本論文研究範圍以胡塞爾哲學，胡塞爾的著作《觀念一》、《危機》為主，《內在時間意識現象學》、《笛卡兒的沈思》為輔。第一部分：速寫，在第一章中從胡塞爾現象學的起點：存而不論（Epoché）與終點：世界的意義談起，將胡塞爾哲學作一簡要的瀏覽。第二部分：基礎素描，在第二、三章中整理胡塞爾文本中的Epoché概念。第三部分：沈思，在第四章中略述胡塞爾Epoché概念之限制。第四部分：創作素描，在第五章中嘗試探討人類如何以現象學所談的人文態度面對SARS病毒為例，來說明胡塞爾的Epoché是重構經驗世界之首要概念。最後，總結：Epoché作為胡塞爾現象學裡的氣質與靈魂；Epoché使真理寓於人心；Epoché揭露了實證科學之迷思。 當再次閱讀此篇論文時，會發現論述進程的確與素描繪畫之步驟極為相似。首先，第一部分：速寫，果真是把握到速寫之精神所在，僅把握其動勢而已；第二部分：基礎素描，即按步就班地一筆一筆慢慢描繪，當然是以寫實為主；第三部分：沈思，則為了跳脫寫實的框架而努力靜思一得；第四部分：創作素描，則是苦思之後突發奇想，並盡力地將此奇想轉化為適當的創作表達方式。 In this thesis, the scope of my research covers Husserl’s philosophical works and thought, based on IdeasⅠand Crisis, and with special reference to his On the Phenomenology of the Consciousness of Internal Time and Cartesian Meditations as supplementary documents. “Part 1: Sketch” (chapter 1) begins with the ideas of “Epoché” and the final destination: “the meaning of world” of Husserl’s phenomenology as a starting-point; it also provides a brief overview of his philosophy. “Part 2: Basic drawings” (chapter 2&3) analyzes the conception of “Epoché” in Husserl’s works. “Part 3: Meditations” (chapter 4) summarizes the limitation of the conception of Husserl’s “Epoché”. “Part 4: Creative drawings” (chapter 5) interprets Husserl’s “Epoché” as a chief conception of reconstituting the experience-world by discussing the ways in which the humankind face the SARS virus with a humanistic attitude of phenomenology as an example. In “Ultimatums: Husserl’s “Epoché” as temperament and spirit in Husserl’s phenomenology,” I conclude that Husserl’s “Epoché” enlivens the truth living in human mind, and that Husserl’s “Epoché” discloses the myth of the positive sciences. When we re-read this thesis, we could find that process of discussion is very similar to that of drawing. First, in “Part 1: Sketch,” one only grasps the sketch’s spirit, namely its movement. In “Part 2: Basic drawings,” of course, the focus is on the reality of drawings and keeping to working routines. In “Part 3: Meditations”, one thinks hard in order to transcend the drawings’ frame of reality. In “Part 4: Creative drawings,” one suddenly conceives ideas after contemplation, and tries one’s best to convert the ideas into a suitable form of creation.
