本篇論文旨在探討濟慈在六大頌詩中所呈現的藝術美之潛在性。濟慈認為美學經驗為一心靈轉化之過程，而此過程呈顯出心靈與美學實體之互動與交融。本研究試圖從美學與心理的角度，闡釋濟慈在六大頌詩中視藝術美為一心境轉化的歷程。　　第一章略述濟慈生平及其書信中所提及討論，並探討詩中所呈現的意象與其心境轉化之關聯。在第二章中，藉對濟慈詩作技巧的分析，闡釋詩人內心世界中美學理想的進程。第三章則解析詩作中之語法及修辭技巧不僅表現詩人之想像力發展之進程，同時也彰顯其心靈狀態轉化之歷程。藉其詩作語言之特質，濟慈揭露其每一階段之“自我追尋”，而在意境轉化的體程中，得到完整的“自我認知”，進而達成其美學目的。第四章則討論濟慈在詩語言運用之背後所持之美學態度。一方面，他企圖藉由對另一“真實自我”之探索來獲得“自我認同”之完整性；另一方面，它視沉淪的迷思為了解人類生命稍縱即逝之情狀的必經歷程。第五章結論中指出濟慈在頌詩中所反應的藝術之進程與美的生成，即為一種奠基於文學上之美學追尋。從研究中可看出，濟慈的創作過程本身即是一種蛻變與更新的歷程。這意謂著人類生命猶如詩作般需要自我不斷再生與定位。

As Keats develops as an artist, Keats's interest in immortality directsstep-by-step an exploration of the potential endurance of art. He conceivesaesthetic experience as a metaphysical process that produces-in the mind'sengagement with the dynamics, textures, and resistance of art-criticalthinking itself as a form of truth. This study seeks to assess Keats's poetry,specifically his great odes, in the context of his interest in art bothaesthetically and psychologically.　　This thesis is divided into five chapters:　　The first briefly explores the problem of rorm and style in the odes,arguing that Keats confronts the problems of audience by developing forms ofobjectivity and image-making that owe much to the visual arts.　　The second focuses on the poet's artistic methods of linking naturalimagery with the expression of the Aesthetic Ideal of the the inner world.　　The third considers language acts as a medium for the inaccessible objectof desire. Poetic language operates most powerfully within the space ofabsemce. The rhetorical device is not only crucial to the imaginative processand instinctive th the human mind but also essential to the poet'spsychological process. In this way, psychic identity begins to be betterunderstood in the context of and integral with the linguistic process, whichmeets the aesthetic purposes.　　The fourth deals with the invisible ground of Keats's aesthetic attitudeand of the sympathetic imagination. Keats's odes, on the one hand, attempt tomove towards a temporary achievement of genuine oppenness which strengthensidentity through the experience of true otherness. On the other hand, themyth of the Fall is viewed as a necessary postulate for an inexplicablecondition, a secular assessment of enduring empirical features of human existence itself.　　The final chapter consists of a concluding retrospect on the increasingshift in focus from the artistic process to the product. This shift reflectsa search for an Aesthetics to base a literature on to the creative processitself as mystique. This implies an emphasis on poetry as an entire way oflife-perfection of life and creation of poetry. At the same time, itdemonstrates the individual need for a re-making or a re-definition of theaudience and of the self.