蔡鈺玲. / "2005年10月" / 論文(哲學碩士)--香港中文大學, 2005. / 參考文獻(leaves 126-140). / "2005 nian 10 yue" / Abstracts also in English. / Cai Yuling. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves 126-140). / Chapter 第一章 --- 緒論 --- p.1 / Chapter 第一節 --- 硏究緣起及動機 --- p.1 / Chapter 第二節 --- 研究範圍及方法 --- p.3 / Chapter 第二章 --- 龍女故事的形成 --- p.5 / Chapter 第一節 --- 先秦至漢代有關龍的傳說 --- p.5 / Chapter 第二節 --- 魏晉南北朝有關龍的故事 --- p.8 / Chapter 第三節 --- 唐代龍王龍女故事的形成背景 --- p.11 / Chapter 一、 --- 印度那伽故事的影響 --- p.11 / Chapter 二、 --- 中國水神故事的延續 --- p.23 / Chapter 第三章 --- 龍女故事的基本特徵 --- p.32 / Chapter 第一節 --- 龍女故事的主要情節單元 --- p.32 / Chapter 一、 --- 傳書 --- p.32 / Chapter 二、 --- 遊龍宮 --- p.35 / Chapter 三、 --- 取龍寶 --- p.36 / Chapter 四、 --- 娶龍女 --- p.38 / Chapter 五、 --- 龍女故事的敘述結構 --- p.39 / Chapter 第二節 --- 龍女故事的內涵與風格 --- p.40 / Chapter 一、 --- 龍女的形象及其象徵意義 --- p.40 / Chapter 二、 --- 龍宮的構造及其象徵意義 --- p.45 / Chapter 第四章 --- 龍女故事的演變與發展 --- p.49 / Chapter 第一節 --- ̐ơج柳毅̐ơخ與唐代龍女故事 --- p.49 / Chapter 一、 --- ̐ơج柳毅̐ơخ故事梗槪 --- p.52 / Chapter 二、 --- 落拓有節的儒士風範 --- p.53 / Chapter 三、 --- 虛實世界的雙重敘述 --- p.57 / Chapter 四、 --- 相知相許的夫婦情緣 --- p.61 / Chapter 第二節 --- 《張生煮海》與宋元龍女故事 --- p.66 / Chapter 一、 --- 《柳毅傳書》故事梗槪 --- p.67 / Chapter 二、 --- 油滑適俗的市民習氣 --- p.69 / Chapter 三、 --- 曠放坦率的女性面貌 --- p.74 / Chapter 四、 --- 《張生煮海》故事梗槪 --- p.79 / Chapter 五、 --- 「夫憑妻貴」的意識 --- p.81 / Chapter 六、 --- 「困擾水神」的異想 --- p.86 / Chapter 七、 --- 「姻緣天定」的格局 --- p.91 / Chapter 第三節 --- 《橘浦記》與明代龍女故事 --- p.93 / Chapter 一、 --- 《橘浦記》故事梗槪 --- p.94 / Chapter 二、 --- 食色性也的現實書寫 --- p.96 / Chapter 三、 --- 主動風流的妾侍情態 --- p.99 / Chapter 第四節 --- 《蜃中樓》與清代龍女故事 --- p.105 / Chapter 一、 --- 《蜃中樓》故事梗槪 --- p.106 / Chapter 二、 --- 自負豪邁的書生形象 --- p.108 / Chapter 三、 --- 忠情守節的婦女典範 --- p.112 / Chapter 四、 --- 愛情戲劇的敘事程式 --- p.116 / Chapter 第五章 --- 結語 --- p.120 / 參考資料 --- p.126

The thesis compares the depictions of paganism found in the Middle Irish Togail Troí ('The Destruction of Troy'; first half of the twelfth century) and the Old Norse Trójumanna saga ('The Story of the Trojans'; first half of the thirteenth century), which are both based on Dares Phrygius's Late Antique De excidio Troiae historia. The two vernacular adaptations are presented in the wider context of the medieval popularity of Dares's text. The in-depth analysis of the pagan references (most of which relate to mythology and ritual), reveals Togail Troí's and Trójumanna saga's general source-based approach and their shared reliance on Latin mythographic scholarship, but also a different approach concerning the literary presentation of paganism. The Irish text's 'Christian' approach to the issue (as seen through authorial comments and historical contextualisation) is shown to be in contrast to the Norse text's 'classicising' approach (i.e. paganism presented as in the classical sources themselves). The findings of this analysis are then compared with the literary attitudes towards paganism encountered in medieval Irish and Norse texts more widely (especially in those set in Ireland or Nordic countries). This comparison reveals a general sympathy for many pagan characters that finds some parallels in the Trojan texts as well, but also a different representation of pagan deities in the two traditions. Indeed, the Irish tendency to avoid depicting the gods as such and the opposite Norse tendency, to portray them in an explicit way (often from a pagan point of view), mirror the evidence furnished by Togail Troí and Trójumanna saga. The literary attitudes to paganism and particularly towards mythology, which are encountered in the two texts, are further explored from the point of view of authorship. It is shown that the Irish author is writing in a historiographical mould, while the Norse author is writing in what could be described as a mythographical mould. Two complementary lines of interpretation are sketched for this phenomenon. The first one emphasises the existence of two different cultures of dealing with paganism in Irish and Norse literature respectively. The second line of interpretation draws to the fore two different approaches to the author-text relationship, examined through the framework of medieval literary theory. The final chapters highlight the importance of the research both for our understanding of the unique and complex literary cultures of medieval Ireland and Iceland and for the light that can be shed on the multifaceted relationship between authors and texts in medieval literature through the prism of paganism.

The thesis offers a reappraisal of the process of 'liberation' for homosexual men in France from the events of May 1968 until the onset of the AIDS crisis in 1983. I argue that what we have come to call gay liberation was in fact a complex and contentious process of transformation in the place of homosexual men in French society, a decade marked as much by continuity as it was by change. Gay liberation has been previously understood as a political movement that brought the gay man onto the political stage in spectacular fashion, beginning in the US and sweeping across Western Europe. New political activism is said to have provoked the changes that led to legal equality, culminating in recent marriage legislation. This narrative has solidified into a liberation 'mythology', written mainly by activists themselves, replete with its founding events, language and metaphors. A re-evaluation of the 1970s as a historical moment reveals not the beginning of a triumphant march to equality led by activists, but a transformation in the place of homosexual men in society that contains its own fits and starts, successes and dead ends. The thesis is divided into three parts: Ruptures, continuities and life stories. Part one focuses on aspects of change, the emergence of radical political groups and the burgeoning market catering to gay men. The second part moves to aspects of continuity: the repression of homosexual activity and the persistent stereotyping of homosexuality as the realm of a Parisian literary elite. To close the thesis, part three uses oral history to consider the life stories of men who experienced the period.

Mesmo que seja impossível determinar as origens das práticas atléticas na Grécia antiga, podemos dizer que elas existiam e faziam parte do cotidiano daquele povo naquela época, como nos demonstram as obras de Homero. Por isso, os sacerdotes daqueles antigos rituais decidiram realizar uma competição atlética para determinar quem seria incumbido de concluir o cerimonial. Eles acreditavam que nada de importante acontecia sem a interferência dos deuses, portanto, os vencedores de cada competição venciam, porque assim estava determinado pelo seu destino, tornando-os heróis, e consequentemente, escolhido dos deuses. Por isso, as origens dos principais rituais eram atribuídas aos heróis mitológicos, cuja estrutura cosmogônica de Hesíodo os coloca a um nível superior de existência. Então, além de buscar a re-atualização do gesto sagrado realizado na origem, procurando dar continuidade ao mundo tal como eles o conheciam, os cerimoniais ao mesmo tempo re-atualizavam a ação dos heróis em um momento mítico, que se confundia com a realidade. Dessa maneira, os Jogos foram a materialização desta estrutura mitológica, tendo nos heróis a consolidação desta imagem, ao mesmo tempo em que proporcionava o caráter de humanidade que lhe rendeu toda sua grandiosidade / Even that being impossible to determine the origins of the athletic practices in the ancient Greece, we can say that they exited and were part of the daily of that people at that time, as show us the Homers poetry. Therefore, the priests of those ancient rituals had decided to make an athletic competition to determine who would be charged to conclude the ceremonial. They believed that nothing of important happened without the gods interference, therefore, the winners of each competition were successful, because thus were determined by its destination, becoming heroes, and consequently, chosen by the gods. Therefore, the origins of the main rituals were attributed to the mythological heroes, whose Hesiods cosmogonic structure, place them in a superior level of existence. Then, beyond to search the reactualization of the sacred act realized at the origin, looking for to give continuity to the world as they knew the ceremonials at the same time re-actualize the heroes action at a mythical moment, that it confuse with the reality. In this way, the Games had been the materialization of that mythological structure, having in the heroes the consolidation of that image, at the same time that it provides the humanity character that relieved it all its greatness

Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago é uma dissertação que visa mostrar de que modo o caminho trilhado pela personagem protagonista do romance constitui um processo de autoconhecimento em meio às múltiplas possibilidades de um espaço que se configura como labiríntico. Os conceitos de símbolo, espaço, lugar, não-lugar, individuação, anima, advindos da diversidade teórica, da qual se destacam C. G. Jung (1967/ 2000/ 2007), Gilbert Durand (2002), Marc Augé (1994), Gaston Bachelard (1988/ 1990/ 1993/ 1997/ 2001), Michel de Certeau (2001), contribuíram e sistematizaram o percurso analítico do presente trabalho, que ora propomos. Nosso intuito primeiramente é verificar como os espaços da porta e da escada aparecem enquanto símbolos que levam a personagem de uma condição à outra, estabelecendo mudanças que variam entre o eu e o outro e entre as trevas e a luz, buscando também o sentido destes elementos. Em seguida, demonstramos como a imagem do labirinto é (re)construída, tanto mitologicamente (através de referências intertextuais) quanto individualmente (pelo próprio percurso da personagem) em sua passagem por portas e por escadas em espaços interiores e em espaços exteriores na busca de sua anima. / Entre as trevas e a luz: o percurso labiríntico em Todos os nomes de José Saramago is a study that aims at showing how the path chosen by the novels main character constitutes a process of self-knowledge among the multiple possibilities he comes across in a labyrinthic space. The concepts which structure and contribute to the development of this paper come from different theoretical backgrounds and include the notions of symbol, space, place, non-place, individuation and anima, as articulated by C. G. Jung (1967/ 2000/ 2007), Gilbert Durand (2002), Marc Augé (1994), Gaston Bachelard (1988/ 1990/ 1993/ 1997/ 2001), Michel de Certeau (2001). Our objective is first to consider how the space re-presented by the figures of the door and the stairs acquire symbolical value as they lead the main character from one stage to another, signaling the changes between the I and the other and between darkness and light, as he tries to unveil the meaning of such elements. Then, we focus on the way in which the image of the labyrinth is (re)constructed, both at a mythological level, through intertextual references, and at an individual level as we follow the course marked by the character in his journey through the doors and stairs he encounters in inward and outward spaces, in the pursuit of his anima.

The Heart of the Park works to expose, preserve, and interpret the many layers of social history, fact, and fiction within Iowa City's City Park. This exhibition is a result of archival research, interviews, and on-site investigation. As a guide, I followed the path of Enoch Emery, a park-haunting voyeur featured in Flannery O'Connor's first novel, Wise Blood, which she wrote after graduating from the Iowa Writers' Workshop. Details of O'Connor's fictional version of City Park, in Chapter 5 of Wise Blood, as well as Enoch's relationship with the park, led to further discoveries regarding the park's history, and ultimately, a reinterpretation of these seemingly disparate layers of fact and fiction. While the contemporary archive claims depoliticized and anonymous reasons and methods for preservation, my hybrid practice creates a role for the subjective, idiosyncratic archivist, who suffuses factual research with myth-making. The Heart of the Park is one glimpse into an ongoing collection of interpreted sites, in which I attempt to prevent the loss of local histories, and enact the inevitable chain of reinterpretations of site.

Yeats and Eliot merit comparison because they wrote poetry that has been described as apocalyptic in the same historical period and in the same general geographic area but described entirely different visions. These particular works of Yeats and Eliot are appropriate because they represent two widely varying viewpoints on the causes, nature and desirability of what each author felt would be the coming apocalypse. Therefore, more can be learned by comparing the very different outlooks of the poems than by considering each poem separately. Yeats sees humanity as both the victim and the beneficiary of a series of inescapable historical cycles. He views the destructive pressures on civilization as coming from an outside agency. Yeats continues this theme in many of his poems, such as "Lapis Lazuli": "All things fall and are built again, / And those that build them again are gay," as well as other works (Yeats, Collected 291, l. 35-36). On the other hand, Eliot feels that the imminent apocalypse was a result of the decadence of civilization, a direct result of humankind's rejection of the God of the Anglican faith, a failure that implies a more personal responsibility. Since Eliot's view implies freedom of choice, he found that humanity held the ultimate responsibility for its own salvation or desolation. Eliot differs from Yeats in that he describes an entirely internal, spiritual destruction. In this paper, I examine Yeats' "The Second Coming" and Eliot's "The Hollow Men" as examples of completely different visions of the near future, demonstrating the need for a more adequate definition of the term "apocalyptic poetry." While two poems are much too small a sample for such a broadly based project, my study will point the way to a possible reassessment of the perhaps overly broad application of the term "apocalyptic poetry."

My wok is a place for meditation (through play and ritual) to grapple with ideas around what it means to be alive. I explore my own history, psychology and the nature of things, to better understand myself. I create because of the need to build a familiarity with the unknown and the uncomfortable and to accept that which is out of my control. While seeking to understand and learn from my own personal confrontations with death, I also find my own form of spirituality. Losing my hold on graspable things, as time and change tend to bring, witnessing the dualities in nature ever-shifting; I must accept that nothing stays the same nor remains… not even me.

Much of the scholarly work on professional wrestling is based on the assumption that beyond a simple mimicking of sporting combat, the wrestling show is a spectacle that constructs and interrelates socially situated, morally significant categories. In this thesis, I focus on wrestlers themselves, and treat wrestling as a traditional practice that guides how wrestlers relate to their bodies and how they interact with their audience. This project was carried out using ethnographic methods of observation and interviewing. While participant-observation of three independent wrestling promotions provided context, twelve semi-structured interviews carried out with wrestlers at the Florida Wrestleplex in St. Petersburg yielded a model of what wrestlers experience inside the ring. The model emphasizes shifts of consciousness, performer-crowd intersubjectivity, and anomalous experiences of resistance to pain. Respondents describe an in-ring shift in consciousness, alternately referring to it as an altered state, high, or trance. After interpreting these results with reference to anthropological discussions of ritual, embodiment and practice, I argue that hardcore wrestling and the phenomenon of backyard wrestling are best understood as bodily practices that elicit altered states of consciousness for participants. By understanding what it feels like to wrestle, and what the experience of wrestling means to wrestlers, we can re-interrogate the coded messages of wrestling with regard to the practice by which they are produced. This project is intended to contribute to greater anthropological understanding of altered states of consciousness such as channeling or possession trance, as well as broader issues such as how cultural life is variably mediated by the body and by transcendent social narratives. It is my hope that by describing how they relate to their craft, this paper will humanize wrestlers, and place firmly in context some of the aspects of the genre that lead critics to suggest that wrestling contributes to social problems of violence, misogyny, homophobia, or jingoism.

A presente tese procura expor as características gerais do papel assumido pela mitologia no interior do pensamento estético alemão da segunda metade do século XVIII, não apenas como articuladora de conteúdos artísticos, mas também como fundamento da própria possibilidade de estabelecimento da estética como disciplina autônoma. Partindo da obra de Herder, Moritz e Schelling, acompanhamos o modo específico segundo o qual cada um deles lidou com os diferentes aspectos e dificuldades desse programa de pensamento, mas buscando por uma linha de continuidade. A partir da pergunta pelo uso da mitologia na poesia moderna, Herder encontra no fenômeno mítico um paradigma crítico às poéticas normativas do neoclassicismo, além de um aprofundamento da proposta de Baumgarten de estabelecer a estética como uma ciência do conhecimento sensível. Sua radicalização na recondução de todo conhecimento à sua origem sensível revela uma nova dimensão ativa e produtiva na raiz sensível do ser humano e encontra na mitologia a melhor expressão para o traço criativo e poético do espírito. Uma atenção mais detida da estrutura interior da produção e dos produtos artísticos conduz ao empreendimento de Moritz, cuja compreensão da obra de arte como dotada de uma finalidade interna e autônoma complementa-se com uma investigação da produtividade natural e objetiva que opera no artista. Nesse quadro, a fantasia fornece o ponto de cruzamento dessas duas dimensões complementares, e o autor expõe na mitologia a lógica e linguagem próprias dessa faculdade. Por fim, a leitura dos anos de formação do pensamento do jovem Schelling, através dos vários deslocamentos de sua concepção de filosofia, permite elucidar as exigências que se colocaram à plena integração da arte e da mitologia no interior de um projeto sistemático de razão. Mediante um novo papel da imaginação produtiva, uma rearticulação entre o infinito e o finito e uma visão simbólica do real, a filosofia da arte se estabelece nesse autor como uma dedução especulativa da mitologia como substrato universal da arte. Desse modo, a confluência entre estética e mitologia oferece tanto uma chave de leitura para o pensamento dos autores tomados individualmente, bem como uma visão mais ampla do desenvolvimento intelectual do período, que levou a estética, como ciência da sensibilidade, a realizar-se finalmente como uma filosofia da arte em sentido especulativo e autônomo. / This thesis intends to render a general outline of the role played by mythology within German aesthetic thinking during the second half of the Eighteenth century, not only as an arrangement of artistic contents, but also as a basis for the very possibility of the establishment of aesthetics as an autonomous discipline. In the works of Herder, Moritz and Schelling, we examine the specific ways by which they sought to deal with the different aspects and difficulties of this project of thought, but also showing a continuity between them. Starting with the question of the use of mythology by modern poetry, Herder encounters in the mythical phenomenon a critical paradigm against normative poetics, as well as a deepening of Baumgartens understanding of aesthetics as a science of sensuous knowledge. Taking even further the foundation of sensibility as the source of all knowledge, he reveals an active and productive side of human sensibility and finds in mythology the best expression for the creative and poetic traits of the spirit. Paying a closer attention to the internal structure of art products and production, Moritz understands the work of art as an autonomous entity, sided by a natural and objective productivity of the artist. Here, phantasy is placed at the crossing of this two interdependent poles, and the author exposes mythology as the language and logic proper to this faculty. Finally, in Schellings first philosophy, and its many shifts, we explain in detail the conditions for a full integration of art and mythology within a systematic reason. Through a new role of productive imagination, a reconnection between the infinite and the finite and a symbolical glimpse of reality, the philosophy of art establishes itself in his works as a speculative deduction of mythology, giving art its universal foundation. Thus, the intersection between aesthetics and mythology offers both a key to the reading of the individual thinking of these authors and a broader view of the intellectual development of this periods, which led aesthetics, as a science of sensibility, to be finally established as a philosophy of art in a speculative and autonomous sense.