本文以赫德(Johann Gottfried Herder, 1744-1803)的感官美學為研究主題，特別著重在聽覺與音樂。本文避免像過去將歐洲十八世紀末的美學史討論放在理性主義與浪漫主義的二元對立思考模式，而是將赫德的美學思考放在1800 年前後日耳曼啟蒙主義對於感官認知的回應來考慮。赫德參酌當時剛興起的生理學與心理學，貶抑純粹智性思考，而提高身體與感官的地位。本文藉著赫德的感官美學，來回答感官(尤其是聽覺)在十八世紀末至十九世紀初的分疏過程裡，與身體及靈魂的關係。赫德認為感官的認知乃智性認知的基礎，尤其是對藝術品的認知，來自於身體與靈魂間相互作用，因此赫德將不同藝術形式間的差異，歸於其連結的不同感官特性。這些屬於不同感官的個別藝術形式，其藝術整體性則展現於一種赫德稱為「力」(Kraft)的能量概念。本文指出，赫德除了將分疏的感官當成個別藝術形式的特性之外，並將作為感官抽象化關鍵的「力」的概念，從專屬於詩歌的「想像力」(Einbildungskraft)，轉為適用於所有藝術的內在力量。而這個藝術的內在力量，特別顯現在赫德之定義聽覺為靈魂與身體之間的共振(Mitbewegung)，音樂其實最能夠表現赫德所謂的抽象的內在之「力」，也最能彰顯赫德感官美學的特殊觀點。

Traditionally regarded as a transitional figure between the German Enlightenment and Romanticism, Johann Gottfried Herder’s (1744-1803) prominence in literary criticism, political philosophy, and historiography has been well documented. More recently, studies of Herder have turned to his pioneering investigations of an anthropologically-oriented epistemology, in which his idea of the “whole man” (ganzer Mensch) plays a prominent role. However, while scholars have pointed out the importance of sensations and the corporeal in Herder’s perceptual theory as a whole, the importance of “hearing” has rarely been adequately clarified. In Herder’s epistemology, sensation (Empfindung) forms the “dark” perception that constitutes an emotional, yet no less essential, side of human existence. In particular, Herder defines hearing as the sympathetic vibration (Mitbewegung) of the body and the soul, and he calls music the closest art to the human heart. This psychological as well as physiological side of human beings, in Herder’s view, ,must be accompanied by an omnipresent physical “force” (Kraft)—the origin of every form of human energy. Such an intricate and almost self-contradicting idea cannot be fully justified without an understanding of Herder’s contemporaries’ anthropological studies as well as research in the natural sciences such as Albrecht von Haller’s work on physiology. This article argues that in the German anthropological efforts to rebut rationalist epistemology, Herder was the first to emphasize listening as the best channel to communicate with the innermost force of the human being. Herder’s efforts were then followed by a series of physiological/psychological researches in the nineteenth century, including the so-called physiological psychology of Hermann Lotze and the monumental physiological work of Hermann von Helmholtz, Die Lehre von den Tonempfindungen als Grundlagen für die Theorie der Musik (On the Sensation of Tones, 1863), which were all influenced by Herder’s theory of hearing.

人學；音樂美學；感官；生理學；認識論

anthropology; music aesthetics; sensation; physiology; history of epistemology; forms of knowledge