 典小說課程之設計與教學中。為達成此目標,筆者以某國立藝術大學舞蹈系先 修部之「古典文學初階」課程為考察對象,透過 2019 年 9 月 11 日、2019 年 9 月 18 日、2019 年 12 月 18 日「課堂言說」的「教室敘寫」紀錄,觀察「文學 知識共構」、「文學史教學」與「文本解讀與審美體驗」三項主題之教學實踐 進路。 從教學實踐的歷程可知,若要在「文學課程」進行「互為主體性」的課程 設計與教學實踐,可依循文本情境或讀者生命經驗,設計可被多重脈絡回應的 論題,引導學生從文本中各種角色與視角進行體驗、剖析與辯證,激盪出富具 異質性或感同身受的對話與回應進路,開展出「互為主體式」的審美體驗,冀 能豐富「接受美學」之「理論」與「教學實踐」之間的研究罅隙,亦藉此回應 108 新課綱所論「符號運用與溝通表達」之核心素養的陶成途徑。

The purpose of this paper is to discuss how "intersubjectivity" between authors, writings and readers, as illustrated by literature critic Hans Robert Jauss, has been put into the curriculum design and teaching of classical Chinese fictions. In order to illustrate the interaction between teachers and students, this paper adopts the "classroom narrative" approach, analyze the classroom discourse of three lessons of the above course in 2019, to explore how “intersubjective" course design was put into practice. This paper first explores the curriculum framework that includes the fiction history and art composition; then, three levels of teaching practices are developed based on theory of reception aesthetics. In so doing, it illustrates the process of knowledge creation through dialogue; and shows how "intertextuality" is applied in teaching history of Chinese literature. Finally, the paper explores how teachers and students develop mutual aesthetic experiences through dialogue and responses. This practice also responds to the cultivation of "semiotics and expression competency", one of the core competencies of the Curriculum Guidelines of the 12-Year Basic Education.

互為主體性、教室敘寫、古典小說

intersubjectivity, classroom narrative, classical fiction