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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

復語:《使女故事》中的創傷敘事 / Reclaiming Language: Trauma Narrative in The Handmaid's Tale

許齡文, Hsu, Ling Wen Unknown Date (has links)
透過主角兼敘事者奧芙弗雷德 (Offred) 的信件書寫,愛特伍 (Margaret Atwood)《使女故事》(The Handmaid's Tale, 1986) 一書回憶並訴說過往的故事。奧芙弗雷德的敘事打破順時性,呈現了斷裂與曖昧難解的狀況,點出了敘事者對於其所訴說的過去缺乏完整的理解。本論文從創傷敘事的角度分析《使女故事》,試圖探究奧芙弗雷德敘事中缺乏連貫的起因。 本論文分成五章來探討奧芙弗雷德的敘事,以期完整呈現小說中創傷敘事與語言、書信模式所交織成的複雜關係。第一章介紹《使女故事》的梗概與相關評論,並說明本論文所使用的理論架構。第二章以傅柯 (Michel Foucault) 的語言理論,探討語言與權力統治的關係與其在「反烏托邦」(dystopia) 世界中所承擔的角色,進而分析奧芙弗雷德如何一步步地取回了原本被禁用的語言,透過敘事釋放潛藏的溝通慾望。第三章則透過佛洛伊德 (Sigmund Freud) 的創傷理論與後續發展的創傷敘事研究,檢視奧芙弗雷德令人困惑的敘事。第四章藉由巴赫汀 (Mikhail Bakhtin) 的對話論 (dialogism) 分析書信模式在奧芙弗雷德敘事 (narration)/重構 (reconstruction) 中的影響與作用。最後,第五章討論愛特伍在文本末章〈史料〉("Historical Notes") 呈現對書信編輯一角的翻轉,並點出奧芙弗雷德對於敘事的堅持來自於她對於溝通與生存的期望。 / Through the narrator-protagonist Offred's letter-composition, Margaret Atwood's The Handmaid’s Tale (1986) unfolds as Offred recalls her past to tell the story. Offred's narrative is not chronological, but elusive and fragmentary. The scattered narrative fragments indicate Offred's incomplete understanding of the past. The present thesis seeks to explore the intricate cause of Offred’s narrative fragments by reading The Handmaid's Tale as a trauma narrative. To gain a full picture of Offred's trauma narrative, the thesis is divided into five chapters. Chapter I introduces The Handmaid's Tale and its literature reviews and explicates the theoretical approaches used in the thesis. With the introduction of Foucauldian discourse on language, Chapter II focuses on the role of language in relation to power in dystopia. In addition, the chapter illustrates the process of Offred's gradual regaining of the denied language and embarking on her narrative expedition, seeking to communicate. Meanwhile, Chapter III focuses on Offred’s puzzle-like narrative, inspecting her narrative through the lens of the Freudian trauma theory and trauma narrative. Chapter IV analyzes the function of the epistolary form in Offred's reconstruction of the past with the Bakhtinian dialogism. Finally, Chapter V discusses Atwood's revision of the role of the editor demonstrated in the epilogue "Historical Notes" of The Handmaid's Tale and concludes with Offred's longing for communication and survival that propels her act of storytelling.
22

自我認同、性別角色、及個人特質與生涯發展的關係~四位心理學者的學者之路

林君品 Unknown Date (has links)
個體生涯發展的歷程受到諸多因素影響,其中自我認同、個人特質、以及社會所加諸性別角色的作用,是本研究所關心的議題。研究樣本為四位心理學界具有卓越成就的學者,選取兩男兩女作為相互比較的參照,使用質性研究當中的生命故事研究法,透過一對一訪談,輔以文件蒐集,作為主要資料來源。資料分析主要依循「整體-部分-整體」的三角循環程序,對文本作反覆分析。研究結果發現,生涯發展的情形確實受到自我認同以及性別角色的影響,其中有關於個人能力與動機的認同,更加影響其發展歷程;而在性別角色的作用方面,對於女性的衝突又大於男性,社會所給予的性別角色作用在男性身上是加成的效果,亦即與其自身的成就動機方向一致,但是作用在女性身上卻是抵減的,往往與自我成就動機的方向相反。本研究其中一位女性學者因幸運地擁有與男性相同的機會與環境助力,於是成就了與另兩位男性學者不相上下的學術表現;而另一位女性學者,則因家庭、婚姻中種種不利於個我成就表現的因素,呈現出較多衝突與阻礙的生命故事,也因此面臨客觀學術表現的困境。
23

《聊齋誌異》果報故事研究

張雅文, Chang,Ya-Wen Unknown Date (has links)
佛法是諸佛如來對法界眾生(上至等覺菩薩,下至地獄眾生)至善圓滿的教育,佛教導我們要透過修行,將精神的染污、心地的染污、思想見解的染污斷除掉,恢復自性的清淨心,佛陀的教學就圓滿了。修行該從何處著手呢?無論是世間聖賢或是諸佛如來的教育都是以孝道、師道為中心,圓滿孝道、師道,是佛法自初發心一直到修成如來果地的不二法門。佛法是師道,從佛弟子稱釋迦牟尼佛為「本師」(根本的老師)即可看出端倪,而師道是要建立在孝道的基礎上,《地藏菩薩本願經》便是佛門孝經,它教導我們如何落實孝道與師道,「孝親尊師」不僅是待人處世的基礎,也是開發我們自性寶藏的根本大法。 釋迦牟尼佛在淨土宗三經之一的《觀無量壽佛經》中為我們敘述了一個故事:韋提希夫人遭遇家庭重大變故,她的兒子阿闍世王在提婆達多慫恿下,為了篡奪父親的王位,犯下殺父、害母的重罪,韋提希夫人在此巨變下萬念俱灰、了無生趣,懇求釋迦牟尼佛開示宇宙間離苦得樂的所在。釋迦牟尼佛非常慈悲,以神力將十方世界變現在韋提希夫人面前,讓她自行選擇,她看了之後,選擇西方極樂世界阿彌陀佛的教區,之後她再度請求釋迦牟尼佛開示,要用什麼方法才能到達?世尊首先要求她修淨業三福:「佛言欲生彼國者,當修三福:『一者、孝養父母,奉事師長,慈心不殺,修十善業;二者、受持三歸,具足眾戒,不犯威儀;三者、發菩提心,深信因果,讀誦大乘,勸進行者。如此三事,名為三世諸佛淨業正因。』」佛特別為她說明,這三福是三世諸佛淨業正因,三世是講過去、現在、未來一切諸佛,他們修的法門一定是不一樣,修學的宗派也不一樣,但是都能成佛。就好比我們無論蓋什麼式樣的房子,多麼高的大樓,都一定要有堅固的地基為基礎,「淨業三福」是世尊教導我們的修行基礎,這十一句就如同十一層大樓,後面的包攝前面,前面無法涵蓋後面的,必須按部就班循序漸進才行。 種善因得善果,種惡因得惡果,為世間及出世間不變的道理。天理昭彰,報應不爽。無論世間聖人,或出世間諸佛如來,皆以因果大道施行教化。若人人知因果,大治之道也;人人不知因果,大亂之道也。世間聖人的教化著眼於現生並及於子孫,諸佛如來則曉以三世因果之說,使人自然而然地隨順性德、斷惡修善,以趨吉避凶。而小說對世道人心的教化,往往比聖賢的教誨更容易讓人接受。蒲松齡在科舉途上不遂意,終生都在鄉下坐館教書,這對於曾積極追求福祿皆至、立志拯濟蒼生的他,無疑是落魄失意的。這種失意的悲憤,訴諸於文字,就是他自稱為「孤憤之作」的《聊齋誌異》。透過瀰漫全書的佛教思想,蒲松齡創作命意的另一方面也展現出來,即:教誡世人,匡扶民俗,勸善懲惡,婆心救世,曲筆為文。佛法法門無量,有些宗派在明清之際幾乎後繼無人。唯有禪宗與淨土宗因其簡捷方便,仍在廣泛流行,但信奉者大多已經不拘泥於某一宗派,而是同時吸取和融合儒釋道三家的理論。蒲松齡在時代的影響下,反映在《聊齋誌異》中的佛教思想必然是以禪宗和淨土宗為主。筆者德學疏淺,無法禪淨雙修,故擬以淨土法門為探討方向。近人以《聊齋誌異》為研究主題的學位論文數量頗豐,但卻少有人觸及此專題,或是尚不夠深入,因而引發筆者強烈的研究動機,希望藉由對故事中事理因果的探討,達到明瞭宇宙人生真實智慧的目的。 本論文在第二章首先討論在佛法傳入中土前,中國本土早已有因果報應的觀念,遠至夏商週三代,便有敬鬼神之說。在先秦諸子的典籍裡,如墨子即有禮敬上天、賞善罰惡的觀念,孔孟老莊諸子欲以倫理常道代替傳統的鬼神信仰,而這種轉化與因果報應觀亦有密切關聯。秦漢時期有祭祀之風,漢有天人感應之說,皆承襲前人觀念而有所變通,並且指出有時候報應不一定是必然的現象。直到佛法傳入中土,它的教義始為此觀念提供了理論基礎。這一學說解釋了傳統道德無法解釋的惡人得福,善人反而受欺的現象,殷殷勸導人們必須斷惡修善,隨順諸佛如來教誨,並遵守倫理道德及社會規範,以圖避免禍殃,獲取善報。再者就蒲松齡的宗教思想作一分析,他出生於一個平凡的半耕半讀家庭,對傳統儒家的道德規範、民間信仰及佛教、道教的通俗教義,從小耳濡目染,早就習以為常。而他所處的又正是民間秘密宗教最為盛行的時代,這些教派參雜在儒釋道三教思想內涵中,應該也或多或少影響著他。這些因素都融入在他的宗教世界,而具體地呈現在《聊齋誌異》的果報故事中。 人生在世,無不追求功名利祿、聰明智慧及健康長壽。功名利祿、聰明智慧、健康長壽都是福報,想得到它就一定要修佈施。佛教導我們「有施斯有財,有施斯有智,有施斯有壽」,財佈施得財富,愈施愈多;法佈施得聰明智慧;無畏佈施得健康長壽。財佈施是因,財富是果報;法佈施是因,聰明智慧是果報;無畏佈施是因,健康長壽是果報。第三章則依據釋迦牟尼佛在《佛說十善業道經》中的開示,分別就孝順與忤逆、護生與殺生、不淫與邪淫、捨財與慳貪、和顏愛語與惡口戲言等主題,進一步探討《聊齋誌異》中的果報故事。世尊在此地教導我們:晝夜常念善法、思惟善法、觀察善法。我們的心地善、念頭善、行為善,絕不會造惡業,當然也就能夠永離一切惡道苦。「積德修善、積功累德」,這也是儒釋道三家教化眾生的共同理念。吉凶禍福都在一念之間,世人若能真心懺悔,過去罪愆永不再造,務必做到斷一切惡,修一切善,定能年年如意、歲歲平安。 筆者在第四章中從敘事時間、敘事角度及敘事修辭等三方面,來探討《聊齋誌異》果報故事的敘事方式。由於敘述者對故事時間的重視與否,使得該事件的敘事時間得以拉長或縮短,從而展現出深度的描寫、精緻的敘述,並透過省略、延宕、懸念等敘事手法,給予讀者不同的感受。因為這些都是敘述者的操縱與處理,其間蘊含敘述者及所敘人物的感覺、感情和理智,將所謂的敘事時間人文化,這也是研究敘事方式,何以不能疏忽敘事時間的原因。在敘事文學作品當中,敘述者與故事存在著相當重要的關係,西方小說理論家認為,二者之間實際上就是一個敘事角度的關係。敘事角度關係到事件被感知的具體過程和方式,它要解決的問題是:故事中的人、事、物是誰看見的?是看到了事件的全部乃至透視到了所有人物的內心活動,還是只看到了事件的某些部分、只透視到了某些人物的內心活動(抑或沒有人物內心活動的透視)?觀者與被觀者、敘事者與被敘事者的態度及關係又是如何?由此不難看出,敘事角度確實關係一部作品的基本風貌甚至質量的好壞,容不得作者有絲毫的馬虎。而修辭或修辭法,一般都理解為是語言學的一個組成部分,它主要指作者敘述技巧的選擇以及文學閱讀的效果。 蒲松齡一生從事教育工作,除了在王村和豐泉鄉等地各教了幾年書外,便是在康熙十八年設帳於淄川西鋪村畢際有家,直到康熙四十八年才回家養老,其時年已七十。他特別強調因果報應在教育中的重要作用,教育是什麼呢?教育就是教導我們不愚癡,就是對於是非、真妄、邪正有能力辨別。換句話說,就是培養我們正確的思想、正確的見解、正確的行為。正的標準是什麼?與真如本性相應就是正,與「真誠、清淨、平等、正覺、慈悲」相應就是佛菩薩,不相應仍是生死凡夫,這也是古大德所說:「一念相應一念佛,唸唸相應唸唸佛。」換言之,佛法教育的宗旨在教導我們明瞭宇宙人生的真相,要想瞭解這個真相需要真實的智慧,唯有真實智慧才能破迷開悟,才能解決一切的問題。 世間及出世間一切法,就是一個因果報應,連佛法都不例外。因果何以不空?第一個「因果轉變不空」,因變成果,果又變成因;第二個「因果循環不空」,因果循環,善有善報,惡有惡報;第三個「因果相續不空」,佛門偈子有言:「不思議業力,雖遠必相牽,果報成熟時,求避終難免。」因為有轉變、循環、相續三種因果,所以它不空,佛法常講「萬法皆空,因果不空」,就是說的這個事情。佛法修習的目標,是令眾生明白宇宙人生的事實真相,從而通達「一飲一啄,莫非前定」的道理,當下覺悟在菩提路上勇猛精進、斷惡修善,不受一切境緣的干擾,能夠得到真正的自在安樂。因果循環的運行是一種自然現象,所謂解鈴還需繫鈴人,眾生所種的因,必有果報,這不是神明可以主宰的。既是自作自受,佛菩薩雖然大慈大悲,也是沒有辦法代替眾生受苦的。淨土法門斷惡修善,是依《大乘無量壽經》第三十二到三十七品為準則,世尊將五戒十善的形相、修學的方法,以及業因果報的事實真相,苦口婆心的為我們說明善因善果,讓我們曉得修善得福的好處,對佛的教誡,要像窮苦人得到寶物一般的珍惜。並藉此勸勉我們要發心求生淨土,親近極樂世界諸上善人,達到破迷開悟、離苦得樂、超凡入聖,究竟解脫、不可思議的境界。 蒲松齡在《聊齋誌異》〈龍飛相公〉(卷十)中描述戴生「因思重泉下無善可行,惟長宣佛號而已」,佛號為何有如此大的功德呢?蕅益大師在《阿彌陀經要解》的跋文中說:「《經》云:末法億億人修行,罕一得道,唯依念佛而得度。嗚呼!今正是其時矣,捨此不思議法門,其何能淑?」我們生在此時,億億人修行,卻難得有一個人成就。為什麼呢?成就都要斷盡煩惱,我們的貪瞋癡慢、煩惱妄想,能不能斷掉?這兩樁事情斷不了,修行什麼法門都屬枉然,都不能成就。念佛為什麼得度呢?不要斷煩惱,不要斷妄想,只要深信切願執持名號,就能往生。如果念佛也要斷煩惱斷妄想,我們也沒有指望了。這個法門的殊勝處,就在此地。真心切願,求生西方極樂世界,放下萬緣,身心世界不再牽掛,一心一意繫念極樂世界,這一念求生淨土、求見阿彌陀佛的心,就是無上菩提心。釋迦牟尼佛在五濁惡世修得阿耨多羅三藐三菩提法,圓成無上佛道,方法就是念一句「阿彌陀佛」,信願持名是一切諸佛所修,這不是普通法門,是一切如來果地上所修所證的法門。「阿彌陀」是無量的意思,「佛」是覺悟的意思,「阿彌陀佛」就是無量的智慧、無量的覺悟。世尊教導我們要深信因果,此處的深信因果,是指深信念佛法門──念佛是因,成佛是果,十方世界諸大菩薩,都是念佛成佛的,我們稱念佛法門為難信之法,真正能相信者,就如同《大乘無量壽經‧皆願作佛第十品》上所說的阿闍王子與五百位大長者一樣,他們過去生中的善根福德太深厚,曾經供養過四百億佛,安住於菩薩之道,但人有隔陰之迷,一轉世捨生受身還是不免退轉。所以要認真念佛,對於念佛法門能信、能解、能願、能行,才能了脫生死,修行證果。
24

互動敘事中智慧型共同創作平台設計 / Design of an Intelligent Collaborative Authoring Platform for Interactive Storytelling

梁芳綺, Liang, Fang Chi Unknown Date (has links)
近年來互動數位敘事(Interactive Digital Storytelling, IDS)的發展日漸被重視,有部分研究針對互動數位敘事開發故事腳本編輯工具,雖然這些編輯工具考慮了沒有互動數位敘事腳本編劇經驗的作者,但仍缺乏創作豐富度、工具易用性及共同創作功能。本研究目標為建立互動數位敘事之智慧型共同創作平台( Intelligent Collaborative Authoring Platform, iCAP ),透過將故事元素視覺化,故事內容設定參數化等,加上智慧型檢驗運算,讓故事編劇們能夠透過此平台編修互動故事腳本,並在舞台環境中呈現新的故事內容。我們以現有的互動數位敘事系統The Theater[1]為舞台呈現,透過iCAP整合其故事腳本及環境建置設定。我們建立了簡單易懂的操作介面、規劃故事腳本可修改範圍的限制、將故事動畫腳本設定參數化、建立的故事腳本的共同創作機制以及輔助創作的智慧型提示與結果運算,並設計一系列的任務式實驗以及評估問卷來評估系統,透過實驗結果驗證了本研究的智慧型共同創作平台的價值,能讓不同的腳本編劇在此平台上方便、快速的工作,而使得互動數位敘事之腳本編輯變得較簡易,修正演出效果時將更加有效率,故事內容也更豐富。 / Interactive Digital Storytelling (IDS) has become more popular these days. Some of the pre-vious researches about IDS have considered the design of story editor. Although they have designed the authoring tools for authors who may not have the editing experience of IDS sto-ries, they usually lack the features of enabling rich contents, easy-to-use, and collaboration among multiple users for IDS story editing. Our system, named iCAP, is an Intelligent Col-laborative Authoring Platform for IDS, using "The Theater" as the IDS animation platform. The iCAP system contains a graphical user interface for making the story editing process eas-ier and the storyline more readable. The iCAP system includes the collaborative features such as the settings of access rights, the parameterization of the scenario settings, the authoring logs of the collaborative process, and the intelligent error detecting tool that is used to detect the errors occurring in a story structure. We have conducted an experiment to verify the usa-bility and the collaborative features of iCAP. In addition, we have obtained feedbacks from the users about the advantages and disadvantages of iCAP and verified the value of the plat-form for IDS.
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運動代言人與故事結構對廣告效果的影響

蔡東儒 Unknown Date (has links)
本研究針對目前許多運動品牌所進行的故事行銷來研究。本研究想要瞭解運動品牌採用知名運動員或非知名運動員的奮鬥故事來打造品牌是否對消費者會造成差異。因此,本研究將代言人類型分為知名運動員及非知名運動員、故事則依照結構性分為高故事結構性及低故事結構性,並加入個人成就動機作為共變項來探討對受試者在故事資訊接收過程時其心理機制即故事轉換效果、同情反應、移情反應是否有所影響或改變。以及受試者的心理機制如何進一步對依變項如自我品牌關聯性、廣告態度、品牌態度造成影響。本研究利用路徑分析來確定各變項間之因果關係,研究結果如下: 1. 故事結構性高低對於故事轉換效果沒有影響。 2. 不同的代言人類型對於故事轉換效果沒有影響。 3. 個人的成就動機會影響故事轉換效果。 4. 故事轉換效果會影響受試者的同情反應。 5. 故事轉換效果會影響受試者的移情反應。 6. 故事轉換效果對於自我品牌關聯性以及廣告態度有影響。 7. 故事結構性以及代言人類型對於情感反應有影響。 8. 受試者的移情反應會影響自我品牌關聯性。 9. 受試者的同情反應會影響品牌態度。 10. 自我品牌關聯性對於廣告態度及品牌態度皆有影響。 關鍵詞:運動行銷、故事行銷、廣告效果、運動代言人、路徑分析
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創意數位說故事教學之成效 / Teaching effectiveness of innovative digital storytelling

黃蕙君, Huang, Hui Chun Unknown Date (has links)
本研究的主要目的是探討「創意數位說故事課程」對故事創作的品質、創造力、和作文態度是否有幫助,並瞭解此類課程應用於國小高年級作文教學的可行性及侷限性。研究者採準實驗法之「不等組前後測設計」,以高雄市某國小五年級兩個班級的學童為樣本,安排一班為互動組,另一班為欣賞組,分別接受十二單元共60堂課的實驗課程,互動組接受「創意數位說故事」的課程,著重電子腦力激盪及故事分享等互動歷程;欣賞組接受「欣賞故事並將故事數位化」的課程,著重故事示範與欣賞。 本研究的研究工具為「新編創造力思考測驗」及研究者自編的「數位故事評量表」和「作文態度量表」,並蒐集質化資料(包括數位故事作品、學生課程反應的感想、趣味創作練習的資料等)。以獨立樣本單因子共變數統計以及相依樣本t考驗來進行分析,質化資料則是用來輔助量化結果的解釋。 研究結果顯示: (一)在數位說故事的製作上,互動組與欣賞組有顯著差異,且欣賞組優於 互動組。 (二)新編創造思考測驗的結果:在語文流暢力、語文變通力、語文獨創 力這些變項上,互動組與欣賞組有顯著差異,且互動組優於欣賞組。 但在圖形流暢力、圖形變通力、圖形獨創力和圖形精進力這些變項 上,互動組與欣賞組並無顯著差異。 (三)在作文態度改善的結果上,互動組與欣賞組無顯著差異。 (四)無論在數位說故事的製作上、新編創造思考測驗以及作文態度的結 果發現,互動組和欣賞組的後測皆高於前測。 (五)創意數位說故事作文教學在國小階段是值得推行的。 研究者根據上述的研究結果提出建議,以作為教育應用及未來研究的參 考。 / The main purpose of this research was to explore whether the 「creative digital story-telling course」 can help to improve story quality, creativity, and writing attitude, and understand the feasibilities and limitations of teaching similar courses to higher-grade students in primary schools. The researcher adopted 「nonequivalent pretest-posttest designs」 as a quasi-experimental study. Two classes of fifth grade students from a Kaohsiung school were selected as study samples; one class was assigned as an 「interactive group」, the other as an 「appreciation group」. Both respectively accepted twelve units in a total of 60 experimental courses. The interactive group took the lessons of 「creative digital storytelling」 that emphasized the interaction processes during electronic brain-storming, story sharing and so classes. The appreciation group took the courses of 「appreciating and digitalizing the stories」, which focused on story demonstration and appreciation. In this study, the research instruments comprised 「tests of creativity thinking in composition 」, the researcher’s self-created 「digital story rating scale」 and 「writing attitude rating scale」, and also the collections of qualitative data covering the digital story works, students』 reflections in response to the teaching courses, and the data of funny creation exercises. The analyses were conducted by one-way analysis of covariance for independent samples and dependent samples t-test. The qualitative data were used as supplementary explanations for the quantity results. The research resulted in the following findings: 1. In respect of the production of digital storytelling, there were significant differences between the interactive group and the appreciation group; obviously the appreciation group performed better than the interactive group. 2. In light of the results from the tests of creative thinking in composition, there were remarkable differences between the two groups in respect to linguistic fluency, flexibility and originality; the interactive group was better than the appreciation group in the results. Nevertheless, it showed no much difference between the two groups in graphic creativity in terms of fluency, flexibility, originality and elaboration. 3. In respect of writing attitude improvement, there was no much difference between two groups. 4. The posttest scores were higher than pre-test scores for both interactive group and appreciation group in all experiments, including the production of digital storytelling, tests of creativity thinking in composition and writing attitude. 5. It is worthy to promote the creative digital storytelling in composition teaching for primary school educations. The researcher made suggestions in accordance with the above research findings, and served as a reference for educational applications and future studies.
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生命的斷裂與轉化:一位癌症病人之敘說及其陶養意涵之探究

林靜如 Unknown Date (has links)
本文以癌症病人慧心的生命故事敘說作為探究人之自我陶養的取俓。以探問生命主體如何面對「死亡」的威脅,以及自身對「死亡」之憂懼為起點,以生命故事訪談的方式,自2005年至2007年進行三次訪談。旨在回溯與探究主體歷經種種足堪造成生命斷裂的重大事件—病痛及死亡威脅,重新詮釋、乃至轉化自身生命意義的自我陶養過程。 本文以人生如歌的意象將章節結構分為三部分。第一篇《前奏曲》可視為進入慧心生命故事前的準備,共分為兩章。第一章「緒論」 從研究者之生命經驗出發,回溯自身對死亡與生命意義之怖畏與好奇,並探究自病痛將主體推至多重乃至終極的斷裂(死亡)中,主體創造與尋求出口的「轉化」與「超越」的能力與可能性。第二章「生命的陶養」則提出陶養理論,論述自古典陶養理論對「人之本質」、「自我陶養」,「個人與他者及世界的關係(從異化到回返自身)」的討論,到後現代陶養理論所持之「去目的」、「自我學習」、「自我理解」與「自我創造與轉化」的觀點。第三節「病痛的生命故事敘說」則解釋本文之研究方法、研究目的與問題,並簡介訪談對象之背景。 第二篇 《如歌的行版》包括有三章。第三章「慧心生命歷程分析」首先描述三次訪談歷程與內容,並從「時間性」之向度分析文本結構,第三節則描繪文本中所浮顯之敘說者慧心形貌,並給出一慧心生命故事速寫,筆者並以同樣身為女性的、女兒的、妻子的、思索生命意義與死亡者、以及研究者之不同角度與身份,後設地剖析自身與慧心之間的關係,以及對其文本詮釋角度所帶來的影響。第五章之後則開始正式進入文本解析與討論,探究慧心在生命不同時期的自我發展與轉化過程。第四章「自我的澄明與追尋」主述慧心在染患病痛(癌症)前的生命歷程中,如何在追隨模仿他者與婚姻生活中迷失與覺醒,最後藉由投身於藝術世界之行動來追尋自我。「尋找我之所是的生命圖像」的生命追求因而浮顯,並貫穿於三份敘說文本中,成為其終極關懷。第五章「病痛的挑戰」則解析慧心面對病痛與死亡威脅所帶來的挑戰,成為自己的英雄,並如何以信仰為最大的精神支持系統與治療方式,逐步重新詮釋病痛、死亡與生命意義,由生命圖像由「悲劇英雄」漸轉化為「修行者」。 在第三篇 《無名之歌》裡,第六章「療癒」以「生命主控權的重獲」與「愛與願」兩節解析慧心的療癒與轉化歷程。藉由1.將病因自我歸因、2.重新掌握對病因、治療方式、待治療對象的詮釋權、3.自身的修行、4.關懷他者、5.重詮苦痛經驗等五項要素,慧心得以將「治療」轉為具積極性的「自療」,因而重獲生命的主控權。同時,她也得以化解原伏藏於內心身處的恐懼,將其轉化為對他者的大愛,從自利轉為利他的願力進而萌發,成為懷抱大愛與大願之「願者」。第七章「成為一個人」則綜合整析慧心自我陶養的歷程,尤重其在歷經病痛與死亡威脅後自我陶養之可能性與內涵。本章並就「存在目的」、「人生觀」、「對病痛的詮釋」、「人我關係」、「新世界之生成」、「生死觀」五向度,討論慧心從「悲劇英雄」、至「修行者」到「願者」的轉化歷程中在此五向度上的轉變,並融塑出屬慧心之「信、愛、願、行」的生命特質。其次,本章並根據研究結果形構一慧心自我陶養模式,包括下列七項因素:1.「對界限處境的體驗與正視」、2.「調適變動的策略」、3.「新世界的構作」、4.「自我解離與自我反思能力」、5.「非線性、盤旋而生的陶養歷程」、6.「宗教作為支持系統的輔助與啟明」、7.「敘說、重詮與創化」。本章最後則進一步根據本研究發現進一步省思陶養教育實踐的可能性,並特別針對生死(生命)教育的進行提出建議。 / By interviewing a cancer patient, Huai-shih’s life story, this thesis aims at exploring how the subject re-interprets the meaning of disruptions in her life, including illness and the ultimate disruption-death, and how she transforms the meaning of life. Research data were collected over two years from the year of 2005 to 2007. All these so called disruptions evolve Huai-shih’s life transformation and constitute the process of Self Bildung. Inspired by the metaphor that life is as a graceful melody, the whole thesis is divided into three volumes. The first volume-“ Prelude ” can be concerned as a preparation before going into Huai-shih’s life story. Three chapters are included in it. The first chapter traces back from the researcher’s anxiety and curiosity of life and death from her own life experience, and intend to enquire the possibilities of the subject seeking for transcendence. The second chapter aims at the theory of Bildung, several concepts such as“ human nature”, “self-Bildung”, “relationship between self and others and the outer world ”, “self-understanding” , “self- learning” and “self-transformation are discussed. The history of life education in Taiwan is also articulated in this chapter. The third chapter is to present the research method, research purpose and research question. Our interviewee, Huai-shih is also briefly introduced in this chapter. The second volume is named as “Andante Cantabile”. The fourth chapter analyzes and constitutes the structure of text and portrays a vivid image of Huai-shih’s character. The fifth chapter analyzes the process of how Huai-shih struggled to find her self-identity from the marital relationship before she contracted breast cancer. A main life picture of a subject who works hard to find the answer of who I am has emerged and become Huai-shih’s ultimate concern. The sixth chapter analyzes how Huai-shih adopting her attitudes to face illness and the threaten of death. With the empowerment of religion, she reinterprets the meaning of illness, death and life, and initiates new life belief and inner power. Here Huai-shih is not a “tragic hero” as she named herself before, she has already transformed into a “practicer” who dedicated herself into the faith of Buddhism and practice. Three chapters are included in the third volume. The seventh chapter focuses on how Huai-shih re-controlling her life and digging out that there is a strong love inside her life. She learns to love not only people around her and also strangers again and wishes all human beings can find their happiness and leave far away from sufferings。“Self attribution”, “Re-interpreting the cause of illness and the meaning of therapy ”, “Self-practice”, “Caring for others”, “Re-interpreting personal suffering and illness experiences ”are main elements that enforcing the process of life transformation. She becomes the one who has love and willing of helping others. In the eighth chapter, with the following elements a model of self-Bildung of Huai-shih is constituted : 1.“Facing up to the boundary situations”, 2.“ Adjustment strategies of changes ”, 3.“Constitution of new worlds”, 4.“ The ability of self-detachment and self-reflectoin ”, 5.“A non-linear, spiral process of self-Bildung ”, 6.“ The illumination and support of religion”, 7.“ Narrative, repretation, and creation”. Through this clarification and analyzing of life and death phenomena, the conclusion intends to enrich the field of life and death education and create the possibilities for learners to proceed their own self-learning and understanding from others’ life stories.
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《冬天的故事》中辯才、私通、與陽剛身分 / Rhetorics, Cuckoldry, and Masculinity in The Winter's Tale

李珮寧, Lee, Pei-Ning Unknown Date (has links)
此論文檢視莎士比亞《冬天的故事》中里昂提斯的妒忌,辯證其顯示出了英國文藝復興時期,陽剛身分建構本身的問題性。在誘勸波西米亞國王延長拜訪的結果中,里昂提斯敗給了他的妻子赫美溫妮,他雄辯技巧上的弱勢也讓他的男性尊嚴受損;而赫美溫妮當初對於里昂提斯求婚的延遲回覆,以及本劇中的語言的模糊性引發了他的猜忌,進而帶來了陽剛身分的崩解。除了辯才外,此論文也探討私通的焦慮,其為英國近代早期陽剛身分建構下所暗藏的隱憂。這樣的焦慮引發他不理性的行為以及對妻子貞潔的誤判。為了重建他的聲望,里昂提斯擅用審判來保留駕馭妻子的絕對權力,並恢復他受損的名聲。儘管本劇稍後轉向以年輕一代為主軸,似乎象徵著新的轉變,然而在赫美溫妮復甦後,里昂提斯機智卻又令人感到不安的沉默,反映出他始終無法接受私通焦慮所帶來的汙名。此論文以辯才與私通來檢視莎士比亞《冬天的故事》中的陽剛特質,並以歷史與文化的文獻來佐證。期許能夠闡明英國文藝復興時期所困擾男性的陽剛焦慮,並且辯證主角里昂提斯的妒忌並不是無從解釋的情緒爆發,而是文藝復興陽剛身分建構下不可避免的集體產物。 / This thesis argues that Leontes’ jealousy manifests the problematic construction of masculine identity in Renaissance England. Leontes’ rhetorical inferiority to Hermione in the persuasion work resulted in his injured masculinity, which is exacerbated by the ambiguity of language in the play and Leontes’ sour memories of Hermione’s late acceptance to his marriage proposal, all of which sparkle Leontes’ jealousy and stimulate the collapse of his masculinity. Aside from rhetorics, this thesis also examines the anxiety of cuckoldry, a pre-existent, latent apprehension inherent in the construction of masculinity in early modern England. This anxiety leads to his unreasonable behavior and misjudgment. In order to rebuild his reputation, Leontes appropriates the public trial to retain absolute dominance over his wife and restore his stained honor. While the shift of the play’s focus to the younger generation signals a revision, Leontes’ tactful yet disturbing silence after Hermione’s resurrection reflects his resurfaced masculinity in the context of marriage and his inability to come to terms with the stigma of cuckoldry anxiety. Leontes’ jealousy is triggered by his lack of rhetorical skills essential to male confidence, a lack which is brutally magnified by his wife’s impeccable eloquence; his following accusation of Hermione’s adultery is precipitated and irrevocably executed by his fear of rumor and cuckoldry prevalent in his time. This thesis aims to shed light on the issue of Renaissance masculine anxiety and prove that Leontes’ jealousy is not just an unexplainable outburst of emotion, but rather an inevitably collective product of the construction of Renaissance masculine identity.
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論安潔拉‧卡特短篇故事裡的狼人與狼女形象 / Werewolves and Wolf-Girls in Angela Carter's short stories

江宗翰, Jiang, Tzong Han Unknown Date (has links)
在一九七零年代,恐怖文本的盛行曾帶動了狼人小說在大眾文學市場的熱潮。在這股風潮裡,英國女性主義作家安潔拉‧卡特(Angela Carter)的狼人故事可說是同類型作品中的異數。卡特解構以及改寫童話故事,剖析其中關於道德與社會控制的隱喻,同時將狼人故事的元素與童話故事的意識型態結合,創作了四篇批判性強烈的短篇小說「狼人」、「與狼為伴」、「狼女愛麗斯」以及「彼得與狼」。 當時,隨著女性意識的抬頭,以及「狼」的妖魔化形象漸漸淡化,甚至被生態女性主義者(eco-feminist)與野獸女性主義者(beast-feminist)所推崇的情形下,狼人故事的主題也發生了變化。越來越多作品開始描寫女狼人如何奔向自由的懷抱,或是女狼人利用自身的能力對男性展開反擊。「女狼人」滿足了女性對於自然的渴望,也代表了力量。但是卡特卻反其道而行,她不但拒絕書寫女性狼人的主題,反而聚焦在被狼扶養的「狼孩」這種似人非人的議題上。她甚至在作品中暗示了,對女性來說,成為狼人是危險的一件事。 由於過去從未有人同時針對四部作品同時研究,本論文將嘗試以綜觀的角度,剖析為何卡特拒絕女性「成狼」,同時探究卡特筆下的狼人以及狼女的形象,究竟隱含什麼樣的意義。 本論文分為五個章節。第一章介紹卡特的作品風格,以及她為何選用「狼人」作為她解構童話故事的其中一個主題。第二章從卡特的作品著手,探討社會在型塑「狼人」時,大自然的意象是如何被扭曲,重組,變成安裝在異己上面的符號。這篇論文將會使用自創的名詞「象徵性狼體」來說明這個概念,同時瞭解卡特如何呈現這種困境。第三章將會轉而討論當代的女狼人小說以及生態女性主義是如何看待「狼」,而「象徵性狼體」又如何在此種文本裡死灰復燃。另外,本論文將會在第四章探討「狼女」的形象,同時借用德勒茲的「變向」(becoming)觀念,說明為何「狼女」是卡特心目中最理想的女性象徵。最後,第五章將會為前述論點做出總結,指出卡特拒絕女性「成狼」的可能理由。 / The fashion of horror genre in the 1970s has led a corresponding popularity of werewolf stories. During that time, the feminist writer Angela Carter’s werewolf stories gained attention. Carter’s werewolf stories rewrite traditional fairy tales and folklore. She deconstructs the fairy tale pattern, and the heroines have different roles, sometimes they are victims of werewolves, and sometimes they defeat werewolves bravely. However, the female werewolf is rare in her stories. Although in the 70s, modern female werewolf stories, beast-feminism and eco-feminism revalue the werewolf or wolf with positive meanings, Carter refuses to use female lycanthropy to represent the connection between women and Nature. The aim of this thesis is to find out the possible reasons for Carter’s rejection of female lycanthropy. Chapter one introduces Carter’s writing style, and the reason she chooses werewolves in her rewriting fairy tales. Chapter two examines the images of werewolf in Carter’s stories, and argues that the mechanism of ‘symbolic wolf body’ categories and twists nature, and how the society uses it to expel the outsiders. In chapter three, I would explain why the return of ‘symbolic wolf body’ makes modern female werewolf and eco-feminist narratives problematic. Then, by using Deleuze and Guattari’s ideas of “becoming-animal,” I would argue why the wolf-girl (human girls raised by wolves) in Carter’s story is the most ideal figure of femininity in the connection with nature. Finally, my thesis concludes that the exploitation of nature, the misuse of “symbolic animal body,” and eco-feminists’ unjustified perceptions with nature are possible reasons for Carter’s rejection of female werewolves.
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另類教育與即興美學-一位華德福學校學生的生命故事 / Alternative education and the aesthetics of improvisation— A waldorf school student's life story

彭千芸, Peng, Chien Yun Unknown Date (has links)
基於單一文化之困境與美學意識之衰微,台灣另類教育在二元對立的邏輯運作下,常遭受負面的誤解或打壓,普羅大眾對於另類學校學生最常見的質疑便是:「以後要怎麼跟人家競爭?」、「如何考基測?」、「出去有辦法適應嗎?」,為探究另類學校學生的生活世界及其進入體制內學校的跨體制經驗,本篇論文嘗試以敘說探究開採夏天—一位華德福學校學生的生命故事,從而了解其學習世界的變遷及內在的適應歷程。研究發現,華德福學校具備自由、對話、創造之特徵,以即興的學校圖像作為陶養創造性人格之可能條件,促使夏天在面對基測和進入體制的衝突中展現出自我組織的生命樣態,而即興美學中的自由遊戲精神與複雜思維,不僅啟示了教育引發創造的本質,同時也為另類教育學提供更多元的定位基礎。 / Because of the conformity of culture and the lack of aesthetics, alternative education in Taiwan is usually misunderstood or suppressed in the logic of binary dualism. The most common questions to alternative schools’ students are “How do they compete with others in the future?”, “How do they prepare for the basic competence test?”, and “Are they able to adapt to the life outside?” To investigate the life world of an alternative school’s student, Summer, and her experience of transferring to normal school, narrative inquiry is adopted in this research to understand the changes of the learning environments and her state of mind. According to the conclusion, the Waldorf school contains the characters of freedom, dialogue, and creation. And its picture of improvisation provides Summer with possible conditions for developing creative personality. As a result, she shows the attitude of self-organization when facing conflicts in the cross-boarder process. In addition, improvisation’s spirit of free play and complex not only reveal the essence of education as creation, but also provide alternative education with more diverse orientation.

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