怪誕「美」學: 以物件導向本體論析論洛夫克拉夫特小說中的美學

Oct 6, 2026

本論文從物件導向本體論的視角切入，分析洛夫克拉夫特作品中的美學生成機制。研究以哈曼的「四象限」作為對照，指出其關於物之內部斷裂的論述難以完整解釋洛夫克拉夫特的本體結構。相較之下，本文採用夏維羅的思辨美學，強調本體層次的動力學與物的持續消逝，並論證洛夫克拉夫特「怪誕事物」以詭異外型與互斥特質顯現超出人類理解的本體論。本文進一步主張物的接觸仍受特定先決條件制約，並透過中介揭示因果關係的非常規前提，使洛夫克拉夫特宇宙同時呈現「民主式美學能量」與詭譎性。

LanguageChinese

CategoryLiterature

FormatPDF

Pages85

Reading Time2 h 11 min

AccessFree to download

前言

第一章：走向洛夫克拉夫特式的物件導向本體論美學理論

第二章：洛夫克拉夫特「怪誕」事物的本體論美學

第三章：洛夫克拉夫特宇宙中物的美學因果性

結論

參考書目

國立臺灣大學文學院外國語文學系暨研究所碩士論文 Department of Foreign Languages and Literatures College of Liberal Arts National Taiwan University Master Thesis 怪誕「美」學:以物件導向本體論析論洛夫克拉夫特小說中的美學 Weird Aesthetics: An Object-Oriented Approach to the Aesthetics in H. P. Lovecraft ’s Fictions 吳宛庭 Wan-Ting Wu 指導教授: 廖勇超博士 Advisor: Yung-Chao Liao, Ph.D. 中華民國111年11月 November 2022 國立臺灣大學碩士學位論文口試委員會審定書怪誕「美」學:以物件導向本體論析論洛夫克拉夫特小說中的美學 Weird Aesthetics: An Object-Oriented Approach to the Aesthetics in Lovecraft’s Fictions 本論文係吳宛庭君（r08122017）在國立臺灣大學外國語文學系學系、所完成之碩士學位論文，於民國 111 年 11月 15日承下列考試委員審查通過及口試及格，特此證明口試委員：（指導教授） _ Table of Contents Acknowledgment……………………………………………………………………. ii Chinese Abstract ……………………………………………………………………iv English Abstract …………………………………………………………………….. v Introduction…………………………………………………………………………. 1 Chapter One………………………………………………………………………... 14 Toward a Lovecraftian Aesthetic Theory of Object-Oriented Ontology Chapter Two……………………………………………………………………….. 39 The Weird Aesthetic Ontology of the Lovecraftian Things Chapter Three……………………………………………………………………... 59 The Aesthetic Causality of objects in Lovecraft’s Universe Conclusion…………………………………………………………………………. 73 Bibliography………………………………………………………………………...75 Acknowledgment The primary texts, H. P. Lovecraft’s fictions, in my thesis portray a world where everyone is entangled with weird objects that are beyond human understanding. Those monstrous beings reveal mankind’s insignificance to the world and the fact that nothing is completely independent of other entities. Each person is constantly having interaction with things around us at the ontological level even though it is impossible to have a full understanding of the other. The completion of my arguments still involves something that cannot be solved at short notice. Overall, I would like to show my sincere gratitude to my advisor Professor Yung-Chao Liao. His infinite patience over my obscure ideas and immature writing helps me clarify my ideas in this thesis. I really appreciate his tenderness and the instant emotional support when my mind was beneath the shadows. Also, I am grateful to my committee members, Professor Nainu Yang and Professor Wan-Hsuan Lin. Professor Yang’s discerning feedback and affirmative encouragement remove my disturbance during my frustration in writing. I also appreciate Professor Lin’s careful reading and sharp questions which lead me to reexamine the essence of my thesis. Besides, I want to thank all the teachers at NTU. Their inspirations in literary criticism and critical analysis of literary works have broadened my thinking. Particularly, I want to show my thankfulness to Lecturer Roger Liu. Things I learned from being his teaching assistant for five semesters are the precious experiences that will be beneficial for life long. Also, I appreciate the three-year working experience as a business assistant at Chung-Wai Literary Quarterly. These nourishments help me situate my concerns in literary analysis. Finally, I dedicate this thesis to my parents. My parents always support my decision to make effort in the literary analysis even if they cannot even read a word in this thesis. Their love and support best prove the main argument in my thesis that each entity forever withdraws from the other but at the ontological level interaction takes place. Their love for me goes across the boundary of the language barrier. My attachment always makes contact with my family at the ontological level. Chinese Abstract 本論文旨在從物件導向本體論的角度，探討洛夫克拉夫特作品中的美學。哈曼的理論著重於探討存在每個物之中的四個象限，並提出不僅僅存在於兩個個體間，每個物的內部也存在一個根本的斷裂。而隱喻則是唯一可以間接靠近物本體的管道。然而，哈曼的論述無法充分解釋洛夫克拉夫特的本體論，因為在本體層次並不存在一個根本的斷裂。洛夫克拉夫特作品中的物確實和其他物產生接觸。相較於哈曼的框架，夏維羅的思辨美學更重視本體層次的動力學，他認為每個物的本身會不斷地消滅，因為物的內部會持續地變動，但在本體層面，兩個個體間的互動仍會產生。夏維爾主張有一種美學能量平等地存在每個物之中，但是洛夫克拉夫特作品中物的詭異特質，展現的是超越人類理解範疇，屬於物的本體論。詭異的外型和相互牴觸的特質會在同一個物上顯現，它們怪異的存在形式撼動人類對外在環境的認知。此外，洛夫克拉夫特的本體論暗示

FAQs

本論文如何界定洛夫克拉夫特作品中的美學？

論文以物件導向本體論為核心，將洛夫克拉夫特的美學視為在本體層次由物的特質與接觸所呈現的能力與條件，而非僅是主觀觀感。

為什麼論文認為哈曼的理論不足以完全解釋洛夫克拉夫特？

論文指出哈曼主張的「根本斷裂」在本體層次並不足以符合洛夫克拉夫特作品所呈現的本體結構，因此難以作出充分解釋。

洛夫克拉夫特的「物」如何與其他物產生接觸？

論文強調接觸在本體層次仍會發生，但必須具備特定的先決條件；透過中介方式，因果關係的前提呈現出不固定的、不規則的樣態。

Oct 6, 2026

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