白蛇傳是從白蛇故事、傳說逐漸發展而成，直至馮夢龍《警世通言．白娘子永鎮雷峰塔》一出，被學者公認為白蛇傳故事的成型，自此，即成為地方戲曲熱門的表演曲目。民國以來，藝術形式發展得更多元，加上影音事業的起步，除了傳統的戲曲之外，白蛇傳在舞蹈、舞台劇、電視劇、電影皆有作品呈現。 　　關於白蛇傳的學術研究成果，多由文學、藝術等方向來分析，本文則是改以宗教學的視角來詮釋白蛇傳故事。首先，從源流探討先民如何從蛇圖騰崇拜，演進發展為龍神信仰。也因為古代民族對於蛇文化的崇拜，在傳說故事中，蛇扮演了重要的主角，其中，最著名的女蛇精，即是被鎮壓在雷峰塔下的白蛇，故知白蛇傳說是逐步推衍而成的一種民間敍事。 　　在宗教上，本文是以基督教、佛教、道教、民間信仰為例，說明蛇的形象與象徵意義。其次，由「精怪修煉」和「人的修行」二方面，來分析不同精怪、妖怪、鬼魅、魔神仔等異類的定義，並探討異類由蛇變人的緣由與目的。後以佛、道色彩的謫凡神話，和恩怨必報、宿緣說的論點，述說白蛇、青蛇、許宣、法海之間複雜的關係。 　　在白蛇傳中，白娘子在端午節喝下雄黃現出「原形」，故事背後具有豐富的端午民俗意涵，而現形後便涉及到「收妖」的部分。文中分析道士使用符、籙、咒的文化演變，和遣天兵神將的本領；次則分析法海這位高僧，運用神通及使用法器，展現高深莫測的收妖能力，以及在收伏白素貞之後，造塔（雷峰塔）鎮邪的經過。 　　如實存在的「雷峰塔」，具有歷史文化和宗教的意蘊，並呈現佛塔建築的高度藝術特色；又因塔位於西湖邊，更增添旅遊的價值。隨著時代的演變，從帝制進入民主政治初期，「雷峰塔」被投射成封建腐敗的舊禮教象徵。之後，兩岸因政治因素而無法自由往來時，「雷峰塔」旋即變成象徵政治影響的枷鎖。因此可說，「雷峰塔」不論在現實生活或是文本當中，皆具有多元豐富的意蘊。 　　綜言之，本文是以宗教學詮釋的視角來凸顯白蛇傳故事，亦旁及文化、民俗等向度的探討，期能在文學角度之外，呈現白蛇傳研究的新視域。 / The White Snake Legend was gradually evolved from the White Snake story.Until the Feng,Meng-long's "Jingshitongyan, The White Snake was kept squelching under the Leifeng Pagoda forever", the scholars considered it was the forming of the White Snake Legend. From then on, it became the popular repertoireof the local opera. Since the republic of China, the art forms developed diversifed.In aadtion to the growing up of the audio and video career, The Snake Story could be shown in the dancing, the theater, the drama and the film ways. Most of the academic research about The White Snake Legend were analyzed in literature and art ways. This thesis change the perspective of religious studies to explain the White Snake story.First of all,it explored from origins how the ancestors worshiped the snake totem , and then developed into the Dragon belief.The snake played an important leading role in the legends.Among them, the most famous female snake, that is, the white snake was suppressed under the Leifeng Pagoda.Therefore,it can be proved that The White Snake legend was a kind of narrative folk which was formed step by step. In the religion level,this thesis used the Christianity, Buddhism, Taoism,and the Chinese folk religion for example.Second,it analyzed the defention of different heterogeneous, such as the monsters, ghosts, devil-earners and the trickers, by the" Spirit practice and the "Human practice ". Then discussed the reason and the purpose of heterogeneous changed from the snake to be a human. Further, used the argument of the banishment myth of Buddhism and Taoism and the contention of grievances must be reported and the theory of the relationship predestined from a previous existence to describe the complex relationship between the White Snake, Green Snake, Xu Xuan, and Fahai. In the White Snake Legend, the White Snake drank the realgar and showed her original shape in the Dragon Boat Festival. The story implied abundant folk meaning of the Dragon Boat Festival. After showing her original shape,it related to the part of the revenue demon.In the script analyzed the cultural evolution of the priests used the symbol, the memo, and the curse and the ability of assigning the troops from heaven.Then analyzed the monks of Fahai who used the supernatural powers and the Buddhist instruments to show the enigmatic ability of closing demon and the process after subduing Bai Suzhen and then built the tower (Leifeng Pagoda) to repress the evil. The "Leifeng Pagoda" truthfully exist and has the meaning of historical and cultural and religious and shows a high degree of artistic features of the Pagoda building. Furthermore, the tower is located in the West Lake, which is added to the value of tourism.With the evolution from a monarchy into a early democratic political, the "Leifeng Pagoda" is a symbol of the projection into the old ethics of feudal corruption. After the two sides across the Taiwan Strait can’t come and go freely because of the political considerations, the "Leifeng Pagoda" immediately became a symbol of the yoke of political influence. Therefore, it can be said, the "Leifeng Pagoda" whether in our real life, or in the text has rich multi-dimensional.In conclusion, this article used the perspective of religious studies to interpretate the White Snake Story.It also probe into culture, folklore, and other dimensions.Hope to show a new point of view as well as the literature.

身體一直是生活世界中的感知與行動的載體，我們透過身體實踐搭建起心靈自我與社會的橋樑。因此藉由修煉身體的修養自我的工夫，使身體修煉承載了傳統文化底蘊與濃厚生命哲學，而牽涉了對生命、信仰乃至宇宙的道德情操。本文主要的研究命題是了解身體如何適應現代資本主義社會及實踐自我修養的技術，並且建立一套生活經濟的模型。本文的分析架構是關於修煉的內隱特質到外部身體實踐之間的互動過程。首先，透過考察修煉主體如何藉由卡理斯瑪的力量建構自身的修煉信仰與集體意識。同時，透過傅柯自我技術理論探討了修煉主體如何自我省察、鍛練以強化他們在日常生活中的身體感知與實踐，並且論述修煉主體如何將自我修煉進一步轉化於日常生活飲食的實踐。所以，藉由「梅門」研究個案，本文認為修煉的商品化是為了適應現代消費社會的世俗需要，而被外顯到美學鑑賞和階級品味的生活風格及在生命經濟當中的身體資本的積累與培塑。 / The body has always been the carrier of our perceptions and activities in the world. Through the bodily practice, the body bridges connections between spiritual self and society. By practicing the self-cultivation, the body inherits traditional cultural heritage and philosophy of life, and hence involves in life, faith, and moral emotion. My main problematics are to understand how body-cultivation adapts to the modern capitalist society, practices the technologies of the self-cultivation, and even builds a modality of life economy. The approach of my analysis is about interactive process between inner spiritual cultivation and outer bodily practice. First, it examines how the practitioners build their bodies based own faith of self-cultivation with collective consciousness formulated by charismatic power. Simultaneously, it explores how the practitioners reflect their inner selves by way of Foucauldian style of self-technology to sharpen their bodily perceptions and practice in everyday life. Then it turns to overview how practitioners realize their inner cultivation in dietary practice of everyday life. Taking the “Meimen Qigong Culture Center” as a case study, I argue that commercialization of self-cultivation is in response to earthly need of modern consumption society since it has been externalized to aesthetic judgement and life styles of social classes as well as bodily capital accumulation in economy of life.

陳景元(1035宋仁宗景祐元年—1094哲宗紹聖元年)為北宋著名的陳摶學派內丹道士，他的著作具有非常豐富的思想內涵。本研究著重於陳景元的身心修煉，運用「以經解經」為研究方法，而非從思想史的角度切入，能仔細地研究陳景元的思想脈絡，得以補充前輩學者的論點，推論出陳景元的思想體系各處的內丹特質之研究結果。因此在闡述道論及心論後，本文將著重歸納陳景元內丹核心的精、氣、神。 道論主要解釋道德之體用說法，說明陳景元如何通過道德解釋宇宙的生成，以及其與他的身心修煉的關係。同時也解釋了仁義禮樂與修煉五臟之氣的關係，描述陳景元如何從一個道士的角度解釋道論與道德，外在的行為和體內修煉之關係，及其與身心修煉的關聯。 其次，本文說明心的概念，以靈府、靈台、性、思慮等解說陳景元的心論內容。說明陳景元如何解釋性，和個人偏心的原因。討論陳景元心論的架構，和如何使心不散佚能量。然而，陳述達到心不散佚能量的運行，包含的性命雙修理念。 既明白修心為首要目的，也了解到透過修身才能達到其目標。而陳景元修身方法的一個關鍵是「精」。本文解釋陳景元的精與萬物生成的關係。文中描述腎中之精與其身心修煉的關係，能補充及鍊養身體的各種部位，如關節、韌帶等，此對心靈修煉的影響及協助。 「精」為一切的原質，而「氣」為一切的內容。說明元氣、純陽、純陰、魂魄、天地之氣、清濁等乃是宇宙變化的原因及方法，以及調和「氣」在陳景元身心修煉關鍵位置。將探討如何讓天地之氣能通於身心而達到沖和的修煉論，及陳景元的氣論與情緒的關係等的各個方面的聯繫。 「氣」為變化的內容，而「神」是道之作用，說明五臟之神、神鬼神帝、神明、神與精、神與心、神與魂魄、神與玄等的思想理念。闡明神與萬物生死變化之關係，而此變化的能量與心靈中能力的聯繫。描寫透過身心修煉調和身心之平衡，達到精氣神之養神、鍊形、養氣工夫論。 總和來說，本研究解釋陳景元的精、氣、神的身心修煉，說明陳景元道的內容，與入道的工夫論，詮釋陳景元的道論、心論、氣論、養氣、煉形、養神的精氣神內丹身心修煉的思想。 / Chen Jing Yuan (1035-1094) is a renowned inner alchemic Doaist priest who lived during the Song dynasty and his works are rich with substance. In this paper I primarily discuss Chen Jing Yuan’s practice of balancing the mind and body through using Chen Jing Yuan’s works to analyze his thought system rather than a historical approach to the subject. In this way, on the shoulders of past scholars, this paper delves deeper into the thought of Chen Jing Yuan and its inner alchemic properties, providing a more complete understanding of his though. In light of the fact that Chen Jing Yuan in an inn alchemic Doaist priest, this paper’s chapter thus focus on the nucleus of inner alchemic thought or “Jing”, “Qi” “Shen”. The first chapter discusses “DaoDe” in Chen Jing Yuan’s thought system. Analyzing how from “DaoDe” this world comes into to being and through “DaoDe” one then can thus return to this beginning. This is done through practice and balancing the mind and heart. In balancing the mind and heart, one must balance the flow of energy through the five organs, and this chapter also discusses the relationship between the organs and the “five virtues”. Next this paper discusses the mind through the concepts of “Ling-Fu”, “Ling-Tai”, one’s “Nature” and thought and how thought becomes to be. Thus analyzing how thought affects one’s body and how one through practice one can prevent thought from blocking the flow of energy. This is the major focus of Chen Jung Yuan’s practice. Even though the mind is the main focus of practice, the body must also simultaneously be improved for one to return to “Dao”. This chapter discusses the essence of the body (sperm and eggs), and how this essence is also simultaneously the essence of everything. So this chapter discusses the role of the essence or “Jing” in Chen Jing Yuan’s practice, thus discussing this practice and its relationship to and its effects on the joints, organs, digestion etc. So “Jing” is the essence of all things and “Qi” is the substance of all things. This paper thus sheds light on the concepts on the difference concepts associated with “Qi” in Chen Jing Yuan’s thought. Shedding light on how if one improves the digestion of nutrition from food and absorption of energy from the air the energy within the body thus attains its natural flow, thus becoming in tune with change. “Qi” is the substance and energy of all things and “Shen” is the main principle of balance in change. This paper analyses the different concepts associated with “Shen” in Chen Jing Yuan’s thought and discusses how this balance acts in the creation of things. Also this paper discusses how one cultivates “Shen”, thus through this balancing the relationship between the mind and the body and becoming one with change. This paper thus discusses how one attains balance in and balance between the mind and body and how through the practice of inner alchemic Daoism this balance is actualized and “JingQiShen” is attained.