蕭伯納是知名的文學家與劇作家，更是位著作甚豐的音樂論述家，其專書《尼貝龍根的指環──完美的華格納寓言》細密深奧，是了解華格納《指環》內容的重要文獻。具有豐富音樂及其他領域知識學養的蕭伯納，對《指環》的理解與思考深入，且獨具一格；書寫的筆觸幽默流暢，當中的撰寫方式與敘述內容卻又引人深思。

本論文分成「讀者蕭伯納」與「作者蕭伯納」兩部份切入。先看「讀者蕭伯納」對《指環》的理解，再從「作者蕭伯納」寫作的細節，挖掘其中深具價值但可能易被忽略的重點。期望藉由此論文梳理蕭伯納從「接受創作」到「進行創作」的美學經驗，提供理解《完美的華格納寓言》與華格納《指環》的一條道路。

George Bernard Shaw was, and is still regarded as not only a renowned literatus and a playwright, but also a prolific writer of music discourses. His book on Wagner’s Der Ring des Nibelungen, The Perfect Wagnerite, is full of profound and abundant details, making itself a crucial source to understand this colossal work of Wagner. With his rich knowledge in music and works of other literature, Shaw understood and thought about The Ring deeply with his unique style; his writing is smooth and humorous, on the other hand, how he wrote it and what he chose to talk about is thought-provoking.

The main idea of this thesis is divided into two parts: “Shaw as a reader” and “Shaw as an author”. In the “Shaw as a reader” part, Shaw’s understanding of The Ring will be discussed, and then in the “Shaw as an author” part, some of the most valuable but potentially overlooked details will be dug out from the details of the author’s writing. Hopefully, this thesis will sort out Shaw’s aesthetic experience from “accepting a work” to “creating a work” and will provide a way to understand The Perfect Wagnerite, and thus to understand The Ring.

壹、原始資料

一、 樂譜
Wagner, Richard. Das Rheingold. New York: Dover, 1985.
——————. Die Walkuere. New York: Dover, 1978.
——————. Siegfried. New York: Dover, 1983.
——————. Goetterdammerung. New York: Dover, 1982.

二、 文字資料
Shaw, George Bernard. Music in London 1890-94. 3 vols. London: Constable, 1932.
——————. Shaw's Music: The Complete Musical Criticism of Bernard Shaw. Dan H. Lawrence, ed. 3 vols. London: The Bodley Head, 1981.
——————. The Perfect Wagnerite: A Commentary on the "Nibelung's Ring." New York: Dover Publication, l967.
Wagner, Richard. “Vorwort zur Herausgabe der Dichtung des Buehnenfestspieles >>Der Ring des Nibelungen<<." (1862) In Gesammelte Schriften und Dichtungen, Vol. 6. , 272-281. Leipzig: Siegel, 1907.
——————.《尼貝龍根的指環──完美的華格納寓言》。林筱青，曾文英 譯。羅基敏 策劃。台北：高談文化，2003。
——————.《蕭翁談樂：蕭伯納音樂散文評論選》。冷杉 譯。音樂生活叢書。香港：生活．讀書．新知三聯書店 ，2005。

三、 影音資料
Wagner, Richard. Das Rheingold, Vienna Philharmonic Orchestra Conducted by Sir Georg Solti, by Richard Wagner. Decca. London Records ?414 101-2. 1984. Three compact discs box set.
——————. Der Ring des Nibelungen. Cor de la Generalitat Valenciana and Orquestra de la Comunitat Valenciana conducted by Zubin Mehta. Staged by La Fura dels Baus and directed by Carlus Padrissa Filmed at the Palau de les Arts “Reine Sofia” Valencia in June and July, 1991 and 1992. Berlin: C Major Entertainment, 2009. DVD.
——————. Der Ring des Nibelungen. Chor und Orchester der Bayreuther Festspiele conducted by Daniel Barenboim. Staged and directed by Harry Kupfer. Filmed at the Bayreuth Festspielhaus in June and July, 1991 and 1992. Munchen: Unitel, 1992, 1993. UK: Warner Classics, 2011. DVD.
——————. Der Ring des Nibelungen. Chor und Orchester der Bayreuther Festspiele conducted by Pierre Boulez. Staged and directed by Patrice Chereau. Filmed at the Bayreuth Festspielhaus in1980. Munchen: Unitel, 1992, 1993. UK: Warner Classics, 2011. DVD.
——————. Der Ring des Nibelungen. Metropolitan Opera Orchestra conducted by James Levine. Staged and directed by Otto Schenk. Hamburg: Deutsche Grammophon, 2002. DVD.

貳、參考資料

外文
Anonymous. "Bernard Shaw." The Musical Times, Vol. 91, No. 1294 (Dec., 1950): 463-464.
Baake, Friedrich. “George Bernard Shaw als Musikkritiker.” Archiv fur Musikwissenschaft, 10. Jarg., H. 3 (1953): 233-252.
Barber, George S. “Shaw's Contribution to Music Criticism.” PMLA, Vol. 72, No. 5 (Dec., 1957): 1005-1017.
Bentley, Eric. Bernard Shaw: A Reconsideration. New York: W. W. Norton & Company, 1976.
Bleich, David. Reading and Feelings: An Introduction to Subjective Criticism. Urbana: National Council of Teachers of English, 1975.
Bloom, Harold, ed. George Bernard Shaw. New York: Chelsea House Publishers, 1987.
Bowley, Sir Arthur Lyon. Wages in the United Kingdom in the Nineteenth Century. Cambridge: Cambridge University Press, 1900.
Byrne, Sadie, ed. George Bernard Shaw's Plays. New York: W. W. Norton & Company, 2002.
Dahlhaus, Carl. Esthetics of Music. Translated by William W. Austin. Cambridge: Cambridge University Press, 1982.
Gahan, Peter. "Shaw and Music: Meaning in a Bassett Horn." Shaw, Vol. 29 (2009): 145-175.
Gates, Eugene. "The Music Criticism and Aesthetics of George Bernard Shaw." Journal of Aesthetic Education, Vol. 35, No. 3 (Autumn, 2001): 63-71.
Grene, David, and Richmond Lattimore, eds. Greek Tragedies. Vol. 1. Translated by David Grene, Richmond Lattimore, and Elizabeth Wyckoff. Chicago: Chicago University Press, 1960.
Groos, Arthur. ""In the River Rhein"? —Das Rheingold as Musical Cosmogony.” Paper presented at Richard Wagner: Myth, Poem, Score, Stage International Conference, Taipei, Taiwan, July 2013.【中譯資訊請見後「外文中譯」項目】
Henson, Janice. "Bernard Shaw's Contribution to the Wagner Controversy in England." The Shaw Review, Vol. 4, No. 1 (January, 1961): 21-26.
Holroyd, Michael. Bernard Shaw: The One-Volume Definitive Edition. London: Chatto & Windus, 1997.
——————. Bernard Shaw: The New Biography. London: Head of Zeus, 2015.
Holub, Robert C. Reception Theory: A Critical Introduction. UK: Methuen Co. Ltd., 1984.【中譯資訊請見後「外文中譯」項目】
Huckvale, David. “Music and the Man: Bernard Shaw and the Music Collection at Shaw's Corner.” Shaw, Vol. 10 (1990): 96-112.
Iser, Wolfgang. Prospecting: From Reader Response to Literary Anthropology. Baltimore: Johns Hopkins University Press, 1989.
——————. The Act of Reading: A Theory of Aesthetic Response. Baltimore: Johns Hopkins University Press, 1978.
——————. The Implied Reader: Patterns of Communication in Prose Fiction from Bunyan to Beckett. Baltimore: Johns Hopkins University Press, 1974.
——————. The Range of Interpretation. New York: Columbia University Press, 2000.
——————. "The Reading Process: A Phenomenological Approach." New Literary History, Vol. 3, No. 2, On Interpretation: I (Winter, 1972): 279-299.
Jauss, Hans Robert. Aesthetic Experience and Literary Hermeneutics. Translated by Michael Shaw. Minneapolis: University of Minnesota Press, 1982.
——————. Toward an Aesthetic of Reception. Translated by Timothy Bahti. Minneapolis: University of Minnesota Press, 1982.
——————. Question and Answer: Forms of Dialogic Understanding. Translated by Michael Hays. Minneapolis: University of Minnesota Press. 1989.
Lawrence, D. H. "Introduction." In Shaw's Music: The Complete Musical Criticism of Bernard Shaw, edited by Dan H. Lawrence, 7-25. Vol. 1. London: The Bodley Head, 1981.
Lee, Josephine. "The Skilled Voluptuary: Shaw as Music Critic." Shaw, Vol. 12 (1992): 147-164.
Macrae, Alasdair D. F., ed. Percy Bysshe Shelley: Selected Poetry and Prose. London: Routledge, 1991.
Martin, Stoddard, ed. Wagner to "The Wasteland": A Study of the Relationship of Wagner and English Literature. London: Macmillan Press, 1982.
Nobel Foundation and Swedish Academy, ed. Nobel Prize Library: Nelly Sachs, Jean-Paul Sartre, George Bernard Shaw, Frans Eemil Sillanpaa, and Rene Sully-Prudhomme. New York: Helvetica, 1971.
Panagl, Oswald."?Gehrt ich nach Wonne, weckt ich nur Weh" － Zur Sprache in den Musikdramen Richard Wagners: Beobachtungen, Beshreibungen, Befunde.”Paper presented at Richard Wagner: Myth, Poem, Score, Stage International Conference, Taipei, Taiwan, July 2013. 【中譯資訊請見後「外文中譯」項目】
Rayfield, Donald. Anton Chekhov: A Life. New York: Henry Holt and Company, 1997.
Selden, Raman. Practicing Theory and Reading Literature: An Introduction. London: Routledge, 2016.
Selden, Raman, Peter Widdowson, and Peter Brooker, eds. A Reader’s Guide to Contemporary Theory, 5th ed. London: Pearson, 2005.
Scher, Steven Paul. "Literature and Music." In Interrelatiions of Literature, ed. Jean-Pierre Barricelli and Joseph Gibaldi, 225-250. NY: MLA, 1982.
Schweiger, Hannes. “Shaw's Contributions to the Culture and Politics of Fin de Siecle Vienna.” Shaw, Vol. 25 (2005): 135-146.
Shaw, George Bernard. Bernard Shaw Theatrics: Selected Correspondence of Bernard Shaw. Dan H. Lawrence, ed. Toronto: University of Toronto Press, 1995.
——————. Sixteen Self Sketches. London: Constable, 1949.
Weintraub, Stanley. “Introduction to Shaw.” In George Bernard Shaw, edited by Harold Bloom, 27-45. London: Chelsea House, 1987.
——————. The Unexpected Shaw: Biographical Approaches to George Bernard Shaw and His Work. New York: Ungar, 1982.
——————. Bernard Shaw: A Guide to Research. University Park: Pennsylvania State University Press, 1992.
——————, ed. Bernard Shaw: The Diaries 1885-1897. 2 vols. University Park: Penn State University Press, 1986.
——————, ed. Shaw's People: Victoria to Churchill. University Park: Penn State University Press, 1996.
Weisenthal, J. L. Shaw's Sense of History. Oxford: Clarendon Press, 1988.
Williams, Stephen. "Bernard Shaw as Music Critic." The Musical Times, Vol. 92, No. 1295 (Jan., 1951): 9-13.
Windsperger, Lothat, ed. Das Buch der Motive aus Opern und Musikdramen Richard Wagners. Band II. Edited by. Mainz: Schott, 1985.

中文 (依作者姓名筆劃排序)
張明貴。《費邊社會主義思想》。台北：五南圖書出版，2003。
黃喻麟。〈論《華格納寓言--揭開「尼貝龍根指環」的面紗》之翻譯策略與文化傳遞〉。天主教輔仁大學翻譯學研究所碩士論文，2002。
楊小濱。《否定的美學：法蘭克福學派的文藝理論與文化批評》。台北：麥田出版，2010。
顏綠芬。《音樂評論》。台北：美樂出版社，2003。
謝明學。〈從「讀者反應理論」探討歌劇劇本之中譯：以《唐懷瑟》與《彼得‧格林》之中譯為例〉。天主教輔仁大學翻譯學研究所碩士論文，1999。
羅展鳳。《畫內音：電影音樂筆記》。香港：Kubrick，2014。
羅基敏。〈從兩個《萊茵的黃金》談起〉。《PAR 表演藝術雜誌》。第 288 期（2016 年十二月）：94-96。
羅基敏。〈歌劇導演──以「百年指環」為例〉。《華格納．《指環》．拜魯特》，羅基敏、梅樂亙 編，157-172。台北：高談文化，2003。
羅基敏。《文話文化音樂》。台北：高談文化，2003。
羅基敏、梅樂亙 編。《華格納．《指環》．拜魯特》。台北：高談文化，2003。
羅基敏、梅樂亙 編。《華格納研究：神話、詩文、樂譜、舞台 — 2013 年臺北國際華格納學術國際會議論文集 》。台北：華滋，2017。
羅基敏、梅樂亙 編著。《少年魔號 — 馬勒的詩意泉源》。台北：華滋，2010。
羅基敏、梅樂亙 編著。《「多美啊！今晚的公主」──理查．史特勞斯的《莎樂美》》。台北：高談，2006。
龍協濤。《讀者反應理論》。孟樊策劃，（文化手邊冊第三十二冊）。台北：揚智文化，1997。

外文中譯(依原文作者姓氏字母排序)
Chekhov, Anton.《三姊妹／櫻桃園：契訶夫戲劇精選》。陳兆麟 譯注。台北：聯經，2004。
Groos, Arthur.〈「在萊茵河『裡』」？—《萊茵的黃金》之為宇宙源起〉，《華格納研究：神話、詩文、樂譜、舞台 — 2013 年臺北國際華格納學術國際會議論文集》。鄭可喬 譯。羅基敏、梅樂亙（Jurgen Maehder）主編，232-263。台北：華滋，2017。
Harris, Frank.《蕭伯納傳》。楊明 譯。（世界文學名著譯叢）。台北：北星出版社，1957。
Holub, Robert C.《接受美學理論》。董之林 譯。陳慧樺 編，（新韻叢書第二冊）。台北：駱駝出版社，1994。
Maehder, Jurgen.〈王爾德與史特勞斯的《莎樂美》──世紀末交響文學歌劇誕生的條件〉，《「多美啊！今晚的公主」──理查．史特勞斯的《莎樂美》》。羅基敏 譯。羅基敏、梅樂亙 編著，294-295。台北：高談，2006。
——————.〈馬勒早期作品裡配器的陌生化〉，《少年魔號：馬勒的詩意泉源》。羅基敏 譯。羅基敏、梅樂亙 編著，153-188。台北：華滋，2010。
——————.〈華格納的《尼貝龍根的指環》：場景暨音樂的烏托邦〉，《華格納．《指環》．拜魯特》羅基敏 譯。羅基敏、梅樂亙 編，137-155。台北：高談文化，2003。
——————.〈德國浪漫文學與音樂中音響色澤的詩文化〉，《框架內外：藝術、文類與符號疆界》。羅基敏 譯。劉紀蕙 編，239-284。比較文學與文化研究叢書。台北：立緒，1999。
Nobel Foundation and Swedish Academy, ed.〈蕭伯納榮獲諾貝爾文學獎的評審過程〉，《蕭伯納｜戴麗達》，諾貝爾文學全集編譯委員會 譯。瑞典學院 編，諾貝爾文學獎文學獎全集 14，11-20。台北：環華百科出版社，1994。
——————.《蕭伯納｜戴麗達》，諾貝爾文學全集編譯委員會 譯。瑞典學院 編，諾貝爾文學獎文學獎全集 14。台北：環華百科出版社，1994。
Panagl,Oswald.〈「我追求喜悅，卻喚醒苦痛」 — 談華格納樂劇的語言：觀察、描述、檢視〉，《華格納研究：神話、詩文、樂譜、舞台 — 2013 年臺北國際華格納學術國際會議論文集》。莊郁馨 譯。羅基敏、梅樂亙 主編，288-323。台北：華滋，2017。
Wagner, Richard.〈前言 — 寫給舞台慶典劇《尼貝龍根的指環》劇本之出版〉，《華格納．《指環》．拜魯特》，羅基敏 譯。羅基敏、梅樂亙 著，59-68。台北：高談文化，2003。

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