落實審美意識主體性於通識藝術課程之探究

審美研究的目的，在於獲得審美的經驗，而形成美感的主體及其主體性，成就文化的審美意識之主體性。由此而能對所處之社會、教學工作，繼續反思、互動，提供一種源源不絕的新的動力。就本文所探討的審美意識主體性而言，審美行為的發生，主要涵構三個審美樣態（mode）：審美意識主體、審美對象及審美主體。審美意識主體透由自身於審美意向性的表達，創作出課程之藝術品，並將自我之審美意識灌注於通識教育的課程實踐中，藉由審美客體的表現性傳達意義，讓審美主體（學生）在課程實踐歷程裡，也能具有審美意識的主體性。研究者並提出三個意識覺醒途徑：一為處境意識；二為想像意識；三為解放意識。透過這三種意識覺醒，才可能使主體自由，使課程的內在精神得以真正開啟學習意識的彰顯，影響課程學習後的效能。

關鍵字

主體意識；審美意識；課程實踐

並列摘要

The purpose of aesthetic study is to gain an aesthetic experience in order to form a cultural aesthetic subject consciousness. There will be the continual motivation to support the teaching job, reflect oneself and have positive interaction with students. In terms of the aesthetic subject consciousness, aesthetic behaviors mainly include three aesthetic modes: aesthetic conscious subjects, aesthetic objects and aesthetic subjects. The aesthetic conscious subjects create art works of curricula by means of aesthetic intentionality. We can say that teachers who once become aesthetic conscious subjects could put their aesthetic consciousness into education praxis. Besides students could transform aesthetic subjects into aesthetic conscious subjects in the learning process while the expression of aesthetic objects conveyed their aesthetical values. This researcher submitted three ways to make subjects have perceptions: 1. situation consciousness 2. imagination consciousness 3. liberation consciousness. Individuals, through these ways, could be really liberated as well as become conscious subjects. The inside spirit of the curricula may be displayed and at the same time conscious perceptions can influence learning effects.