本文試圖探討美國十九世紀詩人艾蜜莉˙狄瑾蓀，透過作品中之石化現象，藉著石頭意像之淨化及蛻變，尋求自我獨立及個人特色。狄瑾蓀如石頭般的隱居，並非對世俗限制的消極抗議，而具有在遊戲中伸張自我主張區別的積極意義。全文針對詩人作品中，對石化意像的討論，可分為六部份。在簡介中，透過先前學者的研究認知，總覽詩人用石頭的意像，大膽深入與自我內心最孤獨的對峙。接下來，將分四章探討狄瑾蓀詩中的石化現象。第一章將詩人作品中，對自然界裡小石子的認同，視為在石化現象中，對自我知識領域上的追求，以及為超越世俗價值判斷的美學發聲。第二章透過化身在墓石千垂不朽的象徵中，檢視詩人藉石化作用，預視藝術創作之精粹，以及學術追求之永恆，自我期許。第三章探討詩人運用寶石的意像，在石化作用的蛻變中，顯示出自然界中蘊含以久的重生潛能，以及指示未來的自我提升與淨化。第四章中，詩人用石頭象徵死亡的意像，悠游其中，並視之為與無限它者相遇的宏偉體驗，在滿足與從容中，探索自我。在總結中，狄瑾蓀對自我成就與藝術美學尋求個人特色的朝聖旅程，再次受到肯定。詩人透過文字的力量，在石化的過程中，打造了人間天堂。

This thesis proposes to investigate Emily Dickinson’s pursuit for autonomy and individuality through the metamorphosis of stone baptism in petrifaction. Dickinson’s seclusion like stone is considered not as a passive protest against convention and confinement, but as an active declaration for distinction in playfulness. The discussion of her petrifaction imagery in Dickinson’s literary works can be divided into six parts. In the introductory chapter, Dickinson’s stone images as her daring adventure into a solitary confrontation with herself are examined with the acknowledgements of previous scholars. Following are the four chapters on the petrifaction phenomena in Dickinson’s works. In the first chapter, the poet’s identification with the little pebble in nature is considered as a process of petrifaction for her self-quest of intellectual sovereignty as well as an articulation of the poetic transcendence over secular evaluation. The second chapter will scrutinize Dickinson’s petrifaction as a justification of her anticipation for artistic excellence and intellectual immortality through the monumentalization in the gravestone imagery. In chapter three, the metamorphosis through jewelry imagery indicates the possible resurrection that the changing nature has practiced for ages and the prefiguration for future elevation in the purification of petrifaction. In the fourth chapter, the playfulness in the stone image of death is explained as the grand experience of encountering the infinite other and an exploration of the self in satiety and contentment. In the concluding chapter, Dickinson’s pilgrimage for self-fulfillment and artistic individuality are reaffirmed again to propose a potential through the power of words in petrifaction process, for eternal grace not in heaven, but on earth.

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