本文的論述架構，是以越界的概念做為切入點，從界限的流動不定，去掌握跨越的意義，藉此蠡測人的心理世界與真實的經驗感。並以中國的自我觀及「常」與「非常」的概念做為樞軸，探究《三言》中意識型態與文本實踐的繫連。論文的第二章，即追溯西方越界思想的歷史脈絡。由薩德、尼采、巴汰易、布朗修等人所提出的越界概念，可以得知逾越是一種脫離完整的、原有的意義架構路徑。歸結中西方思考的不同處：中國文化思維中的越界是自我與他者相互牽涉、塑造的複雜過程，而「常與非常」的概念，則隱含人們希望從劃分「非常」中，安頓自身的思維。反觀西方的越界思想，思想家多強調對原有意義結構的掙脫，以及權力宰制、消失的過程，缺少對人我和諧層面的探究。中西方雖對界限有不同的思考面，然卻是探問《三言》中逾越界限問題的起點，藉此筆者試圖描繪出故事中建構與重構的文化現象。 第三章則從性別越界的向度，探討扮裝對男女有別的跨越。在女扮男裝的文本中，女性扮裝者出外求學、旅行、服軍役、求官職，她們逾越了男女之防，也逾越了不能擅自出閨房、擅自作為的婦德。扮裝期間，所體現的仍是男性的價值內涵，藉著恪守貞節，她們得以進入公眾領域，也除卻了逾越性別界限的不合理。至於男扮女裝者，其動機多集中在男性以扮裝之便，行姦淫之事。一方面他們以擾亂社會秩序的服飾裝扮，飽其淫欲；一方面也在越界後的懲罰中，被導向社會現實的秩序面。第四章則探討人的內在情欲，在禮法常則的支配下，如何以逾越的行動，跨越性禁忌，發展出人性的自主空間。逾越性禁忌之後，越界者在果報、法律、禮教等維繫秩序的要求下，若能區辨出情與淫，並以婚姻為最終依歸，其逾越並不受罰。然而若是情欲過溢，越界者多受嚴懲，以收教化警惕之效，世界也因此回歸常軌。第五章，談論身體越界故事。以變形為途徑跨越身體的界限，是人們對生命形式轉化的思考。從失衡到重新回歸，其敘事邏輯往往體現、寄寓了異常事件帶給人的不安定感。這些神、仙、人、鬼、妖，以身體的變形，跨越了原本區隔出各種物類的界限。 本文從越界的觀點，開拓《三言》研究的新途徑，也觀察出《三言》中的越界故事，雖然是對現實侷限的突破，然而它並無展現出顛覆常道、建構新的人倫秩序的企圖，往往在許多情節的推移之下，看到更多的妥協和接納。因此《三言》中越界故事所凸顯的，不是告訴人們努力去改變世界，而是落到現實生命去實踐，用回歸內在的情境，去把握可能性。在這種情況下，「情」被提到道德的至高處，喚醒了人的內在主動性，而人生則依然被安頓在一個秩序的網絡之中，不會脫逸現實。

『西鶴諸國故事』是浮世草子作家井原西鶴於貞享二年（一八六五年）所創作的短篇怪異奇談集。作品的世界以日本全國各地為舞台，不僅空間上的涵蓋範圍廣闊，作品中形形色色的人物亦豐富了故事的內容。本書收錄了作者西鶴的旅行見聞和各地傳說，以及取材自日本與中國的文學作品，由此可以得知西鶴寓創新於古典的寫作精神。西鶴在創作奇聞軼事的前提之下，以誇張諧謔的手法來形塑作品中的眾生相，同時以超現實的怪異元素來反襯出世間的種種樣態。 本論文以「越界」作為解讀、分析『西鶴諸國故事』的切入點。在本書之中，境界並非是限制行動範圍的阻隔，而是連結境界兩側的接點。越界不但深化了境界兩側的接觸與交流，同時亦賦予作品新的可能性。越界的種種現象，透過作品中人物的行止展現出風格紛呈的樣貌。第三章以「異界來訪」為題，考察「傘的神諭」、「雲中的比試」、「狐四天王」、「美女的飛轎」、「紫女」五篇，闡明人類的妖魔性與異類的怪奇如何共同映照出人類的本來面目。第四章以「造訪異界」為題，詮釋「夢路的風車」、「末路的寶舟」兩篇，探討被視為和人類世界具有相似特性的異界如何清楚投射出人類世界的本質。第五章以「現實與非現實的境界—夢」為題，探究「水脈的支流」、「留念的金鍋」、「因果的洞穴」三篇，分析如何透過超越現實與非現實、生與死境界的夢，來將現實中無法滿足的願望、難以平撫的情緒和無法解決的問題在非現實之中獲得解套。 在『西鶴諸國故事』之中，藉由越界此一往返於不可思議世界之間的循環過程，可以擁有自我解放與重獲新生的體驗。由於這種越界體驗將會產生新的動力，並帶來新的刺激，因此也成為促成活性化與轉變的契機。越界這個觀點照亮了『西鶴諸國故事』的作品世界，提供一個嶄新的閱讀角度，同時創造出新的觀點與認識，達到深入理解作品的目的。 / “Saikaku Shokoku Banashi” is an anthology of short strange tales written by Ihara Saikaku in 1865. The worlds in the tales are places over all Japan; the geographic coverage is very broad and characters of all forms in the work enrich the content of the tales. This anthology collects what Saikaku saw and heard in his trips and various local legends; the raw material originated from literature of Japan and China. Through this, we learn Saikaku’s spirit in writing was to include innovation in classics. Under the premise of writing strange stories and anecdotes, Saikaku shaped all living creatures by exaggerated and wisecracking techniques and at the same time reflected the phenomena of the world by contrast through supernatural and strange elements in the work. This thesis utilized “crossing boundaries” as a cut-in point to interpret and analyze “Saikaku Shokoku Banashi”. In this work, the boundary is not what limits the range of action but the linking part which links two sides of the boundary. Crossing boundaries not only deepens the contact and exchange between two sides of the boundary but also renders the work new possibilities. The phenomena of crossing boundaries are presented as different styles through the behaviors of the characters in the work. Chapter 3 “Visited by Different Worlds” investigated five tales “Karakasa no gotakusen”, “unchuu no udeoshi”, “kitsunesitenou”, “sugata no tobinorimono”, and “murasakionna” and elaborated how human’s evil traits and different species’ oddness reflected the original nature of human. Chapter 4 “Visiting Different Worlds” interpreted two tales “yumeji no kazakuruma” and “yukusue no takarabune” and investigated how different worlds with characteristics similar to human world clearly projected natures of human world. Chapter 5 “Realistic and Unrealistic Boundaries--Dream” investigated three tales “mitsusuji no nukemichi”, “nokorumonotote kinnonabe” and “inga no nukeana” and analyzed how to fulfill wishes, calm the emotions and solve the problems which can’t be done in real life through crossing the dreams of real and unreal worlds and also life and death. In the work “Saikaku Shokoku Banashi”, through the cyclic process of going to and fro in the unbelievable worlds the experiences of self-liberation and rebirth can be gained. Because this kind of “crossing boundaries” experience will produce new power and stimulus, it also will become a turning point of promoting activation and transformation. The viewpoint “crossing boundaries” illuminated the world of this work “Saikaku Shokoku Banashi” and provided a whole new reading perspective. It at the same time created new perspective and understanding and achieved the purpose of comprehending the work in a profound state.

仙道文學，就廣義而言涉及一切與神仙有關之書寫，然而，小說中究竟應包涵哪些內涵，且透露出什麼文化意涵才算是仙道文學？透過本論文之研究，認為仙境、仙藥和仙術（法術）是不可或缺的三個元素。仙道文學之核心功能在於傳教，然而仙道文學之價值與意義並非只有傳教功能，仙境、仙藥和仙術更顯示出民族文化心理。 首先，通過仙道小說中仙境、仙藥和法術寶物之越界書寫，說明了唐人共同的文化心理──「求生意識」，是一種「求安」的生命意識。其次，過去對於越界書寫往往著力於凡人進入仙境，本論文在第二、三章中，將神仙越界下凡做了進一步的探討與析論：第二章中，就宗教傳播而言，說明了神仙下凡具有「啟悟與修道」之功能，在第三章中，說明了神仙下凡賜藥祛疾具有「起信」作用。其三，本論文深入研析法術寶物劍與鏡之解煞與祛疾功能，說明了唐人對於異界侵犯的恐懼，在李師豐楙研究基礎上，延伸六朝以來劍鏡研究之成果。其四，關於敘事模式：於第二章中，就誤入之敘事而言，提出「啟悟與修道」之發展型敘事模式；於第二、三章中提出「謫降與行功」之仙律敘事模式；於第四章中提出寶鏡「出世與歸返」之敘事模式。 要言之，仙境、仙藥和法術寶物之越界書寫，反映了人們的「求生」、「求安」的生命意識，此係對於生命存續之恐懼心理，因此，尋求各種方式進行生命困境的救治與解除。

本論文作為對《存有與時間》的一個探究，其研究焦點主要是針對《存有與時間》第一部的寫作計畫──藉由時間性詮釋此在，解說時間之為存有問題的超越界域──探究為何任何一種存有理解皆必須以時間為其可能界域?我首先闡釋了存有理解的可能性條件──此在的時間性，而其所綻出的超越界域，乃是存有的時間狀態，此在理解投設存有之所在。不過，在海德格的前期思路中，尚未超出界域思維，徹底達致存有自身，對於這部分我將從後期思維加以補充說明。

本論文對於川上弘美文學作品之後現代戀愛進行研究。以越界和變身、後現代的身體性、戀愛的不可能性以及後少女的戀愛為各章標題進行探討。透過川上弘美對於異界空間的幻想、日常和非日常的轉換和後現代戀愛之型態和不可能性等議題，筆者針對川上弘美文學當中，異界空間、戀愛形態、死亡描寫等特徵進行考察。並且比較在東日本311大震災之後，川上弘美文學的變化。 / 本論文は川上弘美文学におけるポスト恋愛を研究する。 各章のテーマは越境と変身、ポスト現代の身体性、恋愛の不可能性、ポスト少女の恋愛を分けられている。ここでは、川上弘美文学における異界空間への幻想、日常と非日常の変換とポスト恋愛の形態と不可能性などの議題について考察を試みる。さらに、東日本311大震災が発生した後の、川上弘美文学の変化を比較している。

本論文考察晚清以降，面對廿世紀的新舊交替，殖民與西學衝擊，在中國南方、台灣與南洋的詩人群體的離散際遇。從他們寫於境外的漢詩創作，探究一個政治／文化遺民的精神處境及漢詩文類的越界與現代性脈絡。漢詩有著源遠流長的傳統，做為士人文化心靈的寄託與投射，漢詩因此成爲一代流亡知識分子銘刻歷史嬗變，見證家國離散的重要媒介。尤其經歷乙未、辛亥兩次政治鉅變，士紳百姓大規模遷徙，文化與文學的播遷軌跡因此日益繁複，漢詩由此構成理解與辯證現代性的種種可能的文學形式與生產空間。本論文處理的時間跨度，始於一八九五年的乙未割台事件，結束在日軍投降、二戰結束的一九四五年。前者從近代中國第一批遺民的誕生展開論述，後者以南來作家郁達夫的失蹤死亡，做為流寓詩學一個曖昧的結束或再生產。 士人在一八九五年以降面臨的時代鉅變，產生了悲憤憂患的國族書寫、現代的時間與地理感受，造就晚清曖昧的政治或文化遺民，並連同中原境內與境外的知識份子，捲入了一種離散現代性的體驗。他們透過文學試圖描述與定位自身的遷徙，卻必須面對時代的變化與衝擊，同時回望、召喚難以斷絕的傳統。這是一個區域漢文學交流與互動的歷史時刻，一個以漢詩為主導文類的文學現場。我們從離散敘事的論述框架，重新觀察了漢詩作為跟隨傳統文化一同陷落的舊文體，如何在地理遷徙的現代時空內，重新架構了詩人經歷的主體飄零、肉身苦難、絕域風土和文教播遷的種種經驗。 這些文人分別在不同區域之間流動，從中國到台灣，從台灣內渡中國，再從中國奔往南洋，三個區域的互涉，凸顯出清末民初的文化遺民型態各異，但又共同處身一個裂變下的帝國解體與現代體驗。無論他們生根中國、台灣，或流寓、移居南洋，文人遊走區域之間，表現出不同的文化想像與文學生產。 本論文選取的四組詩人個案，包括乙未割台時期內渡大陸，後往南洋推展儒教的丘逢甲、在殖民地台灣以遺民自居的王松和洪棄生，流亡南洋的康有為及移居者丘菽園，客死南洋的許南英和郁達夫。這些不同脈絡背景的詩人個案，都同時聚集在一個境外離散式的寫作氛圍。他們的歷史機遇由晚清跨度到民國，不同的主體與客觀經驗，展現了形塑流亡詩學和南方視域的可能。漢詩在海外的不絕如縷，尤其見證一代知識分子或花果飄零，或靈根自植的心路歷程。這些寫在境外的漢詩橫跨新舊文學的分野，在同一傳統／現代交替的歷史結構裡出沒，一再説明漢詩歷久而彌「新」的現代意義。其中內蘊的文類意識，提醒了我們進一步理解漢詩播遷所塑造的區域文學型態，同時藉由這些遺落在海外的詩人足跡，形成地域觀照的「文學現場」脈絡。 / The present study investigates Chinese diaspora in terms of a particular group of loyalist poets scattering in South China, Taiwan, and Nanyang in late Qing, including Qiu Fengjia, Wang Song, Hong Qisheng, Kang Youwei, Qiu Shuyuan, Xu Nanying and Yu Dafu and discusses transcendence and modernity of their Han poetry. This study deals with the time span from territorial cession of Taiwan in 1895 to Japanese surrender /the end of war in 1945. The discussion starts with the emergence of the first group of loyalists in late Qing in 1895 and closes with Yu Dafu’s missing in Sumatra in 1945. During this period of time, social upheaval due to the transition to a new era and the impact from colonization in Taiwan and westernization in China forced common people as well as intellectuals massively migrated and emigrated. For example, Qiu Fengjia exiled from Taiwan to China during the Japanese colonization and later went to Nanyang. Kang Youwei, Qiu Shuyuan, Xu Nangying and Yu Dafu exiled or moved to Nanyang and the later two even died there. Poets in Taiwan, like Wang Song and Hong Qisheng, considered themselves as emigrants from China. Being deserted and colonized, these poets threw themselves into loyalist writing, intending to construct identity in terms of space and time. Drawing upon such loyalists’ works of Han poetry, this study attempts to sketch out those poets’ mental state as political/ cultural loyalists and the way their Han poetry displayed transcendence and modernity. Having an established tradition as the genre to represent the spirits, morals and emotions of intellectuals, Han poetry was naturally chosen by intellectuals to use when they endeavored to depict historical changes and the collapse of a dynasty. Han poetry thus in turn manifested itself as an epitome of diaspora and the loyalists’ state of mind during that period of time. In addition, after Yiwei and Xinhai political upheavals, the emigration formed intriguing paths of disseminating culture and literature. In this context, Han poetry turned out to serve as an important literary form and space, by which we are able to interpret and discuss modernity.

本論文在固定利率的情況下，推導了超越界限數據選擇權(Crossing Barrier Digital Options)的評價模型及其避險比率，選擇權的條件可以是買權或賣權，上限或下限，甚至是雙重界限，以及出局或入局等，經組合變化後可以產生許多不同的種類，因此我們依序介紹了六種單一界限型態的選擇權及兩種雙重界限型態的選擇權，以供讀者參考比較。

《達文西密碼》這部作品在成為最暢銷的小說後，吸引了世界上許多各式各樣不同的讀者。然而在暢銷市場之外，這部作品卻被許多評論家認為是一部扭曲史實的作品；幾乎所有的評論家都一致認為這是一部充滿歷史錯誤與邏輯矛盾的創作。不過令人訝異的是，幾乎沒有任何評論家是從文學理論批評的角度來檢視這份虛擬的小說創作。 因此，本文除盡可能檢視過去所有探討及批評《達文西密碼》的文章外，筆者將探討文中引含的兩種能量：權力與抵抗。這兩種力量其實在此書中一直是兩股此起彼落的流動能量，筆者將採取文學理論的角度去探索此書裡的權力與抵抗互動脈絡；而且，在這之後，筆者會試著從理論面向，深入檢視造成《達文西密碼》一書全球風潮之因。 本論文將分作四個章節，在首章中，我會回顧其他批評及評論家對《達文西密碼》一書的見解，第二章則是對應用於此書中的文學理論的鋪陳及探討，第三 章則是則分別討論傅科 (Michael Foucault) 的權力、克里多娃 (Julia Kristeav) 的母性抵抗，以及以瑟 (Wolfgang Iser) 的越界 (Boundary crossing ) 理論，如何運作在《達文西密碼》一書當中。最末章的總結則點出此本小說其實不僅僅 是許多評論家眼中的一本充滿不實與問題的作品；相反的，它不但揭露出權力及抵抗兩種能量的運作和依存關係，而且也解釋了這本書造成閱讀風潮的原因，也就是讀者心中的那份永不滿足的失落。 / Having been one of the most popular recent works of fiction, The Da Vinci Code has attracted readers throughout the world. Yet, many critics have commented that The Da Vinci code is a work full of historical mistakes. Almost no critic analyzes the reason for its success from a theoretical perspective. The novel enchants readers because it suggests the unexpected ways that the meaning of the sacred feminine has been repressed throughout history. As the reader decodes the clues that are hidden throughout the novel, an undiscovered history is suggested: the myth of the Holy Grail. In The Da Vinci Code, the Holy Grail stands for Mary Magdalene, who carried and conceived Jesus Christ’s child. In the novel Mary carries a significant symbolic meaning because she is portrayed as the wife of Jesus as well as the mother of His daughter. This stunning premise is responsible for making The Da Vinci Code not only popular, but also very controversial. Critics vary in their reaction to the ‘subversive’ ideas in The Da Vinci Code, but there are two predominant kinds of reaction to the novel. The first type reflects the view that The Da Vinci Code is a popular work that encourages feminine, independent thinking that works in opposition to conventional and social power. The second views it as a fictitious work fraught with historical inaccuracies. Generally speaking, both types mention the issues of power and resistance in The Da Vinci Code. This thesis consists of four chapters that focus respectively on the search for power, feminine resistance, and boundary crossing narrative techniques. Chapter one introduces how critics analyze their conventional elements. In the second chapter, I intend to employ Michael Foucault, Julia Kristeva, and Wolfgang Iser’s theories in an analysis of The Da Vinci Code. In the third chapter, I will employ textual evidence to support my theoretical analysis. In the conclusion of my thesis, I will claim that only through the dialectic oscillation between transgression and law can the individual escape the symbolic control and discover resistance. Furthermore, the narrative technique of boundary crossing is the key that has made the book a runaway success throughout the world and that also renders the reader eager to explore their own world further. Finally I reach the conclusion that The Da Vinci Code is not merely a work full of errors and conspiracies, but also a novel that exposes the violence, resistance and sense of loss in contemporary society.

本研究旨在重建弗雷勒的批判意識概念，重建工作計有四個部份，六項步驟。首先是問題意識之釐析，藉由整理國內外學界關於弗雷勒思想的反省與爭議，指出弗雷勒思想的既有侷限與問題，以說明重建之必要與方向。第二部份則依據「人—世界」關係取向之詮釋框架，將弗雷勒批判意識概念，重建為三個基本向度：1.以批判性的自我覺察為前提，2.對於存在處境的整體性反思，3.超越界限處境以朝向人性化的越界行動。第三部份的兩項步驟，則分別藉助世界現象學、哲學詮釋學和批判理論、女性主義等當代主要哲學、社會、政治思想，來釐清並豐富這個概念架構所涉及的思想內涵，建立起一個更能處理當代核心問題的概念架構。第四部份亦分為兩項步驟，首先以此重建後的概念架構，反思台灣社區大學運動之知識解放理念，並透過一門課程的實踐經驗，詳細解析有助於學習者發展批判意識之課程結構、教材選擇以及教學方法；第二項步驟則是將批判意識概念三個基本向度，及其重建後的概念內涵，融入於「聆聽」這個人與自身以及世界的批判性互動，以提供一個發展批判意識的一般性實踐方案，如此方能從社大辦學整體的層次，探究有哪些重要的學習經驗，有助於學習者與自己以及與世界的關係的連結與深化，以說明就社大辦學的整體而言，其批判意識之實踐的方向與可能性。 / This study is aiming at the reconstruction of Freire’s idea of critical consciousness. There have been four parts and six steps in this reconstruction. In the first part, some fundamental limitations of Freire’s thought have been identified, and the need of this reconstruction work and its orientation are thereby clarified. In the next, Freire’s idea of critical consciousness is reconstructed as three basic dimensions based on the framework of human-world relation as follows: 1. presupposed with critical self-awareness. 2. reflection of the totality of the existing situations. 3. limit-actions to transcend the limit-situations in order toward humanization. In the third part, there are two steps to discuss contemporary philosophical, political and social thought, such as the phenomenology of world, philosophical hermeneutics, critical theory and feminism, for the clarification of the meaning involved in this reconstructed framework of critical consciousness. The last part also has two steps. At first, the dispute regarding the fundamental spirit of Taiwan’s community university movement--emancipation of knowledge, is reviewed and settled via the reconstructed framework of critical consciousness. Based on this review, the practice of a curriculum--“Taiwan’s colonial experiences during Japan period”, is analyzed to demonstrate the principle and method for the design of curriculum, the selection and organization of teaching material, and the teaching method for the learner to develop critical consciousness. At last, the three basic dimensions of critical consciousness are combined into a critical way of human-world interaction—listening, as a general guideline for the practice in the community university. According to this general guideline, there are some learning experiences which are helpful to foster learner’s critical consciousness and can be created in all curriculum and learning activity. Therefore, it is possible for the community university to develop the critical consciousness in all their practices and this reconstruction work has provided clear elucidation.