新時代運動在台灣的發展，反映出“自我靈性”在台灣的發展，而在新時代運動重視個人的特質下，與其有所接觸但卻不積極參與的邊緣或個人參與者，其對於新時代運動的理解與接受的情形，有助於對新時代運動在台灣發展情形的進一步理解。基於此種目標，本研究試圖以邊緣、個人的新時代運動接觸者作為研究對象，了解其宗教與靈性經驗、探尋他們對於新時代運動的接觸與理解情形。 在本研究中，不同的受訪者呈現出了各自不同的經驗與觀念，個別的受訪者對於新時代運動的定義與接受情形也各自不同。有些受訪者遊走於不同的思想體系，並使用湊合術的方式建構自己的靈性觀念。有些受訪者則是經過一段時間的尋覓，以某一家之言作為自己靈性思想領域的主軸，但也可能還對其他的宗教思想體系保持開放的態度。相當多新時代觀念的追隨者具有類似於一般宗教改宗或皈依之後所產生出的靈性轉化經驗，說明新時代運動的參與者可以從中獲得至少是類似甚或是相同於一般宗教的經驗滿足。 雖然由於本研究的研究對象，對於新時代運動的接觸，大多屬於較不積極參與、較為邊緣的接觸者，然而仍然呈現出與先前研究者針對新時代運動參與者的類型分析有可對話之處，故而顯示新時代運動的影響力不僅及於積極參與的核心參與者身上，而是也可以擴散到那些邊緣的新時代運動者、略有接觸的個人身上。

台灣南島語族近百年來受到外來因素影響，而產生不小變化。其中之一，便 是從傳統文化信仰改宗為西洋之基督宗教，這種集體改宗的現象，發生在戰後的 1960年代由為顯著。雖然如此，但這並不能涵蓋所有原住民族的不同信仰與臺灣宗教的多元複雜，以及隱藏在人的歷史性和體驗背後更為基礎的東西，是所有人 類生命共同相屬，思考生命意義並且期望實現意義的作為。 研究者認為以 Bunun 與一貫道信仰在台東的邂逅為例，揭示當代 Bunun 生 命教育的自覺與實踐是值得探討的。因此，本文主要研究目的為： 闡述當代 Bunun 其扎根於社會脈絡下，自我生命價值與文化精神的再創造，這是關乎於「人」 心靈的渴求與生命終極關懷的教育議題﹔以田野調查及個案深度訪談作為研究方式，藉由田野調查了解台東布農族群其信仰一貫道之社會脈絡與現況，並透過個 案深度訪談了解當代 Bunun 跨越多重文化信仰對其所象徵的意義為何，又一貫道蘊含之生命/靈性道義藉文化轉譯是如何獲得族群信仰認同﹔另外曾經在一貫道中「求道」又回到原宗教信仰者，是如何看待宗教與生命間的關係。 研究結果顯示當代 Bunun 對生命的終極關懷主要可歸納於三大面向。一是 對於「靈性」當家作主，原初我為生命真主人的企求﹔二是認為尊重生命的根本， 即從身、心、靈做起﹔三是以「家」為踐道之起點，「地球生態」永續發展為宇 宙公民之責任。 / Taiwan’s Austronesian have been influenced by extrinsic factors for the past century and have produced some changes. One of them is conversion from traditional cultural beliefs to western Christianity, this phenomenon of collective conversion occurred more prominently in post-war 1960’s. However, this does not extend totally to all the diverse beliefs of the indigenous people and to the multiplicity of religions in complex Taiwan, as well as those underlying historical and experimental nature of human beings. Humans commonly, think of the meaning of life and how to achieve this expectation. The author of this study believes the Taitung’s Bunun traditional culture and their belief in I-Kuan Tao’s encounter, for example, reveals the awareness and the practice of contemporary Bunun’s life education are worth exploring. Therefore, the main points of this study are expounds the contemporary Bunun who is rooted in the following social context and recreates the value of self-life and cultural spirit, which is related to the educational assertion of the "human" mind and the ultimate concern of life. On the basis of field work and in-depth interviews, used as methods of research and through field investigation of the Taitung's Bunun people's belief in I-Kuan Tao, the social context and situation; and through in-depth case interviews, to fathom the contemporary Bunun, across the multiple cultural beliefs, on the significance of symbols consistent with life and spiritual moral righteousness and how this can be translated into a faith recognized by the ethnic group. In addition, in the same way, what is the meaning of life if the "Tao seekers" were to return to their original religious faith? The research results show that contemporary Bununs ultimate concern for life can be summed up into three aspects, one is to be the master of "spirituality" , and be my own original master; second, is the respect for fundamental life, that is beginning from the body, mind and spirit; third, is the "home" as the starting point of the practice of Tao, the responsibility of the citizens of the Universe for "Earth's ecological" sustainable development.

教育和文學最重要的連結是什麼，普遍最被接受的是「想像」，也就是想像力或幻想，它是跨領域科技整合極重要的黏著劑與調和劑。因此教育最重要的功能之一在於培養孩童持續保有發揮想像的能力，不僅孩童，成人也同樣需要。基此，本文以文學視角出發，結合靈性教育的關懷，從富含幻想表現的奇幻敘事文本取材，透過再想像與再詮釋的創造性連結，嘗試性地勾勒出一個富含寓意的人類圖像。 本研究採文本分析，融入「皺摺、展開、再皺褶」及「詮釋、再詮釋與過度詮釋」的概念與方法，著眼於「人與超自然」向度來詮釋靈性教育的人類圖像。本文共分六章：第一章，導論：緣起說「圓」，為本研究的緒論；第二章，究竟起「源」：創世與起「源」，為文獻探究與前導，指出源即是靈；第三章，迷宮探「園」：謎樣的世界，旨在闡述「界意在破（無）」；第四章，穿越奇「緣」：隧道的盡頭，旨在闡述「道意在無（悟）」；第五章，另度次「元」：空間與過門，旨在闡述「門意在空（心）」；第六章，總結：究極奧「圓」— 〇、●、 、◎，回顧與統整「那神」的人類圖像。 本研究嘗試勾勒之「那神教育學」圖像，或可稱為靈性教育的人類圖像，此圖像模型主要有三層（嚴格來說有五層），上下有其位置，但沒有先後順序或優劣之分，分別以基層的太極陰陽圖、中層的環狀隧道和上層的三角體形構，並透過「噬尾龍」的蘊義，闡釋「人即是神、神即是人」的循環圖像。 / The purpose of dissertation is trying to verify the imagination can be the connection between the education and literature. Imagination can connect and mediate among the multi-dimensions. One of the important things of education, not only for children but also for adults, is to cultivate and maintain the imaginative capacity. In this reason, my dissertation adopts the literature narrative and care about spiritual education. Especially, I use the folk literature with rich fantasy to do the re-imagine and re-interpretation for illustrate the meaning of the whole human picture. The methodology of the dissertation are use the "folding, unfolding and re-folding " and "interpretation, reinterpretation and Overinterpretation" and so on, with the fantasy narrative in "human being and supernatural", to interpret the human picture of spiritual education. There are six chapters in this paper: Chapter Ⅰ, Introduction: the Origin and "circle"; Chapter Ⅱ, Explores the Beginning: the Genesis and Origins; Chapter Ⅲ, Explore the Maze "Garden": the Mystery World, aims to set forth "Boundary to be Break (No)"; Chapter Ⅳ, Meet the “Fate”: At the End of the Tunnel, to elaborate "Road means None (Enlighten)"; Chapter Ⅴ, Another Dimension: Space and Threshold, to elaborate "Door means Empty (Heart)"; Chapter Ⅵ, Conclusion: The Ultimate "Round"— 〇、●、 、◎, Review and integrate the human picture of "No-thing". I try to describe the picture of "Pedagogy of No-thing" or called the human picture of Spiritual Education. There is a vertical structure with three levels in the picture (strictly speaking there are five levels) but no priority among them. The foundation is “Tai Chi”, the middle is “Ring Tunnel”, and the top is Triangular Shape in the structure. Through the “Ouroboros” (bite the tail dragon) interprets the picture of "human being is god, and god is human being ".

「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.

本文以11、12世紀伊斯蘭蘇非大師Ghazzali的靈與心之救贖作為宗教心理學理論探討的典範，主要著眼於他個人在宗教心理的意義中，以虔誠和謙卑體現信仰實踐的重大轉變，除了其本身擁有豐富的知識和深刻的思想，更重要的是，他履行蘇非之道，徹底改變信仰態度，真正捨離世俗，最終獲得靈與心的救贖。在分析和詮釋的理論依據上，本文採用荷蘭宗教心理學家Han F.de Wit結合自己的心理學素養與靈修經驗，在20世紀晚期發展出的一套理論，稱為「靈思心理學」（Contemplative Psychology）。在這套理論中，de Wit呈現宗教的冥思傳統(contemplative tradition)與個人的心理洞見、信念之間的連結，經驗和思想可以相互為用。在他所提出的觀點之中，本文透過如下幾個主張，包括皈依、關鍵時刻、斷裂、危機、懷疑、改變、與捨離，說明Ghazzali如何成就伊斯蘭密契傳統的最高典範，同時也突顯靈思心理學試圖闡釋人類靈與心互相超越，同獲救贖的理想。 / The thesis regarded Ghazzali, the outstanding thinker and great Sufi of Islamic world in the 11th and 12th centuries, as a perfect example, who embodied an inward transformation of religious action with piety and humility. Other than his profound knowledge and thoughts, Ghazzali is also an authority on theology and law of Islam, and furthermore he performed a Muslim’s devotion by proceeding on the path of Sufi. He gave up all his possessions, followed the instructions of Sufism to survive a serious crisis of spirit, and obtained the ultimate salvation of his soul and heart in the end. The theory used in this thesis to analyze and interpret Ghazzali’s spiritual experience is the “contemplative psychology” of Han F.de Wit, who is a religious psychologist of the Netherlands. De Wit spent more than ten years combining his psychological training and spiritual experience to develop the theory in late twentieth century. In this theory he presented the connection between contemplative traditions of many religions and the insights & beliefs within individual mind. Among those concepts stated by de Wit in his theory, the thesis used mainly several of them, such as conversion, moments, break, crisis, doubt, change, and renunciation, etc. Accordingly, Ghazzali could be the most perfect example of the contemplative psychology, when we refer to salvation of both human Soul and Heart.