榮格（C.G. Jung）的宗教心理學理論，無論是他的原型思維或神話象徵等等，都經常是宗教研究上常常被援用的理論。然而他的理論充滿著爭議性：有人認為他的理論是實證、科學的，也有人認為他是浪漫、非理性的；有人認為他具有宗教情操，但也有人認為其理論破壞了宗教的主體性。這些爭議反映出他的理論在學術定位上的不易。 本文以美學鑑賞與文學批評的角度，透過對榮格晚期代表作《基督教時代》（Aion）做為觀察對象，揭示出榮格理論如何透過「變向」（becoming）的書寫技巧有效地拓展讀者的主觀心理空間，使其理論為讀者所接受。同時，透過對其理論做書寫技巧的分析，亦能明瞭其書寫對於主觀感知上所產生的效果，和其對客觀事實陳述的有效性是兩回事，而這也是榮格理論爭議的來源。

本論文將用榮格的原型觀念(archetypes)探討瑪格麗特˙愛德伍小說《盲眼刺客》中的人物性格。 本論文由五章組成。第一章將大略介紹《盲眼刺客》的內容以及其評論。第二章將會介紹榮格對集體無意識(the collective unconscious)的概念以及其和原型概念的關連；接著，將會根據兩位新榮格學派的學者，瑪莉恩˙伍德曼(Marion Woodman)和卡蘿˙皮爾森(Carol S. Pearson)對原型理論的闡述，針對兩個原型加以探討──鬥士原型和殉道者原型。在父權社會的影響下，這兩個原型時常會被過度簡化成對兩性的刻板印象，而在這簡化過程裡，原本屬於這兩個原型的能量和複雜性都被忽視或壓抑了。 第三章始於對愛德伍小說人物的辯護，說明其人物並不是一般所說的刻版人物，而是充滿衝突與能量的原型人物。而後，我會把小說中的人物和象徵和神話及童話中的人物作連結。在一方面，我將會對於小說中的現實人物，如艾麗絲和蘿拉(Iris and Laura)，和小說中的象徵角色，盲眼刺客和獻祭少女，做連結且並討論；另一方面，我將會將這兩個象徵角色延伸出去，探討與之相關的神話或童話人物，或是，更上一層的原型人物。在第四章，我則會依據小說人物和其原型的關係加以剖析，檢視他們和其原型的認同狀況，及他們膨脹(Inflation)的程度。 在最後的第五章，將以原型的概念來詮釋小說中各個人物的悲劇做為總結。《盲眼刺客》中的每個人物都傾向於過份認同某個原型，而忽略了讓自我有平衡發展的重要性。 / This thesis is to discover the psychological depths of the characters in Margaret Atwood’s The Blind Assassin and to analyze them according to the Jungian conception of archetypes and the influence of archetypes upon the human psyche. This thesis consists of five chapters. Chapter One is an introduction, including the overview of the novel and its critical backgrounds. And Chapter Two introduces C.G. Jung’s conception of the collective unconscious and its relation with archetypes and follow with specific discussion of certain archetypes—the Warrior and the Martyr—mainly according to the theories of two neo-Jungian scholars, Marion Woodman and Carol S. Pearson. Since these two archetypes are often over-simplified to fit in gender stereotypes under the influence of patriarchal society, the energies and complexity of these archetypes are always neglected or repressed. Chapter Three begins with an argument that Atwood’s characters are not stereotypical but rather archetypal, for they possess the contradictory energies within them that are correspondent with that of archetypes. On the one hand, I discuss how the characters in the memoir are symbolized in the science-fiction allegory, being reflected as the blind assassin and the sacrificial maiden; on the other hand, I make a connection between the symbols of the novel—the blind assassin and sacrificial maiden—and the mythological and fairy-tale allusions, and further, the archetypes behind them. In Chapter Four, I examine the psychic problems of the characters according to their relations with the archetypes—to examine how much they identify unconsciously with the archetypes and the extent of their inflation. Finally, Chapter Five concludes with the archetypal explanation of the tragic life of the characters in the novel. Each of them is trapped in an overwhelming power of a certain archetype instead of having the ego balanced between these multiple archetypes, they turn themselves into mythical figures that are too rigid for humanity.

「當代的教育有被多數人當成一項藝術來實踐嗎？我們的教育有美嗎？教育如何成人之美？我們又如何觀看教育之美？」本研究採用藝術家、教師與教育研究者三位一體的研究取徑a/r/tography（art-based forms of educational inquiry）並混合多元研究方法、跨領域理論交互辯證以及表達性藝術實踐行動，旨在試圖超越目前科學家、藝術家、心理分析學家與教育家各自觀看世界的方式。本研究戮力創新教育美學研究取徑，以跨領域對話回應研究提問。 本研究借喻近代攝影史上最重要的變革演化：新紀實（The New Documentary），將其預設並倡議為一種後現代背景下之教育美學的多元視野（長鏡頭），以做為「教育的生命（神經性）、生成（藝術性）、生態（靈性）」的觀看之道。研究者並創作一系列新紀實攝影作品，期以多元真相涵化單一紀實的缺陷，改以不完美的長鏡頭與檔案的中性特質，一方面認清教育紀實的虛妄無明，另一方面則從教育的限制裡生出另隻眼。 教育美學所揭示的實踐智慧，大多來自「人如何描述眼前的世界」，故本研究深入梳理近二十年的神經科學對於視覺腦（visual brain）與靈性冥想（meditation）活動的研究成果，探究藝術家的實踐歷程以及進行藝術評論文本分析，並依多年田野經驗重新設計了一系列合作式彩繪曼陀羅（Cooperative Mandala Coloring）表達性藝術活動，以求能更充份反映榮格學派（Jungian Psychology）之共時性（synchronicity）理論與推演新時代靈性生態觀點，最終援引本質直觀的現象學（phenomenology）進行詮釋。 本研究成果特別關注青少年處於神經美學、藝術實踐與靈性成長之間精神流變（spirit flux）歷程，建議首先提供真誠友善的安全空間（safe space）、引入神馳（flow）的靈性體驗、以藝術活動滿足個體化的表達性需求（expressed needs）、在人我關係中創造利他的美感經驗。新紀實視野下的後現代教育美學倡議「自我陶養」、「德美一致」與「三性一體」，教育必需讓人有力量、有光芒、有夢想，始能真正啟動教育最美的樣子。 / This study borrows ‘the New Documentary’, the most important evolution in the photography history, as a metaphor to presuppose and advocate ‘the Lens’ as a diverse vision of education aesthetics under its post-modern context. It is utilized as a way to perceive the life (Neurological), the formation (Artistic), and ecology (Spiritual) of education. In this study, a series of the New Documentary work has been created. Two decades’ research on visual brain and meditation in neuroscience has been reviewed. The researcher also inquired into the artists’ journey of praxis and criticized numerous art reviews. Moreover, a series of Cooperative Mandala Coloring work has been redesigned based on the researcher’s years of practical teaching experience. This Cooperative Mandala Coloring, an expressive artistic activity, is adopted in present study to reflect Jungian Psychology’s theory of synchronicity, deduce the spiritual and ecological perspectives of new age, and interpret the phenomenology. The results of the present study particularly focus on adolescents’ spirit flux in neuro-aesthetics, art praxis, and spiritual development. The researcher proposes friendly safe space and spiritual experience in flow. It is also suggested that young individual’s expressed needs be fulfilled through artistic activities and altruistic aesthetic experience be created through relationships with others.