八Ο年代以後，研究者開始著意突顯白馬湖作家群的存在，在學者先進們的努力考證下，這個文學集體已然是現代散文史上的既定事實，然而其中代表人物—夏丏尊長期以來並未受到應有的重視，因此對夏丏尊及其作品的深入研究更是刻不容緩的工作，這也是筆者進行這個研究的目的及價值所在。 第一章緒論，歸納與探討夏丏尊其人及其作品的研究成果，指出其中尚待提昇之處及本論文撰寫與論述過程中的期待視野，從而界定本論文的研究範圍並提出研究之方法。 第二章：筆者依夏氏不同階段的人生重心，將他的人生歷程分為三種面向，分別是學生時期、教師時期及編輯時期，冀求能夠條理清楚地呈現夏氏不同人生階段的殊異風貌。 第三章：夏氏的人生思想存在著許多雙重思考，意即他常常游移於事物究極的兩端之間，因此本章採取二元主題式的分析，進一步架構夏氏的人生思維體系，文中分為三個論題：夏丏尊的對日態度、改革意識及宗教情懷。 第四章：夏丏尊強調以人為中心的健全教育，提出受教材不等於受教育、自學和自己教育等主張，並認為勞動是健全人格教育的重要方式。筆者也從愛的教育本質以及感化教育的實踐方式兩個層次分別探討夏丏尊的情意教育。夏氏積極推動新文化運動，勇於推行白話文的實驗與改革，為新文學的普及奠定了紮實的基礎。 第五章：夏丏尊的作品分為敘事抒情的散文小品、批判世態的雜文評論以及初步嘗試的小說創作。筆者突顯夏氏具代表性的主題內涵，而後歸納其具象與情緒兼具、自由中體現精嚴的技巧表現。淡而有味是夏氏作品的整體特色，其創作兼具浙東土味的自然質樸與白馬湖風格的清淡雋永，呈現出豐富多彩的藝術風貌。 第六章：關於夏氏語文教學著作的研究，從文本表現的形式與特色談起，接著歸納此類作品的特色與功效，並且探究這些作品在語文教育史上的意義。關於夏氏翻譯作品的研究，包括夏氏從日本譯介的自然主義作品，以及從日本轉譯的俄國文學作品，除了探討他的翻譯理念，並深究這些作品在翻譯史上的意義。 第七章結論：夏丏尊兼具「教育家」及「文學家」的雙重身分，筆者從這兩方面做一總結，分別探討夏氏在現代教育史及文學史上的歷史定位，以及對照今日的文壇及杏壇又給予人們怎樣的啟發與借鑒。 附錄一〈夏丏尊文學活動年表〉輯佚夏丏尊作品，並考證作品發表順序及夏氏從事文學活動的時間。 附錄二〈夏弘寧致筆者信函〉收錄夏丏尊後人致筆者之信件。

「大師與瑪格麗特」的主要構思以三十年代的莫斯科市為背景，當時在該市突然出現了一群「黑暗之神」及其黨羽。作者安排這些惡徒以擬人化形式出現，不被任何邏輯法規所規範。撒旦－沃藍德，就是所謂的「黑暗之神」，他出現在莫斯科市，企圖考驗作品中的各個角色；賜予主角大師及瑪格麗特應得的獎賞－即「相愛」及「互信」；懲罰貪污、卑鄙者及叛徒。作品中受懲罰者是以作者心目中最高真理的標準來審判而非以世俗所認定的人類法律為準。 本論文提供了創新學術視野，將布爾加科夫的「大師與瑪格麗特」做學術性深入的研究。研究的對象是在主旨及文藝思想關係極為複雜的一群角色，即所謂「惡魔的體現者」。在論文中探討這些角色的起源、作者對其之詮釋及各角色在作品中的演變轉換現象。特別專注在邪惡勢力在小說中的功能，並分析每一個惡魔角色在文中的行為舉止。另外，本論文並分析作品中所謂邪惡勢力之各個角色之結構形成和作用。 / The novelty of this paper lies in a profound, academic research on Bulgakov’s “Master and Margarita”. The research has been focused on the theme of the story and the characters with complex relations of artistic thoughts, i.e., operators of demonic deeds. This paper explores the origin and the evolution of these characters as well as the author’s interpretations of each character. Special attention is paid to an analysis of the function of the evil power and of the conducts of each demon character in the novel. The purpose of the research is to analyze the formation of each demon character and its function.

在世界文學發展過程中，有一種顯而易見、又不容忽視的現象：即某一種典型意象，在不同主題的文學作品中反復出現；某一種表現手法，在不同時代的文學作品中被有意無意的再現。即使在一些經典性的文學作品中，深刻的思想、錯綜複雜的感情，總表現在有跡可循的模式或象徵符號中，成為人類深層的經驗圖式，隱含著超越時空的永恆價值。其實，這些主題早就存在於人類生活中甚至神話傳說，並成為文藝創作特別是文學意象和象徵的一個重要泉源。在中國文學作品中普遍可見的「桃」，就是這種象徵符號。它的花開在文學的莖脈中，它的果結在信仰的枝枒上，它的根更是深深扎進民俗的土壤□。它的繁衍，不僅是初民的食物來源之一，也是人們寄寓美好奇麗想像的對象；它的成長，不僅須經歷四時寒暑風雨，也經受了千年來變動不居的文化風暴。舉凡個人的愛情、婚姻、生子與壽夭，團體的禳災、辟邪、除禍與祝禱，這些眾所熟悉的象徵與作用，都是它一圈又一圈向外擴張、深深烙印在人類文化中的年輪。本研究即試圖從神話古籍以及中國少數民族創世傳說等神話材料著手，抽繹出初民在桃身上所寄託的無意識心理，並參驗相關文學作品為佐證，檢視桃意象在中國文學中的象徵文化意涵，以呈現其跨越時空持續存在的背後力量。 / In the development of world literature, there is one phenomenon that is apparent and cannot be ignored: certain typical imagery repeatedly appears in the literary works among various topics; certain way of expressing ideology has been intentionally or unintentionally re-used in the literary works at different times in the history. Even in some classic literary works, profound thoughts and intertwining and complicate emotions are always embedded in the traceable models or symbolic symbols. This approach has become an empirically mental imagery of humankind and implicitly carried the everlasting value that transcends time and space. In fact, these themes have long been existed in the lives of humankind even in the mythology and fables. They have also become very important sources of literary invention, especially in the literary imagery and symbolization. "Peach", commonly seen in Chinese literary works, is a symbol of this symbolization. It blooms on the stem of literature, is ripe on burgeon of belief, and deeply roots in the soil of folk customs. Its gradual increase in number is not only a source of food for ancient people, but also has become the object which people will relate their wishes and imagination to. Its growth not only needs to go through four seasons, cold, hot, wind and rain, but also it has to withstand the cultural storms that are constantly changing and unstable over thousands of years. These well-known symbolizations and effects such as personal affection, marriage, delivery, birthday and death, group's praying for eliminating catastrophe, driving off evils, avoiding disasters, and benison, are all its continuous extensions and they are deeply imprinted in the growth rings in the culture of humankind. This study attempts to start with studying the literature including mythological classic books and world creation legends among China's minority races to deduce the unconscious mentality associated with the peach that antiquity has put into. We will also use evidences in literary works as a supplemental proof and study the symbolic, cultural implication of peach imagery in Chinese literary works to reveal its continuously existent and sustaining strength behind that transcends time and space. Summaries of each chapter are as follows: Chapter 1, Introduction: Research Motivation, Scope and Methodologies It starts with the motivation and steps of this research. It also defines the research direction to help effectively accomplish the objectives of this research and provide a macroscopic view of this research. The method uses "Psychological Archetype" of Carl Gustav Jung (1875-1961) and "Literary Archetype" of Northrop Frye (1912-1991) as the base vision, and uses the literature as the primary research sources supplementing with the unearthed literature, i.e. a methodology of using multiple sources of evidences. By adopting this approach, we will identify and deduce the metaphorical role of "Peach Imagery" and explicate the profound meaning of "Peach Literature". Chapter 2, Primitive Thought and Plants Worshipping This chapter starts with the investigation of the thinking of antiquity's creation of ancient mythology to understand the principles of creating mythology and explicate the development of primitive thought (or myth thought). This will help capture the characteristics of primitive thought to facilitate the following research in the mythology and archetype. The "peach", the primary role in this research, is a holy tree second to hibiscus tree in China. Therefore, we will also investigate the consciousness of plants worshipping based on the views of ancient people's reliance on plants and the primitive thought of treating every thing to be a living being. At the same time, we zoom in the worshipping of holy trees in China to depict the origins of plant's holy and sacred imagery. Chapter 3, Deification and Mythology of Peach The creation of literary works is absolutely not an invention of any individual. Literary works should be studied in the context of entire scope of literature. The study in the literary history concludes that literature, as an organic entity, is rooted in the primitive culture: the model of initial literature must trace back to the religious ceremony, mythology and legend in ancient society. This chapter will mainly study the "peach" in the mythology. In Chinese mythology, though there is no mythology and legends centered around the peach, yet peach often shows up in activities or events associated with figures in the mythology and in some research as well. In this chapter, the author will base on a different angle of symbolization of symbols – use peach as the primary theme supplementing with figures in mythology or events – and use the method of reviewing mythology and archetype to re-investigate the mythological imagery of peach and to depict the cumulative and settling original imagery of peach in the mythology. Chapter 4, Displacement: Peach Imagery in the Poem and Literature Due to the attraction of Tao Yuanming's "Peach Blossom Shangri-la", the "arcadia" becomes the pronoun of Chinese Utopia and has displayed strong strength of life in Chinese culture. It also deeply influences the consciousness and conducts of Chinese scholars. Though the topic of this chapter is "Peach Imagery in the Poem and Literature", the discussion will focus on the article of "Peach Blossom Shangri-la", supplementing with the literature related to "Peach Blossom Shangri-la", and continue to adopt the method of reviewing mythology and archetype to explore and reveal its implicit, inhibitive, and profound meaning. Chapter 5, Displacement: Peach Imagery in Fable and Drama Based on the angle of archetype review, the clue to induce the law of literary development and evolution is the "displacement" of the archetype. The original mythology and literature will be displaced into a new literary genre along with the progressing of the development in the society. Therefore, after investigating the origins of peach and mythology, and the "arcadia" imagery, this chapter will use more literary works – mainly focusing on novels, dramas (for example, "Journal to the West", "Peach Blossom Fan"), and fables (for example, the story of Emperor Wu of Han China and the story of Liu、Ruan) to reveal peach's model of mythology and its consciousness of archetype in the literary works, as well as how does it stimulate the collective unconsciousness: concern toward life. Chapter 6, Conclusion: Archetype of Life After investigating the symbolic implication of peach from mythology to literature, this chapter will draw conclusions of this research – using the symbolic implication of peach to depict humankind's resisting mentality against death. Even until nowadays, we still can see various cultures of symbolization appearing in the folklore events that use peach imagery. The common mentality behind may be explained as that humankind's strong denial against death over many generations and the unchanging longing for eternal life.

台灣地區的IC設計產業，近幾年來的發展十分蓬勃，總產值排名全球第二，僅次於北美，全球市場佔有率約22%左右；截至2005年底，台灣IC設計業者總數已達268 家，其中有8家業者擠進全球前30大IC設計公司排行榜。 除了一些規模屬中、大型的IC設計業者有機會站上國際舞臺，且生命力相對穩定，其他小型台灣IC設計業者若無創新技術以及經營策略做為武器，很難在競爭激烈的市場中存活。 本研究嘗試分析台灣IC設計業的現況，找出其全球競爭的優勢，並以一台灣小型IC設計公司的創業實例，結合吳思華教授的策略三構面以及Scott A. Shane科技創業聖經的分析，試圖找出小型IC設計公司的成功之道，供其他新創IC設計公司做決策時的參考。 本研究旨在回答下列三個問題： 一、 探討台灣新創小型IC設計公司如何選擇公司創立時的產品方向。 二、 台灣新創小型IC設計公司因各項資源短缺，如何選擇適合的營運模式。 三、 小型IC設計公司沒有市場知名度，如何做上下游的合縱連橫，才能成功銷售產品。 本研究得到下列結論： 一、 組成有較高技術能力的研發團隊，找出有技術門檻的產品，可擺脫與其他小型IC設計公司直接競爭的可能性。另外，應找出市場規模不大但穩定成長的產品，因為這種市場的需求量不符合大公司的經濟規模，大型IC設計公司比較不想進入相同的市場。而且因為市場規模不大，產品單價較高，毛利率可相對提高。雖然市場需求量不是非常大，但是小公司的營業費用較低，若產品的毛利率高，且市場穩定成長，公司獲利的機會就高。 二、 小型IC設計公司的資金以及人員不足，無法自行完成所有前後段IC設計，需要外包後段IC設計以及生產安排；而且如果增加後段IC設計的人員，會造成整個公司的營業費用變高，若市場規模不大，獲利的機會將會降低。 因此，小型IC設計公司應利用台灣IC產業完整的供應鏈supply chain做互補性資產，慎選供應商以快速切入市場。 三、 小型IC設計公司應利用台灣製造業王國主導關鍵零組件選擇權的優勢，並利用Local Support達成Time to market的優勢，與大企業合作共同尋找潛在產品，並以利潤分享模式，確定顧客願意使用以及推廣，保障基本營收，借力使力克服其他客戶對小型公司的疑慮，進而開拓市場知名度，增加長期競爭力。 / The development of IC design industry has been prosperous for the recent years in Taiwan. The total production value ranks the second in the worldwide, and the entire production value takes up 22% share among the worldwide market, only being inferior to that in North America. The number of IC design companies has been increasing to 268 ones in Taiwan, up to the end of the year 2005; eight of which even squeezed into the worldwide top 30 companies at the ranking chart. It is only the medium and large companies that stand a fair chance to sparkle themselves on the international stage, and they fill with steady vitality as well. As for other small ones, it will be hard for them to survive in the keen competitive market if they are deficient of the innovative technology and managerial strategy as their weapons. The gist of this research focuses on analyzing the current situation of Taiwan IC design industry and exploring its superior advantage against the global competition. A real case is taken from a Taiwan small start up IC design company with which combined Dr. Wu’s “three aspects in strategy” in his “The nature of the Strategy” and “Finding Fertile Ground” by Scott A. Shane. It is the purpose to try to find out a road leading the small start up IC design companies to achieve success and to hope that can be a strategic reference for the new start up IC design companies. The object of this research is to answer the questions listed below: 1. Discussing how a small start up IC design company sets his direction in defining their product during the initial period. 2. How can a small start up IC design company choose a proper business model under the limited company resources. 3. Being lack of the market prestige of a small start up IC design company, how to jointly and coordinately cooperate with his strategic customer to have their products enjoy a steady and successful sale? This research concluded the followings: 1. Composing R/D team with greater inventive ability and inventing some products with more difficult threshold in order to get rid of the directly competitive possibility with other small IC design companies. Moreover, they should find out the product without huge market demand while it owns stable growth rate. Since the demand at the market does not meet the economy scale of big companies; thus, the big companies would rather not get into the same market. And since the market demand is not big, the products selling price can be higher, the more gross profit they can get in this kind of small market. Although there is not a great demand for the product, the small companies can still get better profit from the lower business expense, and the small company can be profitable due to the steady growing market demand. 2. Small start up IC design companies might be lack of sufficient capital and employees, so they can not complete both the front end and the back end IC design process alone. Thus outsourcing the back end IC design process and production arrangement are necessary. Otherwise, the business expense will be too high if they increase the labor force of the back end engineering. The overall profit will get worse if the market demand is not big. So, small IC design company should make good use of the sufficient supply chain in Taiwan IC industry as a supplementary asset, and select the suppliers by higher criteria, then penetrate the market timely. 3. Taiwan electronic manufacturing industry has occupied a dominant position in key components, so the small IC design companies should take advantage of that, and use the strength of “local support” to achieve the advantage of “time to market”. Cooperate with big firms in order to find out the potential products. Small companies can take profit sharing business model to ensure the strategic customers have the willingness to use and promote their products. Then the other customers can spontaneously eliminate their concern toward a small start up company. In this way, the small start up company can assure to gain a basic income first; furthermore, they would enjoy a positive increasing market reputation and a stronger long term competitive capability.

斯賓諾莎的《神學政治論》向來被認為是現代自由民主、與聖經批判的哲學性起源，學者大多認為斯賓諾莎以一種科學式的方法來研究聖經。本文旨在研究斯賓諾莎的聖經觀與宗教觀。藉著對十七世紀荷蘭神學－政治背景、以及《神學政治論》第七章到第十五章的分析，來說明斯賓諾莎所關心的並不是「如何解釋聖經」，而是「誰有權釋經」。他並不是藉著一種客觀的方法論來研究聖經，而是將解釋聖經的判准建立在解釋者的德性之上。而後不斷質疑各種可能形成解釋權威、壟斷信仰的科學式或理論性宗教知識。他把信仰的本質還原為生活，並且主張唯有解釋者有道德行為，他對聖經的解釋才可能是真的。因此，斯賓諾莎解釋聖經的方式不是一種聖經批判，而是一種德性證成的觀點。藉此，他把解釋聖經的權利還諸一切信仰者，並且將哲學與神學分離，前者的基礎是思辨理論，後者的基礎是道德實踐。 / Spinoza's Tractatus Theologico-Politicus has always been regarded as the philosophical origin of modern liberal democracy and modern biblical criticism. Most scholars consider Spinoza’s biblical study as a kind of scientific method. This thesis aims at Spinoza’s view of the Bible and his view of religion. By a description of the theological-political background of the 17th century Dutch, and an analysis of Tractatus Theologico-Politicus Chapters 7 through 15, I would demonstrate that Spinoza cares not “how to study the Scripture” but “who has the authority to interpret the Scripture.” He does not study the Scripture by means of an objective methodology, rather, he sets up the criteria of biblical interpretation upon the virtue of interpreters. Then he doubts constantly every kind of theoretical knowledge of religion which may become the authority of interpretation and monopolize the faith. He reduces the essence of faith to life, and claims that only when an interpreter is moral, can his interpretation of the Scripture be true. Therefore, Spinoza’s interpretation of the Bible is not a kind of biblical-criticism, but a kind of justification by means of virtue. By doing so (or simply “Thus”), he returns the right of interpreting Scripture back to all believers, and separates philosophy away from theology. The foundation of philosophy is speculative theory, and theology is based on moral practices.

何偉俊. / "2008年8月". / "2008 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 126-132). / Abstracts in Chinese and English. / He Weijun. / Chapter 第一章： --- 緒論 --- p.1 / Chapter 第一節： --- 引言 --- p.1 / Chapter 第二節： --- 前人硏究回顧 --- p.2 / Chapter 第三節： --- 硏究方法 --- p.16 / Chapter 第二章： --- 戰前的香港聖公會教育 --- p.19 / Chapter 第一節： --- 教會傳教會的成立及到中國傳教的背景 --- p.19 / Chapter 第二節： --- 早期聖公會在香港的辦學情況 --- p.21 / Chapter 第三章： --- 何明華時期的聖公會教育 --- p.37 / Chapter 第一節： --- 近代宣教思潮的影響 --- p.37 / Chapter 第二節： --- 共產主義的威脅 --- p.42 / Chapter 第三節： --- 戰後難民潮與失學兒童 --- p.46 / Chapter 第四節： --- 辦學與教會財政的關係 --- p.51 / Chapter 第五節： --- 何明華與教會傳道會的分歧 --- p.60 / Chapter 第六節： --- 聖公會與政府的教育爭議 --- p.60 / Chapter 第七節： --- 辦學與傳教 --- p.65 / Chapter 第四章： --- 白約翰時期的聖公會教育 --- p.77 / Chapter 第一節： --- 免費教育 --- p.78 / Chapter 第二節： --- 七十年代的聖公會宗教教育 --- p.97 / Chapter 第五章： --- 總結 --- p.116

金馬影展對台灣藝術電影影迷而言，就像是場神聖的盛宴，在這場儀式中，透過群體的力量，讓信念的力量益發強大。本研究嘗試依循「朝聖」（pilgrimage）的角度，將金馬影展的觀影者，視為一種信仰著藝術電影教派（cult）的信徒，他們的身份不只是閱聽人或消費者，而是一種參與者（participants）。 本研究分為三階段進行。第一階段針對金馬影展三十年來（1980～2009）的影片清單進行歷史性檔案研究，歸納出金馬影展播映影片的脈絡。第二階段對影展觀眾進行問卷調查與參與觀察，以期歸納出金馬影迷的外在觀影行為，並透過田野調查實際了解金馬影迷的參與過程。第三階段則是對影迷進行深度訪談與生命史訪談。在影展現場找尋了78位金馬影迷進行訪談，另針對3位具代表性的影迷，分別透過他們參與金馬影展的經歷，來進一步認識歷年金馬影迷參與的過程。 本研究發現金馬影展的儀式概念（The Cult of Film Festival）主要來自於三者：在時間性而言，因一年一度有如逢年過節的「週期性」而營造了儀式感；在空間性而言，因影片與影迷的「齊聚性」而營造了儀式感；除了這兩者之外，要達到類宗教的景仰標準，勢必還要有「神聖性」的概念，其神聖感則是來自於電影大師的作品，所帶來的崇拜心態。 至於影迷的朝聖歷程，本研究以三位影迷的生命史作為引述，介紹20、30、40歲各個世代的影迷，究竟是什麼樣的樣貌。而後根據大量深度訪談、田野觀察與問卷調查的結果，搭配儀式結構的模式，描繪出金馬影迷單次旅程與生涯歷程。在單次旅程的部份，可以分作「前影展時期」、「影展時期」與「後影展時期」，三者中尤以前影展時期的套票搶購與排隊劃位最具儀式性特質。在生涯歷程的部份，亦可分作「前影迷階段」、「影迷階段」與「後影迷階段」，此三者之間主要差異，是以對電影的重視、迷戀與可犧牲程度作為劃分標準。 / For art cinema fans of Taiwan, Golden Horse Film Festival just like a sacred Feast, fans gathered together every year, that increasingly the forces of faith in the ritual. This study attempts to follow the "pilgrimage" view, to imagine that Golden Horse Film Festival audience as the cult followers, their identity is not just the audience or consumers, but a participants. This study is divided into three stages. First is the archive research of Golden Horse Film Festival for the thirty years (1980~2009). Second is the festival audience questionnaire survey and participant observation, to understand the fans viewing behavior. The third stage is life history interviews. The study found that the “ritual” or “cult” concept of Golden Horse Film Festival mainly from the three points: the timing, the result of annual holidays, like the "cyclical" and created a sense of ritual; in the space, for film and fans of the "gather" of the ritual to create a sense; In addition to these two, the religious admiration to achieve the standard class is bound to also have "sacred" concept, its sacred sense is from master's work in the film, brought the worship mentality. For fans of pilgrims journey, the study quoted by three fan’s life history, describes the various generations of 20,30,40 years old. Then according to a large number of interviews, field observations and findings of the survey, with the ritual process model depicts a single journey and the career of the cinephiles. In a single part of the journey, we can divided into "pre-festival period", "Film Festival Period" and "post-festival period". Part in a career of the cinephiles can be divided into "pre-cinephile stage", "cinephile stage" and "post-cinephile stage", the main differences between the three is based on the film's importance, degree of obsession and expendable as the division of standard.

在人們的生活中，宗教不只提供精神上的鼓勵、慰藉，同時亦包含許多物質層面的部分。其中，宗教物質或聖物的交流，更常見於歷史的紀錄之中，而在現代資本主義的脈絡下，則出現了「宗教消費」。本研究以新一代宗教物質—龍宮舍利—為主軸，以台北建國玉市、能量寶石店面為田野地，訪談龍宮舍利的持有者：經銷商、零售商及一般消費者，並搭配問卷調查，以量化研究比較龍宮舍利與舍利兩者差異。本研究首先追尋龍宮舍利的崛起過程，包括佛經中所記載的舍利與龍王、泰國產地相關的二手資料分析，及龍宮舍利跨海來台的故事。重點在於龍宮舍利的命名及傳說由來，是為聖化此物的關鍵第一步。其次，龍宮舍利在臺灣的流通，並非仰賴教團或僧人的推廣，而是由佛教文物銷售者建立其消費市場及機制。同時，透過消費者的回饋，經銷商逐步完整建構龍宮舍利的分類、功能、特性及真偽辨識等，並強化龍宮舍利的衡量判準與應用方式。此外，龍宮舍利的持有者亦自發性成立、加入社群網站，作為經驗與心得的分享交流平台。接續，龍宮舍利帶給持有者的靈驗經歷，使龍宮舍利的功效或是神蹟，並非僅能夠過語言文字來理解與流傳。此種神秘經驗，加強持有者對其的信心及依賴，亦成為現代宗教物質或聖物「顯聖」的一種印證方式。由訪談與問卷量化的結果顯示，在受訪者的概念中，龍宮舍利與舍利僅存在細微的差異。透過這些訪談記錄及統計數據，本研究認為，可進一步定義龍宮舍利確為一現代的新造聖物。 / Religion not only provides spiritual encouragement and consolation, but also brings a number of material aspects to people in their everyday life. Among them, exchanging of religious artifacts and sacred object is often seen in the historic record, while in the context of modern capitalism, Religious consumerism emerged. The current research focuses on a new generation of religious artifact “Long Gong Sarira” (Sarira from the Palace of the Dragon king), taking the Taipei Jianguo Jade Market, energy gem stores as samples for field research, interviewing holders of Long Gong Sarira, which are the distributors, retailers and general consumers, combined with a quantitative research with questionnaires to compare the differences between Sarira and Long Gong Sarira. The first part of this study introduced the origins of Long Gong Sarira, including secondary data analysis of Sarira and the Dragon King recorded in the sutra, information about the place of origin in Thailand, as well as the story of how Long Gong Sarira crossed the sea and entered Taiwan. The naming and the origin of the legend of Long Gong Sarira play a crucial step in sanctifying the artifact. Further, the exchanging of Long Gong Sarira in Taiwan was not promoted by religious groups or monks, but by the retailers who builds its own consumer market and mechanisms.At the same time, through consumer feedback, retailers gradually build a complete classification of Long Gong Sarira, with their functions, characteristics and identifying the authenticity, etc., and to strengthen the criterion measurements and application methods. In addition, the holders of Long Gong Sarira spontaneously form and join social networking sites as a platform to share their experience and knowledge. The mythical experience of Long Gong Sarira’s holders made believe that Long Gong Sarira brings effects and miracles; however, it is beyond the description with words. These experiences enhanced the holder’s confidence and dependency, becoming a proof of ‘hierophany’ in modern religious artifact or sacred objects. Results from qualitative and quantitative data revealed that Long Gong Sarira can be defined as a new sacred object in modern religion.

本論文研究的是巴塔耶的普遍經濟論，它主要分四部分來探討。它首先從時間的瞬間性和能量的耗費兩個原理出發來說明什麼是普遍經濟。接著說明的是聖世界與俗世界二分的原理，這又可分兩部分來討論。從勞動與消盡的第一組對立可以產生聖俗的區分判隼，一者是勞動的超越性世界，一者是獻祭暴力的內在性世界。從禁忌與越度的第二組對立可以導出聖俗的再次區分，一者是禁忌所管轄的俗世界，一者是人性逾越的歡慶狀態。此外，普遍經濟論可以充分說明各種笑的型態，最終導向對超越的虛無性的笑。最末，本論文從死亡共同體的角度提出一種普遍經濟的友情論。 / This study is to discuss the theory of general economy of Georges Bataille. The argument falls into four parts. First, it accounts for what general economy means by inspecting two principles: that of instant and that of expenditure. Next, the discussion goes to what separates the sacred from the profane world. On the one hand, the profane world is dominated by work and labor which make it transcendent while the sacred immanent world is liberated from within by the representation of sacrificial violence. On the other hand, while the taboo has a command of the profane, human beings achieve and celebrate their sovereignty by transgressing the interdiction. Then, the discussion shows that general economy can have sufficient and satisfactory explanation of the morphology of laughter. Finally, it proposes a new meaning of friendship from the economic view.

從政治－歷史的角度來看，鄭成功具有已進入世界體系的歷史身份；由現代「民族國」的歷史角度來看，鄭成功本身即有豐富的「史實面向」──初為日本人、長為中國人、死為台灣人──從史實面向出發，和台灣曾受到中國、日本統治的歷史過程相疊合，鄭成功受到不間斷、而且相對不同的歷史解釋；這些不同的解釋，也造成鄭成功這個概念的多元性。而被政權所引以鞏固自身統治正當性，或者被政權引為統治者精神象徵的，我們稱呼這種概念為「鄭成功的意識型態」。鄭成功的意識型態經過不同歷史時期的詮釋，分別表現為，一、海寇──為民之戒、為國之賊；二、忠節──危身奉上、難危莫奪；三、武士──武勇壯烈、南海雄飛；四、孤忠──反清復明、建國復國。也因為這些詮釋是做為「鞏固政權的意識型態」，因此，在台灣主體性彰顯的今天，受到來自兩方面的攻擊：一方面是政治實務上的經台無功；另一方面是政治目標上的反清復明。 　　本論文認為，我們應該正面接受鄭成功這個概念做為意識型態的事實，然而不應以「因為受政治影響而形塑出的鄭成功概念」做為對鄭成功負面評價的理由。我們應由民間社會的角度出發，對鄭成功概念進行整體的分析。以民間社會概念來與政權意識型態對立，從民間社會的概念中理出政治的影響，是本論文提出的分析策略。 　　那麼，如何彰顯民間社會的力量呢？我們提出和鄭成功有關的傳說，以及開台聖王信仰這兩者來進行對比分析。在討論了和鄭成功傳說之後，我們從中分離出了台灣型和中國型的差別，並且認為台灣型的鄭成功傳說才代表了鄭成功概念的進一步發展──神奇的、靈驗的、故事性強的傳說，這是鄭成功從史冊中步入常民生活的重要發展。從傳說走向信仰的過程中，我們比較了關公、岳飛、鄭成功這三位歷史人物，進一步發現，相較於其他兩個人物，「表面性」的政治力涉入在鄭成功的身上較為不明顯，我們認為，在「感念開台之功」（民間式的）和「因其忠烈報國」（政治式的）這兩個崇敬原因裏頭，至少在信仰初期，似乎前者的成份較強。 　　接下來，在開台聖王信仰的分析中，本論文從時間的縱切和地理的分佈上，全貌性地追索現今開台聖王廟的分佈與發展。我們認為，開台聖王信仰的地理分佈，其各自的獨立性相當高，從不同系統的移民來看，在沒有個別廟的單點調查之前，也不宜推論信奉開台聖王的人多屬何種系統。同時，更不宜把「歷史事實」理所當然的放到開台聖王信仰的脈絡中加以申論。此外，我們也提出，開台聖王信仰的歷史分期，與對鄭成功的歷史評價，這兩者應該合在一起看。開台聖王信仰在台灣的成立，受到政治力介入的痕跡相當清楚。「信者的比附」（到底我拜的神是誰？）受到政治力的影響，使得新建和改奉的廟，「祀神選項」趨於固定。從台灣開台聖王信仰本身的源起來看、沒有堅實的證據可以指出，信仰中所奉的主神「就是」／「不是」鄭成功。因此，我們在這一點仍要存疑。但是，毫無疑問地，「現在」我們所指的開台聖王「就是」鄭成功，原因很清楚，是政治運作的結果。是政治力打造了現在三位一體的「鄭成功」＝「國姓／國聖爺」＝「開台／開山聖王」概念。 　　最後，我們認為，從政治－歷史、傳說、信仰這三個角度分別觀察，現在的鄭成功概念就是在這三個面向不斷地纏繞迴旋、互相影響之下造成的，政治－歷史對鄭成功概念帶來最直接的影響；傳說為政治－歷史的解釋以及信仰的生成帶來大量素材；信仰生成新的傳說，也塑造了在民間社會中鄭成功的正面形象，這種形象使得政治－歷史解釋更為便利。分析了諸般糾纏的概念之後，我們認為，如果鄭成功概念的分析，對當代台灣意識的重構，及台灣主體性的建立能有所貢獻的話，那麼，我們的貢獻應該在於提醒：作為一種概念、一種意識型態的「鄭成功」，不宜落入國族主義泥淖的討論與批評；應從台灣的民間社會性格出發，以開放的、面向海洋的觀點，全面性地理解鄭成功概念的全貌。