本研究旨在闡明洪席耶如何重塑一種藝術認識論。更為重要地，現當代所討論藝術與美學概念的反倒成為哲學家試圖抹去的對象，「概念」因而成為存而不論的關鍵，這種去中心的包裹論述如何可能遂也成為本研究另外一個重點，就此指出一種丟去概念框架的藝術論述。在第一、二章，本文試著討論洪席耶的方法論與其理由；透過回溯法國六八思潮，理解洪席耶刻意為之的關鍵字：考古、場景與介入。另一方面，這一種論述思考的實踐如何反應於美學論述與藝術概念之間，則成為理解Aisthesis的關鍵，這一部份的分析將集中於本論文第三、四章。最終，第五章並且將以細部分析《Aisthesis》第二章為例。以上述幾個軸線，本文試著理解洪席耶美學裡特殊的思考模態，存而不論的概念論述究竟又該如何可能。

This research attempts to elaborate how Rancière could ever be possible to reshape an epistemology of art, in where, the more important of all, the concept of art and of aesthetics has become the target itself that the philosopher tried to erase. “Concept”, thus, became a crucial key point to discuss an existence even without the realization of its existing. And, how could this kind of de-central narration be possible should also be another emphasis that the research relied on. Upon which, an artistic critics, de-centration and de-concepts, could be referred.

In the chapter one and two, the research tried to discuss this specific kind of methodology of Rancière and its originality. Tracing back to the scene of 68 Movement in France, this study tried to comprehend some intended keywords – archaeology, scene and intervention that Rancière extracts from his era. On the other sides, how could this thought upon narration be practically executed in the reflection of a relationship between aesthetic narration and artistic concept? It should be also a crucial point to comprehend the term, Aisthesis. And, this deduction will be collected in the chapter three and four. Finally, the chapter five is going to analysis the dialect of “The Little Beggar on the Street” as an example. Through which, the research intended to reconstruct a specific thinking mode of Rancière, a thread to think without artistic and aesthetic concepts.

一、 洪席耶作品

（一）、 英文譯作
Rancière Jacques. The Names of History: On the Poetics of Knowledge, University of Minnesota Press, 1994.
---. The Politics of Literature , Polity press, 2011.
---. The Politics of Aesthetics: The Distribution of the Sensible, London: Continuum press, 2006.
---. Film Fable, Bloomsbury, USA academic press, 2016.
---. The Aesthetic Unconscious, Polity press, 2009.
---. The Future of the Image, Verso press, 2006.
---. Aesthetic and its Discontents, Polity press, 2009.
---. Chronicles of Consensual Times, Bloomsbury press, 2010.
---. Mallarmé: The Politics of the Siren , Bloomsbury press, 2011.
---. The Politics of Literature, Polity press, 2011.
---. The Emancipated Spectator, Verso press, 2009.
---. Dissensus – On Politics And Aesthetics, Bloomsbury press, 2010.
---. Aisthesis: Scenes from the Aesthetic Regime of Art, Verso press, 2013.
---. Bela Tarr, the Time After, University of Minnesota Press, 2013.
---. Figures of History, Polity press, 2014.

（二）、 英文期刊與對談文章
Rancière Jacques. Translated by Christina Davis. “After What.” Topoi, no.
7(1988): pp. 181-185.
---. “Politics and Aesthetics: An Interview.” Translated by forbes morlock.
Angelaki 8, no. 2(2003): pp. 191-211.
---. “Is There a Deleuzian Aesthetics?” Qui Parle 14, no. 2 (2004): pp. 1-14.
---. ” Thinking between Disciplines: An Aesthetics of Knowledge”. Translated
by Jon Roffe. PARRHESIA, no. 1(2006): pp. 1-12.
https://www.parrhesiajournal.org/parrhesia01/parrhesia01_ranciere.pdf
---. “Aesthetic Separation, Aesthetic Community: Scenes from the Aesthetics
Regime of Art.” Art & Research 2, no. 1(Summer 2008).
http://www.artandresearch.org.uk/v2n1/pdfs/ranciere.pdf.
---. “You Can't Anticipate Explosions: Jacques Rancière in Conversation with
Chto Delat.” Rethinking Marxism 20(2008): pp. 402-412.
---. “From Politics to Aesthetics?”Paragraph 28, no. 1(2008): pp. 13-15.
---.” The Aesthetic Dimension: Aesthetics, Politics, Knowledge.” Critical
Inquiry 36, no. 1(2009): pp. 1-19.
---. “A few remarks on the method of Jacques Rancière.” Parallax 15 no.
3(2009): pp. 114-123.
---. “The Aesthetic Heterotopia.” Philosophy Today, no. 54
September (Supplement) (2010): pp. 15-25.
---. “Who Is the Subject of the Rights of Man?.” South Atlantic Quarterly
103(2004): pp. 297-310.

（三）、 中文譯作
Rancière Jacques著。《政治的邊緣》。上海：上海譯文出版社，2007。
———，劉紀蕙、林淑芬、陳克倫、薛熙平譯。《歧義：政治與哲學》。台北：麥田出版，2011。
———，黃健宏 譯。《影像的宿命》。台北：典藏藝術家庭，2011。
———，蔣海燕 譯。《哲學家和他的窮人們》。南京：南京大學出版社，2014。
———，魏德驥,楊淳嫻 譯。《歷史之名》。台北，麥田出版，2014。
———，朱康、朱羽、黃銳杰 譯。《詞語的肉身：書寫的政治》。西北大學出版社，2015。
———，臧小佳 譯。《沈默的語言：論文學的矛盾》。華東師範大學出版社，2016。
———，李磊 譯。《對民主之恨》。中央編譯出版社，2016。
———，趙子龍 譯。《美感論：藝術審美體制的世紀場景》。商務印刷館，2016。
———，關秀惠譯。〈何謂美學？〉。收錄於《文化研究》 15期，秋（2012）：頁338-349。
———，蔣洪生譯。〈美學異托邦〉; 趙文、鄭冬梅譯。〈審美革命及其後果〉; 李洋譯。〈電影的暈眩〉。收錄於《生產：憂鬱與哀悼》 8期（2013）。

二、 中文參考資料

楊凱麟。《分裂分析德福柯：越界、摺曲與布置》。南京：南京大學出版社，2011。
———。《分裂分析德勒茲：先驗哲學論與建構主義》。河南：河南大學出版社，2017。
龔卓軍。《文化的總譜與變奏》。台北：台灣書店，1997。
傅佩榮。《荒謬之外——卡繆思想研究》。台北：九歌出版，2015。
———。《海德格《存有與時間》闡釋》。台北：台大出版中心，2003。
紀蔚然。《別預期爆炸：洪席耶論美學》。新北市：印刻出版，2017。
Deleuze Gilles著，楊凱麟譯。《德勒茲論傅科》。台北：麥田出版，1995。
Georg Wilhelm Friedrich Hegel著，朱光潛譯。《美學：第一—四卷》。北京：商務印書館出版，1979。
Johann Joachim Winckelmann著，潘祿譯。《希臘美術模仿論》。台北：典藏藝術出版，2006。
Schiller Friedrich著，謝宛真譯。《美育書簡》。台北：商周出版，2018。

三、 英文參考資料

Rancière Jacques. “Contemporary Art and the Politics of Aesthetics.” In
Communities of Sense: Rethinking Aesthetics and Politics. Edited by
multiple people. Durham & London: Duke University Press, 2009:
pp. 31-50.
Badiou Alain. “The Lesson of Jacque Rancière;” Jean-Luc Nancy. “Rancière
and Metaphysics;” Jacque Rancière. “Afterword / The Method of
Equality: An Answer to Some Questions” .In Jacques Rancière:
History, Politics, Aesthetics. Edited by Gabriel Rockhill & Philip
Watts. Durham: Duke University press, 2009.