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Thesis (M.A.)--Ohio State University. / Bibliography: leaves 147-149. Available online via OhioLINK's ETD Center

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 90-93).

Thesis (M.A.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 90-93). Also available in print.

陳時芳. / "2006年5月". / 論文(神道學碩士)--香港中文大學, 2006. / 參考文獻(leaves 62-66). / "2006 nian 5 yue". / Abstract also in English. / Chen Shifang. / Lun wen (Shen dao xue shuo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (leaves 62-66). / Chapter 第一章： --- 導論 --- p.1 / Chapter 1.1 --- 論文目的 --- p.1 / Chapter 1.2 --- 論文硏究方法及結構 --- p.2 / Chapter 第二章： --- 雅麗氏何妙齡那打素醫院的歷史背景及架構 --- p.3 / Chapter 2.1. --- 引言 --- p.3 / Chapter 2.2. --- 醫院成立的歷史及福音工作 --- p.3 / Chapter 2.3. --- ´ؤ九九七年後遷院後的歷史 --- p.5 / Chapter 2.4. --- 二零零三年「非典型肺炎」期間的處理情況 --- p.7 / Chapter 2.5. --- 那打素醫院行政架構對院牧事工發展的影響 --- p.9 / Chapter 2.6. --- 小結 --- p.11 / Chapter 第三章： --- 那打素醫院院牧事工 --- p.12 / Chapter 3.1. --- 引言 --- p.12 / Chapter 3.2. --- 那打素醫院院牧事工發展歷史（一九九七年後） --- p.12 / Chapter 3.3. --- 那打素醫院院牧事工目標及使命 --- p.13 / Chapter 3.4. --- 全人關顧及心靈關顧的重要 --- p.14 / Chapter 3.5. --- 院牧事工的五大工作範疇 --- p.15 / Chapter 3.6. --- 香港醫院院牧事工聯會 --- p.16 / Chapter 3.7. --- 被關顧者的身心社靈狀況及需要 --- p.17 / Chapter 3.7.1. --- 被關顧者的生理狀況及需要 --- p.17 / Chapter 3.7.2. --- 被關顧者的心理狀況及需要　　　　　　　 --- p.18 / Chapter 3.7.3. --- 被關顧者的社群（人際關係）狀況及需要 --- p.19 / Chapter 3.7.4. --- 被關顧者的心靈狀況及需要 --- p.19 / Chapter 3.8. --- 小結 --- p.20 / Chapter 第四章： --- 那打素醫院院牧事工的實踐現況及成效 --- p.21 / Chapter 4.1. --- 引言 --- p.21 / Chapter 4.2. --- 院牧事工的實踐現況 --- p.21 / Chapter 4.2.1. --- 對病者牧關及輔導 --- p.21 / Chapter 4.2.2. --- 對員工牧養及輔導　　　　 --- p.24 / Chapter 4.2.3. --- 訓練工作　　　　 --- p.24 / Chapter 4.2.4. --- 聯絡事工　　　　　　　 --- p.27 / Chapter 4.2.5. --- 宗教活動　 --- p.27 / Chapter 4.3. --- 院牧事工的實踐成效 --- p.28 / Chapter 4.3.1. --- 院牧個人品格及專業訓練的影響性 --- p.28 / Chapter 4.3.2. --- 病人不同的回應 --- p.31 / Chapter 4.3.3. --- 疫症期間的院牧事工的限制 --- p.33 / Chapter 4.3.4. --- 心靈關顧對於健康的正面影響 --- p.34 / Chapter 4.3.5. --- 宗教的影響力 --- p.35 / Chapter 4.3.6. --- 角色上的混淆及衝突 --- p.36 / Chapter 4.3.7. --- 對醫護人員關顧上的不足 --- p.37 / Chapter 4.3.8. --- 臨床牧關教育的影響 --- p.38 / Chapter 第五章： --- 總結 --- p.39 / Chapter 5.1. --- 硏究方法的困難 --- p.39 / Chapter 5.2. --- 五大工作範疇的檢討 --- p.39 / Chapter 5.3. --- 院牧事工仍處於被動及限制中 --- p.40 / Chapter 5.4. --- 優點成爲缺點的危機 --- p.40 / 附件一 --- p.42 / 附件二 --- p.43 / 附件三 --- p.45 / 附件四 --- p.47 / 附件五 --- p.48 / 附件六 --- p.49 / 附件七 --- p.50 / 附件八 --- p.51 / 附件九 --- p.55 / 附件十 --- p.58 / 參考書目 --- p.62 / 中文書目　 --- p.62 / 英文書目 --- p.62 / 中文期刊 --- p.63 / 英文期刊 --- p.63 / 特刊 --- p.63 / 年報 --- p.64 / 白皮書 --- p.64 / 網上資源 --- p.64 / 口述訪問 --- p.66

The late nineteenth century British stage was hopelessly confused. It couldn’t decide whether it was London’s principle source of entertainment—mainstream and respectable enoughfor Queen Victoria herself to patronize—or the seedbed of all corruption and deviance in Victorian society. At the center of this split identity was the actress, a figure both well-beloved (in the case of stars like Ellen Terry) and the literal embodiment of everything a Victorian women shouldn’t be—loose, sexualized, and working (in the case of her contemporary, Olga Nethersole). Because of this liminal position, Victorian actresses thus create a fascinatingmicrocosm in which to study the implications of performativity and performance in late nineteenth century society. I argue that stars like Terry and Nethersole, though they did so by opposite means, deliberately performed multiple roles, both on stage and in society, in order to enjoy the autonomy they craved—one unavailable to the majority of Victorian women.The biographies of both actresses reveal compelling paradoxes. Terry, though respectedenough to be compared to the “ideal” Victorian woman (the proverbial “Angel in the House”), was in reality a fallen woman. Olga Nethersole, on the other hand, built her career on playing fallen woman roles, yet lived an upright and unremarkable private life. Despite these differences, however, both women rose to great heights of fame and earned careers, funds, and power overtheir lives and relationships that most women of the century would never dream of. This thesis investigates the anomaly of autonomous Victorian actresses through the lens of performance theory. Drawing upon the concepts of liminality and social performativity, introduced largely by performance studies scholars like Richard Schechner and Marvin Carlson, I work toward a practical connection between performance on the stage and performativity in society that remainslargely unexplored in the field of Victorian theatrical studies. Ultimately, I am shedding light onthe paradoxical, dual function of performance; as demonstrated in the lives of these two actresses, it has the potential to simultaneously reinforce societal norms and to protest against them.