本文探討《周易》經傳吉凶觀念，不欲陷入「經傳分觀」與「以傳解經」的爭執中，所以對於《易經》與《易傳》的吉凶觀念討論，採取調和方式，也就是運用「經傳分觀」者的優點，回歸《易經》與《易傳》於各處之時代來加以討論各自的吉凶觀念；運用「以傳解經」者的優點，看《易傳》對《易經》的吉凶觀念，是如何的詮釋。並且嘗試整理存在卜辭中「吉凶觀念」的形成初期，到存在於《周易》經、傳中的「吉凶思想」，由此，一方面得以梳理《周易》經、傳間吉凶觀念承續與再現的問題，一方面得以此為基礎，論析《周易》經、傳思想與思想史間的互動關係，就吉凶思想，追尋其形成、轉化的軌跡，或許更能瞭解《周易》所蘊藏的價值內涵，及《周易》思想與其他思想間的授受關係。 職此，筆者之研究，第一章為緒論，即討論《甲骨卜辭與周易經傳吉凶觀念思想研究》之研究動機與目的，接著討論其研究範圍，之中包含時間與材料兩種範圍的討論，繼而回顧前人對於《周易》中，有關「吉凶」觀念方面研究成果，從中得出當前研究概況，最後提出本文的研究方法與研究進路。 第二章首先對《周易》經、傳形成背景中，可能的思想資源作一探溯，透過殷墟甲骨卜辭中的探問，觀察先民對於吉凶觀念有何種認知、運用與作為，及如何從對卜辭中吉凶的解讀，以達趨吉避凶之道。 第三章探討由甲骨卜辭進入到《易經》中，《易經》吉凶觀念的內容為何？又《易經》對甲骨卜辭中的吉凶觀念繼承與發展了哪些？而從卜辭到《易經》卦爻辭這一時期，恰好歷經商末到西周初的歷史大轉變，其中「思想文化的變化」是殷周之際最顯著的變動。因此，當《易經》卦爻辭，經歷殷周之際的思想文化轉變後，對《易經》卦爻辭中的吉凶觀念和天人關係，起了何種影響？《易經》作者們回應時代潮流，表現於卦爻辭中，其吉凶內容與思想與先前的卜辭，有何不同？此皆是本章所要說明的論點。 第四章探討《易傳》對《易經》吉凶觀念的繼承與發展。我們可從《彖傳》與《象傳》對卦義、卦爻辭的解釋看，《周易》已不只是占筮吉凶用的典籍，而且成了依據天道變化，處理生活得失，治理天下國家和進行道德修養的指南。《易傳》對《易經》的吉凶觀念，有往哲理化發展傾向。而這一發展與春秋戰國時期思想文化變動有關。所以，筆者本章首先探討軸心期思想文化有何突破？而此突破對《易傳》的作者們，起了何種影響？而《易傳》作者們回應時代課題下，其吉凶觀念與天人關係為何？而對《易經》的吉凶觀念與天人關係，有什麼繼承與發展之處？《易傳》的人文化發展如何？此皆是本章的討論重點。 第五章為結論。討論本文研究發現與心得、未盡待研究之處。 / The purpose of this paper is to investigate the auspicious concept of “Chou Yi” classics and commentaries; without involving the arguments of “division of scriptures and commentaries” and “scriptures explained by commentaries”, this paper uses a compromised approach to discuss the auspicious concepts “Yi Scriptures” and “Yi Commentaries”. That is to apply the advantages of “division of scriptures and commentaries” to discuss the auspicious concepts, respectively, in the era when “Yi Scriptures” and “Yi Commentaries” originated and apply the advantages of “scriptures explained by commentaries” to observe the auspicious concepts of “Yi Scriptures” interpreted from the standpoint of “Yi Commentaries”. It intends to collect and organize the initial stage of “auspicious concept” contained in inscriptions and the “auspicious thinking” existed in scriptures and commentaries in “Chou Yi”. Thus, this study examines the inherent and recovery issue of auspicious concepts between scriptures and commentaries of “Chou Yi” in order to discuss and analyze the interaction among the thinking and thinking history of “Chou Yi” scriptures and commentaries. In terms of auspicious thinking, this paper intends to explore the course of its formation and transformation so that people may have more understanding of the content of “Chou Yi” and the reciprocal relationship between “Chou Yi” thinking and the other thinking. Based upon the above objectives, the first chapter of this paper is an introduction to discuss the research motive and goals of “Auspicious Concepts of Oracle Bone Inscriptions and ‘Chou Yi’ Confucian Classics and Commentaries” and the research scope, including time and materials. Next, previous research results of “auspicious” concepts in “Chou Yi” are explored to understand the current findings; finally, research method and prospect are presented in the article. In Chapter 2, the background of “Chou Yi” scriptures and commentaries is studied to investigate the possible foundation of thinking; by exploring oracle bone inscriptions from Shang Dynasty, cognition, application and actions concerning ancient people’s auspicious concepts are observed and how they interpret the indication of oracle bones for pursuing auspicious indication and avoiding bad lucks. Chapter 3 investigates the auspicious concepts in “Yi Scriptures” contained in the oracle bone inscriptions. It also examines the inherent auspicious concept and its development from oracle bone inscriptions in “Yi Scriptures”. During the time between inscription to “Yi Scriptures” divination when a historical transition occurred in the end of Shang Dynasty and early West Chou Dynasty, “changes of thinking culture” is the most significant transformation during the era of Shang and Chou. Hence, after the cultural transition in Shang and Chou Dynasties, what effect of “Yi Scriptures” divination due to the auspicious concepts and relationship of heaven and human contained in “Yi Scriptures” divination. In response to changes of time, what difference between the divination content presented by the authors of “Yi Scriptures” and the ancient inscription is the focal point stated in this chapter. Chapter 4 examines the heritage and development of auspicious concept in “Yi Scriptures” from “Yi Commentaries”. From the divination interpretation of “Tuan Commentaries” and “Image Commentaries”, “Chou Yi” is not only an ancient book of divination and also becomes a guideline to deal with life, govern a nation and the world, and to have moral trainings based upon changes of natural revolution. There is philosophical tendency in the development of auspicious concept of “Yi Scriptures” from “Yi Commentaries”. This development is relevant to the cultural and thinking changes during the era of Spring Autumn and Warring States. Hence, this chapter begins with the breakthrough of thinking culture during a core period and what effect of this breakthrough on the authors of “Yi Commentaries”. In response to the issue of times, what is the auspicious concepts and relationship of heaven and human from the authors of “Yi Commentaries”, what do they inherit from “Yi Scriptures” and what are their developments? How is the cultural development of “Yi Commentaries”? These are all the crucial discussions in this chapter. Chapter 5 is the conclusion to discuss research findings, lessons learned and follow-up efforts to be focused for the study.

Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique. / This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films.

The introduction of this diploma thesis summarizes the production of , and it identifies the two following layers of authorship. The first layer is the fictional authorship of Jara Cimrman; the second layer is the authorship of the Cimrmanologists and their so-called (or fictional) reconstructions of Cimrman's work. The introduction further discusses the importance of the radio show , which gave birth to the character of Jara Cimrman. Finally, the introduction analyses various aspects of Cimrman and his mystifying character. The core of this thesis consists of an analysis of Cimrman and his relation to Czech Dream. It also studies the Czech dream and its development. The second chapter provides a study based on the play , which is looking at the relation between Cimrman and Czech history and the national myth. The beginning of this chapter offers an overview of the history of the . The chapter then continues with an analysis of Cimrman's play with a special attention to its unusual political dimension. The third chapter studies the connections between Cimrman, or his creators, and Czech national consciousness and Czech culture as they are reflected in Cimrman's play . The play is set in the context of Kainar's poem , Klusak and Remunda's film , Macura's essay , and Kaspar's book .

The Conduct of Life, also known as the Poema Morale, is a verse-sermon that has been largely ignored by literary histories, and despite the longevity of its textual tradition its various texts have never been the subject of extended study. This dissertation brings together the seven manuscript versions of the text, which date from the end of the twelfth to the end of the thirteenth centuries, and re-examines them individually and as a cohort exhibiting variance. It therefore offers a revealing indicator of how continuity and change actually operated through the interaction between preceding tradition and scribes and audiences. This is achieved through a three-fold analysis of the verse sermon which highlights the fluidity of the manuscript culture during this period and the willingness of scribes to adapt texts to suit new purposes, to create differences due to dialect and comprehension, or copy variants from a now lost exemplar. First, an edition of the text, based on the version found in Cambridge, Trinity College MS B. 14. 52, folios 2r-9v , explores, through the accompanying notes, the themes, style and phraseology which not only reflect the influence of earlier English literary and hortatory texts but also represent a living tradition which found popularity within diverse writing and social environments. Secondly, a diplomatic edition of each text is presented, preceded by an introduction to the text, grammar and dialect, with full codicological and palaeographic notes. Finally, a parallel text edition bears witness to the copying and reshaping of the text throughout its history. It is accompanied by extensive linguistic notes which highlight the adaptation and textual variance between each version of the Conduct of Life. Each new variant has not only been read in relation to the other versions of the same work but also in relation to the manuscript context it newly occupies as a result of its transmission. Each copy reshapes the material within an established structure of rhythm and metre and, therefore, the dissertation concludes that the sermon is recreated as a series of individual texts, which might be individually analysed, because each is different, particularly within their specific physical and historical moments. This fluidity or mouvance suggests for the Conduct of Life and, for that matter, the texts that preceded it in the historical narrative of the twelfth century that there is no authentic text; that the instability of the manuscript 'tradition' moves from manuscript to manuscript.

無論是東方或西方古代社會，宗教信仰與政治信仰二者的關係都是相輔相成的；尤以中國古代殷周時期，宗教與政治的信仰、權力、組織、制度更是合為一體。筆者的興趣與關注，正是周初宗教人文轉向的課題。周室承繼殷權的宗教文化傳統，從祭祀天神、地衹、鬼靈、祖宗等現象出發，透過一套象徵系統的詮釋方式，傳達出一種對宇宙、人事獨特的理解與信念。然而，夏、殷之例不遠，僅以祭祀、占卜等活動尚不足以「祈天永命」來確保國祚久安，故強調「敬德」的主體修養活動以彌補宗教活動的不足；周室遂以此信仰體系為背景，經由「敬」的自我省察工夫，把對超越界的崇敬與追尋，回返到主體對自我的覺知與省察，神秘的宗教性格遂轉化為「敬德」價值理性的生發，「敬德」與「服天命」或「受天命」之間自始產生了聯結，兩者形成了緊密的因果關係：前為因，後為果；這有效地說明天命屬意周室的正當性。此時，「天命有德→敬德保民→祈天永命」三者恰好結成牢固的繩索，「敬德」成了國祚久安的必要條件，開顯出全新的、倫理的、道德的人文面相。 　　周初宗教人文轉向的關鍵處就是，周公等人以人民根植在祭祀、占卜活動中對超越界的情感為基礎，把一貫的宗教情操巧妙地轉移至「德」價值本體上；在周公等人自覺意識的作用下，神人關係的宗教情操順利地轉化為道德情操，周初宗教精神自此一大躍進，展現了新的宗教精神，從而指點出它的道德與倫理向度；宗教理性與人文理性因而結合、消融，人文意義與價值自始受到重視與肯認。職是之故，筆者擬以周初「天命觀」與「敬德」價值理性二者互為辯證的關係為進路，從二者的形成、關連與作用面切入，分別描述周初宗教人文化的歷史進程，並就其統貫之理作一系統性的闡述。 / The relations between the religious and political beliefs are complementary either in the eastern or eastern society which beliefs, authorities, organization, systems were combined into a whole especially during the Ying-Chou period of the ancient China. The writer's interests and concerns are rightly focused on “the humanistic turn of the early Chou religion”. The Chou empire inherited the religious, cultural tradition from Ying authority, starting out from the phenomena of worshiping the heaven deity, earth deity, ghosts, ancestral spirits and expressed an unique understanding, belief for the cosmos and the living world through the interpretative way of a set of symbolic system. Whereas, that the examples of Shia, Ying authorities went just ahead made Chou empire realized that only relying on the worshiping, divining activities was insufficient to “appealing to the heaven for the eternal life of nation”; hence, they proclaimed further the subjective deed― “respecting virtue” ―for supplementing the deficiency of religious activities; given that, the Chou turned its outwardly respecting and searching for the transcendent back to the inwardly subjective awareness and introspection on self, grounded on the inherited belief system, by way of the introspective work “respecting” of self that resulted in the transformation from the mystic, religious characters into the arising of the value-ration of “respecting value”. Thus, there was connection between “respecting virtue” and “obeying the heaven's destiny”, “accepting the heaven's destiny”; the former the cause, the later the effect. The close causation occurred within them that effectively explained the legitimacy of the bestowed destiny from heaven on Chou. At this time, “the heaven bestowing destiny on those who have virtue→respecting virtue for the purpose of protecting people→appealing to the heaven for the eternal nation” these three nodes were rightly strung into a firm rope so that “respecting virtue” became the necessary condition of the eternal nation that discovered the wholly new, moral, ethical and humanistic aspects. 　　The key point of the humanistic turn of the early Chou religion was Chou-Kong and others, based on people's emotions rooted in the worshiping, divining activities for the transcendent, ingeniously turned people's inherited religious sentiments to the “virtue” itself. Under the function of Chou-Kong's self-consciousness, the religious sentiment of relations between gods and men smoothly transformed into the moral sentiment that made the religious spirit in the early Chou pushed a giant leap and opened a fully new religious spirit that directed to its moral and ethical dimensions. The religion-ration and humanity-ration were thus combined and melted; from this on, the humanistic meanings and values were acknowledged and regarded with esteem. On the grounded of that, the writer tries to make a systematic explication for its reason of unity by describing separately the historical process of the humanization of the early Chou religion from the aspects of formations, correlations and functions of both the view of “heaven's destiny” and the value-ration of “respecting virtue” among which the inter-dialectical relations used as an approach in this text.

我的論文題目是：「先秦儒家宗教性研究──以孔孟荀對『喪葬』、『祭祀』、『天』的觀點為討論中心」。主標題提供研究方向，副標題鎖定研究範圍，目的對「儒家宗教性」的持續思索。「宗教」與「宗教性」有同有異，需要進行概念區分；回顧學術動態，確定研究進路，成為第一章主要任務。一言以蔽之，「宗教性」是思想家對「喪葬」、「祭祀」、「天」的態度。第二章探討思想背景，「喪葬」與「祭祀」屬於「禮樂文化」的一環，與「宗教」思想密切相關；然而，孔孟荀有別之前「宗教」傳統，能夠賦予新義。本文研究他們的「宗教性」面向為何。「喪葬」與「祭祀」方面，從現代用語來說，上述兩項議題涉及「生死大事」與「鬼神世界」，以「宗教性」意涵理解是可以嘗試的研究進路，在此得到有力支持。除此之外，「天」涉及「超越層面」、「終極關懷」，必須與思想家認同的價值根源結合來看。可以明白「天」「人」並非毫無關聯，與「宗教性」內涵也息息相關。以上所說，分別在第三、四、五章進行分析論證；而在第六章進行整體研究，得到孔孟荀宗教性中「思想脈絡」演變所呈現的意義、與「出土文獻」對照所反映的面貌、和「西方文化」比較所凸顯的特色。第七章結論統整全文內容，展現先秦儒家孔孟荀宗教性，作為全文結束。 / This is a study of Confucius,Mencius and Xunzi religious articles.The first chapter of the task to make a distinction between religion and religiosity.The second chapter discusses the formation of religious background.About funderal and sacrifice,Confucius,Mencius and Xunzi different from the past,can give new meaning.Heaven involve transcendence,ultimate,which are associated with religiosity.These are the third,fourth and fifth chapters.Chapter VI of the overall study,highlights the characteristics.Chapter VII is the conclusion.

In my dissertation, I discuss three of Akın’s feature films: Im Juli (In July, 2000), Gegen die Wand (Head-On, 2004), and Auf der anderen Seite (The Edge of Heaven, 2007) in order to investigate Akın’s filmic visions of Europe. Through close textual readings, I analyze three aspects of his films in particular: the spatial conceptions of Europe (city- and landscapes), the sounds of Europe (music and languages) as well as the display of ethnic minorities and the changing urban demography in Germany and Europe. I argue that Akın employs an “aesthetic of heterogeneity” to portray his filmic Europe as a diverse space, in which multiethnic and multilingual music, people, and sceneries are juxtaposed with regions that often have been perceived historically and politically as distinct and complicated. My first chapter discusses Akın’s conceptions and depictions of European Space in In July. By analyzing city- and landscapes, soundscapes, and dynamic spaces in In July, I argue that Akın provides a dynamic, fluctuating, and interconnected European space, including Eastern Europe and Turkey. In my second chapter, I scrutinize language use and dialogue in Head-On to map out the changing demographics in European urban spaces. Ultimately, I argue that Akın moves beyond Hamid Naficy’s theory of “accented cinema” by including accented languages and dialects for all protagonists, including Western Europeans. Through this linguistic polyphony, multilingualism and a diversity of accents are depicted as integral elements of today’s Europe. In my final chapter, I discuss the sound of Europe as depicted in The Edge of Heaven. Looking particularly at music (and music lyrics) in the film, I argue that Akın’s use of dubbed and remixed music (especially by the artist Shantel) underscores Akın’s filmic challenges to (national) European borders. By foregrounding the mixed styles of music, where an “original” becomes hard to decipher, the director shows, on an aural level, that blurring boundaries and multidirectional movement are the predominant components of today’s Europe. / text

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Ce mémoire de maîtrise étudie le traitement de l’espace dans les films Badlands (1973) et Days of Heaven (1978), du cinéaste américain Terrence Malick. Je m’intéresse dans un premier temps à montrer comment le traitement spatial de ces œuvres se démarque des conventions cinématographiques classiques en développant autour de la multitude de procédés et stratégies mis en œuvre par Malick pour rendre sensible et réflexif l’espace - sonore et visuel – des deux films, lequel est conçu pour être littéralement «habité» par les personnages mais également par les spectateurs. J’observe ensuite les implications (esthétiques, narratives, iconologiques, philosophiques, poétiques, etc.) de ce traitement singulier de l’espace filmique en montrant comment le cinéaste parvient à créer différents types de sensations et construire son discours par et à travers l’espace de ses œuvres. Le mémoire porte une attention particulière à la notion de «paysage filmique» et se structure en trois chapitres, lesquels étudient respectivement l’espace chez Malick en termes de «sensations» (sensibilité de l’espace, «mise en vue» du paysage au sein des deux films), de «relations» (relations entre les différents espaces et relations entre les personnages et l’espace) et de «mémoire» (densité «iconologique» du paysage). Aussi, j’aborde d’autres questions importantes au cours du projet et je reviens à plusieurs endroits sur la dimension «poétique» du cinéma de Malick et sur la «réflexivité spatiale» de ses films (réflexivité et aspect «attractionnel» du paysage, réflexivité de la voix-off, réflexivité de l’organisation et de la structure spatiales du récit, réflexivité du «tissage spectral»). Enfin, il est question de montrer au fil du mémoire que Malick parvient à édifier avec le cinéma, et par là avec l’espace et le paysage, un véritable espace de pensée qui «déborde» du cadre filmique. / This Master’s thesis studies the treatment of space in Terrence Malick’s films Badlands (1973) and Days of Heaven (1978). First I apply myself to show how the treatment of space in these films distinguishes itself from classical cinematographic conventions, developing on the multitude of strategies used by Malick to make space (both visual and sound) sensitive and reflexive in the two films. Space here is created to be literally «inhabited» by the characters as well as the spectators. I then observe and comment on the implications (esthetical, narrative, iconological, philosophical, poetical, etc.) of this peculiar treatment of film space by showing how the filmmaker creates different types of sensations and constructs his discourse with and through space of his films. The thesis pays special attention to the concept of «film landscape» and structures itself in three chapters, which respectively study space in Malick’s work in terms of «sensation» (space sensitivity, «mise en vue» of the landscape in both films studied), of «relationship» (relationships between the different spaces and relationships between characters and space), and of «memory» («iconological» density of the landscape). In the project I also touch other important questions, coming back several times on the «poetical» dimension of Malick’s cinema and on the «space reflexivity» of his films (reflexivity and «attractional» aspect of the landscape, reflexivity of the voice-over, reflexivity of the organization and space structure of the story, iconological reflexivity). Finally, throughout the thesis I try to show that through filmmaking, and therefore through space and landscape, Malick creates a true space of thoughts that goes «beyond» his films. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This study investigates the challenges facing screenwriters in Australia who set out to represent the Japanese on screen. The study is presented in two parts; an exegesis and a creative practice component consisting of two full length feature film screenplays. The exegesis explores how certain screenwriting conventions have constrained recent screen images of the Japanese within the bounds of the cliched and stereotypical, and argues for a greater resistance to these conventions in the future. The two screenplays experiment with new ways of representing the Japanese in mainstream Australian film and aim to expand the repertoire of Asian images in the national film culture.