Daugelyje Lietuvos mokyklų vyrauja tradicinė ugdymo sistema, orientuota į žinių perdavimą. Tačiau šiais spartaus progreso laikais pilnavertis ugdymas negali likti vien tik žinių perdavimu pasyviai jas priimantiems mokiniams. Šiuolaikinis švietimas turi ugdyti proto aktyvumą. Jaunas žmogus privalo išmokti kritiškai mąstyti, žinoti loginio protavimo modelius, išmokti klasifikuoti, gebėti apibendrinti, kelti hipotezes. Pastarieji protavimo ypatumai yra būdingi X – XII klasių mokiniams, kuomet jų mąstymas pereina į formaliųjų operacijų intelekto stadiją. Klasikinės ugdymo sistemos, kurios remiasi žinių perdavimo principu yra taikomos ir meno istorijos pamokose. Pilnaverčiu mokslu ji tampa įgijusi sisteminį, metodinį meno reiškinių aiškinimo ir jų prasmės įžvalgų bei supratimo pavidalą. Meno istorijos X – XII klasių vadovėliai pateikia orientacinių nuorodų į meno istorijos sritį, tačiau nesuteikia informacijos ar pasiūlymų kaip toliau tyrinėti meno kūrinius, neskatina mokinių pasinerti į intelektualinę – kūrybinę veiklą. Būdama aprašomoji ir interpretacinė disciplina meno istorija nuolatos jaučia metodologinių orientyrų stygių. Iš čia kyla tyrimo problema - dailės tyrimų metodai kaip X – XII klasių mokinių meno istorijos pažinimą skatinantis veiksnys bei išskiriamas tyrimo objektas – dailės tyrimų metodų pažinimas, sąlygojantis meno istorijos pažinimą. Dailės tyrimų metodai: formalistinis, ikonografinis – ikonologinis, semiotinis, socialinis istorinis, hermeneutinis, - duoda meno... [toliau žr. visą tekstą] / In many Lithuanian schools a traditional educational system which is oriented towards a conveyance of knowledge prevails. However, in the time of a rapid progress completely developed education cannot be just a conveyance of knowledge to school students who accept it passively. Contemporary education must train mind activity. A young individual must learn to think critically, be aware of models of logical cognition, and learn how to classify, to sum up, and to hypothesize. The latter cognition peculiarities are typical of school students of X – XII grades when their contemplation proceeds to the stage of intellect of formal operations. Classical education systems that are supported by the principle of a conveyance of knowledge are applied in the art history lessons as well. It becomes a completely developed study acquiring a systematic and methodical form of explanation of art phenomena and the insight and understanding of their meaning. Art history textbooks for X – XII grades provide leading references to the field of art history, but they do not provide any information or suggestions on how to analyze works of art, they do not stimulate school students to submerge in intellectual – creative activity. Since art history is a descriptive and interpretative discipline, the lack of methodological guidelines is constantly felt. This is the cause of the problem of the analysis - methods of fine arts analyses as a stimulating factor for knowledge of art history among school... [to full text]

本研究目的在探討後形式思考的發展，以及後形式思考與人際關係之容忍性、同理心、自我揭露、自主性之關係。受試為644位分佈於青年期後期至成人期(18至80歲)的受試，以問卷法進行研究。資料分析採用百分比差異性考驗與單因子變異數分析。結果發現：1. 在後形式思考的發展方面，青年期後期屬於形式性思考組的百分比高於早成人期與中、老年期屬於於形式性思考組的百分比。早成人期屬於相對性思考組的百分比高於中、老年期屬於相對性思考組的百分比。中、老年期屬於辯証性思考組的百分比高於青年期後期與早成人期屬於辯証性思考組的百分比。綜合三個認知思考組與各年齡組之關係，相對性思考的發展時機比形式性思考要晚，辯証性思考的發展時機比相對性思考要晚。2. 在後形式思考與人際關係之「容忍性」、「同理心」、「自我揭露」、「自主性」之關係方面：(1)後形式思考組的「容忍性」高於形式性思考組的「容忍性」；辯証性思考組的「容忍性」高於相對性思考組的「容忍性」；相對性思考組的「容忍性」高於形式性思考組的「容忍性」。辯証性思考組在容忍性之「統整差異」得分高於形式性思考組與相對性思考組的得分；(2)後形式思考組的「同理心」高於形式性思考組的「同理心」；辯証性思考組的「同理心」高於相對性思考組的「同理心」；相對性思考組的「同理心」高於形式性思考組的「同理心」；(3)後形式思考組的「自我揭露」高於形式性思考組的「自我揭露」；辯証性思考組的「自我揭露」高於形式性思考組與相對性思考組的「自我揭露」；相對性思考組與形式性思考組的「自我揭露」沒有顯著差異；(4)後形式思考組的「自主性」高於形式性思考組的「自主性」；辯証性思考組的「自主性」高於形式性思考組與相對性思考組的「自主性」；相對性思考組與形式性思考組的「自主性」沒有顯著差異。辯証性思考組在「自主性」之相互依賴性高於形式性思考組與相對性思考組的相互依賴性。 本研究根據研究結果討論這些發現的可能原因，並提出後形式思考未來的研究建議，以及研究結果在人際關係實際應用上的啟示。 壹、緒論　　　　　　　　　　　 　　 　 　　　 01 一、 研究動機 01 二、 研究目的 10 三、 名詞釋義 11 (一) 認知發展範疇 11 (二) 人際關係範疇 12 貳、文獻探討 15 一、 後形式思考的本質 15 (一) 後形式思考的特徵 15 (二) 相對性思考 22 (三) 辯証性思考 28 (四) 相對性思考與辯証性思考的比較 34 二、 後形式思考的發展 38 三、人際關係的發展 45 (一) 人際關係的重要性 45 (二) 人際關係發展的重要向度 46 四、 後形式運思與人際關係之容忍性、同理心、自我揭露、自主性 之關係 53 (一) 後形式思考與人際關係的本質 53 (二)後形式思考與人際關係之「容忍性」、「同理心」、「自我揭露」、「自主性」 之關係 55 參、研究方法 73 一、 研究架構 73 二、 研究問題與假設 74 三、 研究樣本 76 四、 研究工具 78 (一) 後形式思考的測量 78 (二) 「容忍性」的測量 91 (三) 「同理心」的測量 93 (四) 「自我揭露」的測量 97 (五) 「自主性」的測量 104 五、資料蒐集與樣本來源 111 肆、研究結果 114 一、後形式思考的發展 118 二、後形式思考與人際關係之容忍性、同理心、自我揭露、自主性 之關係 125 (一)形式性思考與後形式思考在「容忍性」的差異 126 (二)形式性思考與後形式思考在「同理心」的差異 129 (三)形式性思考與後形式思考在「自我揭露」的差異 131 (四)形式性思考與後形式思考在「自主性」的差異 133 伍、結果、討論與建議 107 一、結果 107 (一)後形式思考的發展 142 (二)後形式思考與人際關係之「容忍性」、「同理心」、「自我揭露」、 「自主性」之關係 142 二、討論 143 (一)後形式思考的發展 143 (二)後形式思考與人際關係之「容忍性」、「同理心」、「自我揭露」、 「自主性」之關係 114 (三)整體性發展觀的綜合討論 153 三、建議 157 (一)研究的測量工具 157 (二)研究設計的限制與建議 167 (三)未來的研究方向 168 (四)實際應用的啟示 174 參考文獻 181 附錄 197 附錄一：信念量表 197 附錄二：人際關係問卷(A) 205 附錄三：人際關係與信念問卷(A) 215 / The purpose of this study was to investigate the development of postformal thinking and the relationships between postformal thinking and the tolerance、empathy、self-disclosure、autonomy of interpersonal relations. Subjects were 644, ranging from late adolescence to adulthood (age from 18 to 80 years). Questionnaire was used as the research method. The testing of differences between two percentages and one-way ANOVA were used for data analysis. The results were : 1. In the development of postformal thinking, the percentage of formalistic thinker in late adolescence group (18-23 years) was higher than early adulthood groups' (24-40 years) and middle、late adulthood groups' (41-80 years), the percentage of relativistic thinker in early adulthood group was higher than middle、late adulthood groups', the percentage of dialectical thinker in middle、late adulthood group was higher than late adolescence group's and early adulthood group's. According to the findings of the relationships between the cognitive thinking groups and age groups, the developmental timing of relativistic thinking was later than the timing of formalistic thinking, the developmental timing of dialectical thinking was later than the timing of relativistic thinking. 2. In the findings of the relationships between the postformal thinking and the tolerance、empathy、self-disclosure、autonomy of interpersonal relations: (1) The tolerance of the postformal thinking group was higher than the formalistic thinking group's, the tolerance of the dialectical thinking group was higher than the relativistic thinking group's, the tolerance of the relativistic thinking group was higher than the formalistic thinking group's. The score of integration differences of tolerance of the dialectical thinking group was higher than the relativistic thinking group's and the formalistic thinking group's. (2) The empathy of the postformal thinking group was higher than the formalistic thinking group's, the empathy of the dialectical thinking group was higher than the relativistic thinking group's, the empathy of the relativistic thinking group was higher than the formalistic thinking group's. (3) The self-disclosure of the postformal thinking group was higher than the formalistic thinking group's, the self-disclosure of the dialectical thinking group was higher than the relativistic thinking group's and the formalistic thinking group's. (4) The autonomy of the the postformal thinking group was higher than the formalistic thinking group's, the autonomy of the dialectical thinking group was higher than the relativistic thinking group's and the formalistic thinking group's. The interdependence of the dialectical thinking group was higher than the relativistic thinking group's and the formalistic thinking group's. The possible reasons of the above findings were discussed in the paper. According to these findings, suggestions of future research about postformal thinking and implications of practical applications in interpersonal relations were mentioned.

This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language. / Linguistics / D.Litt. et Phil. (Linguistics)

This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language. / Linguistics and Modern Languages / D.Litt. et Phil. (Linguistics)