本論文以艾琳・吉爾森（Erinn C. Gilson）的脆弱論述作為開展，探討脆弱的治癒潛能。相對於一般將脆弱與衰弱、無能、易受傷害等特質掛鉤的傾向，本文援引吉爾森賦予脆弱的定義，視其為一種開放性，且為一種人類與生俱來的固有本質。透過此開放性，主體得以在人際互動中被形塑、改造，並進而產生蛻變。然而，現今大眾對於脆弱仍多採一過於化約且偏向負面的認知。「反脆弱」因此普遍被視為理想的指標。其產生的後果不僅攸關人際間的疏離與隔閡，亦可能因開放性的封閉而衍生出壓迫性的社會關係。於此方面，本文以精神病態為主題，探究精神病態如何體現對脆弱的拒斥，以及其「反脆弱」行徑對主體之人際互動之影響。然而，有鑒於吉爾森視脆弱為人類固有且無法完全摒棄的本質之主張，本文將聚焦在精神病態者的脆弱面向，並分析脆弱與反脆弱的辯證張力如何影響其對於「愛」的認知與體現。
本篇論文共分為三章。首章旨在破除一般大眾對於精神病態的迷思，強調精神病態並非必然與暴力犯罪掛鉤，而是有豐富的多元呈現層次。另外，此章亦探究精神病態者的脆弱層面，以及其諸如愛、歸屬、陪伴等情感需求。第二章以奧地利導演麥可・漢內克（Michael Haneke）的電影《鋼琴教師》（The Piano Teacher, 2001）為主題，剖析電影中對於精神病態的詮釋，以及該作品對脆弱與反脆弱的辯證張力之呈現。末章建構出脆弱的治癒潛能，主張脆弱的開放性使主體間得以建立起治癒的人際互動關係。此外，該章除論述《鋼琴教師》中的脆弱治癒潛能，亦審視現今社群媒體平台引發人際互動疏離之危機，希冀藉此突顯脆弱治癒的重要性。

This thesis seeks to explore healing through vulnerability, on the basis of Erinn C. Gilson’s conception of vulnerability as a fundamental condition of human existence. Defined by openness to uncertainty and unknown others, vulnerability is the inherent human capability of being altered and affected, in ways one cannot predict or control. Nevertheless, vulnerability is generally understood in a reductively negative way, as weakness, passivity, and powerlessness. Consequently, invulnerability becomes a habitually cultivated quality, and is commonly reckoned as a token of social success and an impervious identity. In this regard, this thesis examines how general attributes of psychopathy reflect the pursuit of invulnerability, which inevitably results in intersubjective detachment and oppressive social relations. However, in light of Gilson’s conception of vulnerability as a fundamental and ineludible human condition, this thesis proposes how psychopaths are vulnerable human beings, who are not unequivocally incapable of love and emotions, but are predisposed to perceive these elements in a deviant fashion.
The thesis consists of three chapters. Chapter One aims at de-demonizing psychopaths, and examines how psychopaths are vulnerable and in need of love. Chapter Two probes into Michael Haneke’s 2001 film, The Piano Teacher, and illustrates how the film’s protagonist Erika Kohut can be construed as a psychopath, as well as the film’s delineation of the dialectical tension between vulnerability and invulnerability. Finally, Chapter Three explores healing through vulnerability not only in The Piano Teacher, but also in our current time, where social media gives rise to an expanding degree of detachment in interpersonal relationships.

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