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聶華苓自傳性小說研究---從《失去的金鈴子》《桑青與桃紅》《千山外水長流》出發 / A study of Nie Hualing’s autobiographical novels周秀紋 Unknown Date (has links)
研究架構方面,本論文共分成六個章節。第一章「緒論」,說明本研究問題意識的形成、前人研究成果、研究架構。第二章題名為「聶華苓小說的女性意識」,透過分析小說中的女性角色,經緯聶華苓心中的女性形象,並以時間為縱軸,延展出女性的成長脈絡,企圖歸結出聶華苓心中女性的完美原型。此章分成「舊體制下的女性」、「女性的出走與回歸」、「從抗爭到獨立」三節,形塑文本女性的成長。第三章鋪陳聶華苓筆下的男性形象,企圖了解在男性缺席的生命歷程中,聶華苓對「男性」的解讀是如何的轉折?擬以「聶華苓的男性視角」為題,研究文本中的男性形象,分別以「從父權依戀到男性缺席」、「寓言書寫及其顛覆」、「安格爾的形象投射」說明聶華苓的男性視角。第四章研究小說的主題意識,分成「浪子歸宗」、「自由的追求」與「女性的困與逃」三節,討論聶華苓原鄉與文學的雙重流亡、在政治與文學上對自由的追求,與文本呈現的女性困境。第五章則探討小說的藝術性,透過「恐懼的語言」、「書信體的詮釋與療癒」與「多元的象徵意向」三部份,分析小說的藝術性。第六章則為結論。
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英式分紅保單資產配置與公平定價之探討 / A study of asset allocation and fair pricing of with-profit in UK黃麗容 Unknown Date (has links)
財政部所推動保單紅利自由化及費率自由化政策提供壽險商品市場的另一發展方向,促進我保險市場良性競爭,且自民國九十二年自由分紅保單進入台灣壽險市場,已有數十家壽險公司相繼搶這塊大餅,目前市面上的分紅保單大多採用美式三元利差分紅方式,在紅利部分尚不可設定保證給付,亦即沒有保證保戶每年都一定會領到利差分紅。因此,本研究將介紹在歐洲廣為盛行、附最低保證給付的英式分紅保單,作為國內業者在分紅保單設計上的參考指標。
本研究主要以傳統壽險商品為研究範疇,在不考慮有解約權下以隨機模擬的方式對英式分紅保單進行公平定價。研究方法為在大量模擬下找出不同投資策略的Markowiz效率前緣曲線,並選用這些投資策略於給定不分紅保單的預定利率下,在公平精算原則為前提下以蒙地卡羅法(Monte Carlo Methods)的方式,針對不同目標期末紅利率(Terminal Bonus Target;TB),找出分紅保單應有的合理預定利率及期間紅利率。再去衡量保險公司不同資產配置下,因為未達到期望紅利所造成的風險。此外,本研究更進一步地以靜態及動態投資策略探討保險公司失去清償能力(Insolvency Risk)的問題。
最後在上述架構下,本研究為了符合市場實際情況,分別針對不同保單期間與不同的繳費方式進行敏感度分析。
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《奧菲歐爵士》:音樂的時空性 / The Temporality of Music in Sir Orfeo鄭文嘉, Cheng, Wen Chia Unknown Date (has links)
《奧菲歐爵士》(Sir Orfeo) 是一首十三世紀晚期至十四世紀初期的傳奇敘事詩,其中重複出現的時空特性強調出奧菲爾斯傳統中「失去」的主題。克服失去的難題顯示了在無常的世界中維持恆常的困頓—如何在娑婆的世間找尋精神的寄託所在,以解失去對於個人時空感受所造成的罣礙,體驗生命的當下?於多數奧菲爾斯版本之中,到冥界挽回尤瑞柢思 (Eurydice) 的旅程是一個重要的場景,其突顯了在無常之中對於秩序與生命延續 (continuity) 的訴求。這首詩中,不同的延續觀出現於聽覺導向的人間王國與視覺導向的精靈王國,再再顯示了維持恆常的重要性。作為重回秩序的工具,奧菲歐的豎琴為此議題提供了重要的線索。問題的重心在於音樂中協調時空的力量,也就是所謂的共時性,其中蘊涵了奧菲爾斯文本中自身與世界的關係,及其與變動時空,延續感,以及重建秩序的關聯。
奧古斯都 (St. Augustine) 的《音樂論》(De musica) 從八世紀晚期到十五世紀以來一直都是一部影響深遠的著作,為音樂中的時間經驗提供了完整的哲學分析。從奧古斯都的音樂時間觀所呈現的先驗及秩序概念出發,此論文目的在於檢視奧菲歐的豎琴中所顯示出中古時期對於無常 (temporalia) 與先驗(transcendence) 的關懷主題。此項研究在於一種經由音樂與時空所協調出的經驗感受。除了探討人類王國與精靈王國之間的辯證關係,也揭示了《奧菲歐爵士》對於存在、當下、以及人類價值 (humanity) 所表現出來的核心態度。誠如奧菲歐與野外動物們共享短暫的和諧經驗所示 (272-80),奧古斯都的先驗及永恆觀與奧菲歐豎琴中變動的感官特性並不相符。儘管如此,他對於靈魂律動所提出的解釋,以及記憶是一種出於心智印象 (phantasiai) 的看法,為我們提供檢驗精靈王國時空感的理論基礎。
為了解釋音樂中的和諧如何經由時間經驗讓奧菲歐在變動的世界中維持恆心,此篇論文分成四個章節:第一章介紹相關主題及評論。第二章介紹
中古時期與奧菲爾斯神化相關的音樂理論背景並且闡釋奧古斯都音樂論中的時間觀。在第三章中,我將進一步分析《奧菲歐爵士》中的時空觀。奧菲歐的豎琴所帶來的和諧經驗將會以個人內在與變動外在的互動回饋機制來檢視。這樣的內外交流呈現出一種變動的先驗觀,將永恆寄託在一種有機變動中所體驗的延續感。 其同時也揭露了自身與世界互動的關鍵模式,透過精神蛻變 (metamorphosis) 和冥界之旅等面向,增進我們了解失去及無常的主題。最後,我將在第四章以豎琴的社會意義作結,解釋其對於口說傳統的文化傳承帶來什麼樣的影響,並提供其他奧菲爾斯文本一個不同的角度來觀看自身與世界的關係。 / Loss, the dominant theme in the Orphic tradition, is accentuated by the recurring issue of temporality in Sir Orfeo, a late thirteenth or early fourteenth century romance. The difficulty of overcoming loss posts the question of finding spiritual residence and maintaining spiritual progress in the temporal world. The underworld journey to retrieving Eurydice, as a major scene in most adaptations of the myth, signifies the quest of order and continuity through changes. Such an issue of maintaining constancy is highlighted by the different features of continuity appearing in the hearing-oriented human kingdom and the sight-oriented fairy world. Orfeo’s harping, as the means for recovery, offers a significant clue in viewing this issue. The question falls on the meditative power of music itself, i.e. the contemporal experience of sentiments, which reveals the particular self-world relationship embedded in the Orphic texts and its relation to temporality, duration, and the restoration of order.
Augustine’s De musica, which had been an influential work from the late eighth century to the fifteenth century (Fitzgerald 575-76), provides an overall philosophical illustration on the experience of time in music and its relation to maintaining order. Deriving from Augustine’s idea of how the experience of time in music contributes to an understanding of transcendence and order, this thesis aims to examine the medieval concern of temporalia and transcendence manifested in Orfeo’s harping. It is a study of a relationship in space and experience of time that is negotiated through music, which explores the dialectic relationship between Orfeo’s kingdom and the fairyland, and also reveals essential attitude toward existence, presence, and humanity in Sir Orfeo. Although Augustine’s conception of timeless transcendence does not match the
temporal and sensual nature of Orfeo’s harping, as seen in the temporary harmony Orfeo shares with the wild animals (272-80), his exposition on the movement of the soul, together with the explication of memory as images (i.e. phantasiai) operated in the motions of the mind, provide us a theoretical basis for examining the temporality of the fairy world.
To illustrate how the harmonic order generated through the experience of time in music contributes to the maintenance of internal consistency within the temporal world, this thesis is divided into four chapters: Chapter one introduces relevant issues and literary criticism. Chapter two offers a detailed explanation of the historical background of medieval music theories, the associated allegorical readings of the Orphic texts, and Augustine’s conception of time in the experience of music. In chapter three, I further analyze the temporality of music in Sir Orfeo and distinguish two types of temporality, that of Orfeo’s court and that of the fairyland. The harmonic relationship maintained by Orfeo’s harping is examined in terms of the reciprocal interaction between the inner self and the operating world, which prescribes continuity in temporal transcendence and reveals a significant mode of self-world relationship. Such a study contributes to our understanding of the theme of loss and change in relation to spiritual metamorphosis and the underworld journey. Finally, I conclude in chapter four with the social significance of the harping in order to examine the cultural legacy of the bardic tradition. Through the examination of the mediation of music, I offer an alternative view on the self-world relationship in the Orphic texts.
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