龍詠怡. / 論文(哲學碩士)--香港中文大學, 1998. / 參考文獻: leaves i-xv. / 中英文摘要. / Long Yongyi. / Chapter 1. --- 導言 --- p.1 / Chapter 2. --- 試論唐人小說之宗敎主題 --- p.8 / Chapter 3. --- 方法論 / Chapter 3.1 --- 宗敎啓悟理論 --- p.14 / Chapter 3.2 --- 宗敎啓悟與文學 --- p.22 / Chapter 4. --- 版本與作者 / Chapter 4.1 --- 版本源流 --- p.30 / Chapter 4.2 --- 現今學者所採納之版本 --- p.33 / Chapter 4.3 --- 作者及寫作問題 / Chapter 4.3.1 --- 作者問題 --- p.34 / Chapter 4.3.2 --- 寫作日期 --- p.38 / Chapter 5. --- 故事詮釋 / Chapter 5.1 --- 故事佈局 / Chapter 5.1.1 --- 時間設定 --- p.40 / Chapter 5.1.2 --- 地點設定 --- p.42 / Chapter 5.2 --- 故事人物 / Chapter 5.2.1 --- 呂翁 / Chapter 5.2.2 --- 身份 --- p.44 / Chapter 5.2.3 --- 啓悟導師之形像 --- p.47 / Chapter 5.2.4 --- 盧生 / Chapter 5.2.5 --- 受啓悟前之困及價値取向 --- p.51 / Chapter 5.2.6 --- 啓悟者之身份 --- p.56 / Chapter 5.3 --- 夢中世界 --- p.60 / Chapter 5.3.1 --- 夢中的啓悟試煉 --- p.63 / Chapter 5.3.2 --- 〈枕中記〉史實/小說 --- p.80 / Chapter 6. --- 總言 --- p.86 / 附錄 --- p.89 / 參考書目 --- p.i-xv

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This master’s report presents an examination of hybridic religious practices, ritual and iconography as depicted in Jessica Hagedorn's Dogeaters and Ana Castillo's So far from God. In particular, it treats the role of religious hybridity--the imbrication of folkloric, indigenous and secular traditions with orthodox Catholicism--as an important source of cultural, political and social resistance within postcolonial Chicana/o and Filipino communities that are still dealing with, or attempting to escape their colonial pasts. / text

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This study seeks to explore the relationship between religious ritual and theatre through an examination of the manner in which the Hindu religion functions. In the Introduction to this thesis, the nature of both religious rituals and theatre, and the similarities that exist between ' these forms of performance, are explored. At the heart of any performance is the desire to communicate. Religious rituals are primarily a means of communicating the philosophy of a particular religion. In this thesis, the basic beliefs and philosophy of the Hindu religion are described; the imagery, symbols and mythology, that have evolved with the religion, are analysed as extensions of the basic philosophy of the religion; and the manner in which these symbols and images function in Hindu religious practices is examined. This is followed by a detailed documentation of two Hindu rituals. The first, the Havan is a home based ritual, while the second, the Fire-Walking Festival, is temple based. The historical evolution of these rituals, based on essentially scriptural evidence, is also examined. An overview of the impact of the Hindu religion on Indian theatre concludes this dissertation. / Thesis (M.A.)-University of Natal, Durban, 1991.

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 613-655).

Cette thèse se propose d’étudier comment, dans un contexte postrévolutionnaire de déchristianisation et de recul des pratiques religieuses, des écrivains catholiques, s’affranchissant de la tutelle de l’Église, s’octroient le magistère ecclésial et confient à la littérature – en tant qu’œuvre de fiction et d’imagination – la mission de renouveler le discours apologétique. Barbey d’Aurevilly, Bloy et Bernanos s’inscrivent ainsi dans le sillage de Chateaubriand, qui opéra le premier, avec le Génie du Christianisme, ce renversement fondateur. Les trois écrivains réinvestissent alors une forme rhétorique ancienne : celle de l’exemplum. La première partie de ce travail s’attache à en retracer les évolutions, en prêtant attention aux transformations qu’il subit au moment de sa christianisation, mais aussi à la continuité qui permet, de l’exemplum aristotélicien à l’histoire tragique, de mettre au jour sa structure constante. Les parties suivantes s’intéressent à la manière dont Barbey, Bloy et Bernanos construisent le récit pour obtenir la conversion du lecteur : la seconde partie s’intéresse aux procédures d’authentification de la fiction ; la troisième partie a pour objet la mise en place du dispositif figural permettant aux écrivains de relever le défi de l’indicible divin. La quatrième et dernière partie étudie les moyens mis en œuvre pour agir sur le lecteur, et modifier effectivement son attitude en le poussant à la pénitence. / This thesis aims to study how, in a post-revolutionary context of dechristianization, some Catholic writers set free from the Church authority and enable literature itself (as a work of fiction and imagination) to renew the apologetic discourse. Barbey d’Aurevilly, Bloy and Bernanos continue the founding shift in perspective that Chateaubriand started with the Génie du christianisme. These three writers use an ancient rhetoric narrative form called the exemplum. The first part of this work focuses on the evolutions of this form, and more specifically on the metamorphosis caused by its Christianization; but it also highlights its constant structure, from its theorization by Aristotle, until its latest use by the authors of “histoires tragiques”. The next three parts of the thesis deal with the way Barbey, Bloy and Bernanos conceive their narrative in order to obtain the religious conversion of their reader. The second part shows how the writers authenticate fiction; the third part focuses on the way they react to the difficulty of naming the divine: the authors resort to the figuration of this inexpressible object. Finally, the fourth part studies the means these narratives use to produce an effect on their readers, and make them actually change their moral behavior.

A parallel can be drawn in intellectual development between ancient Greece and late eighteenth century Europe concerning the secularization of the religious myth. This parallel is illustrated in a literary mode in Greece and in a philosophical mode in Europe. In both historical situations the intellectual development of a society was posited in a delicate balance of religious mythical interpretation of human existence and in a growing assertiveness of the self-consciousness of the individual. A significant point of analogy is the similarity of the Greek tragedians’ attempt to define man in relation to the gods and Hegel’s formulation of a philosophy which suspended in a delicate semantic balance the religious terminology of his Christian heritage and the intellectual developments of the preceding century. It is my thesis that a significant point of analogy is the similarity of the Greek tragedians’ attempt to define man in relation to the gods, and Hegel’s formulation of a philosophy which suspended in a delicate semantic balance the religious terminology of his Christian heritage and the intellectual developments of the preceding century.

The novels of Charles Dickens resonate with ancient and Christian moral messages: From plots and characters representative of Victorian ideals and concerns emerge themes that reflect centuries of moral, and, as I argue, specifically Augustinian, teaching. While the Christian overtones of Charles Dickens's novels are seldom denied, their Augustinian nature, their purpose, and Dickens's hopes for their effect are rarely given their proper due. In opposition to the postmodern idea of an increasing nihilism and despair in Dickens's message, I examine instead his steadfast fascination with and joy in the power of charitable friendships-friendships that embody goodness and the possibility for conversion, friendships that are especially noteworthy amid the societal darkness ushered in by the crises of faith that accompanied nineteenth-century industrialization, commercialization, and de-moralization. Preparing to highlight the undeniable moral value in both the rejected and realized friendships and conversions of Dickens's Martin Chuzzlewit, Bleak House, and Great Expectations, first I focus on true friendship as a necessary part of a soul's ascent developed in Plato's Symposium and Phaedrus, as well as in Aristotle's Nicomachean Ethics, illustrating how these classical texts anticipate the Augustinian notion of a soul's transformation from the earthly city to the city of God. With this literary continuum thus established, I contend that the Heavenly City as it is reflected in the Dickensian world relies on its virtuous citizens, those true friends who consistently manifest Christian charity, humility, and forgiveness. / by Jill A. Kriegel. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Ng Pui Lam. / Thesis submitted in: November 2005. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 94-96). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction --- p.1 / Chapter Chapter 2 --- The Secular-Divine Seduction in Donne's Seductive Poems --- p.16 / Chapter Chapter 3 --- The Sexual Elements in Donne's Religious Poems --- p.34 / Chapter Chapter 4 --- "Death: “The Worst Enemy""" --- p.61 / Conclusion --- p.91 / Bibliography --- p.94