Proposing the concept of mimetic uncertainty, this project aims to provide a critical inquiry into the correspondence of unreliable narration and realism. Building on Springett (2013) and Olsen (2003), a distinction between narratorial unreliability and uncertainty is proposed to denote whether a narrator explicitly signals an awareness of their fallible narration. I thereafter indicate how narratorial uncertainty, on the one hand, can serve to evoke a “reality effect” (Barthes 1989) on a receptive aesthetic level; and on the other hand, can provide a form of historicity (Jameson 1985) and discursive realism (Auerbach 2003) on an expressive historical axis. Through this tripartite framework, realism is contextualised within the discourse of unreliable narration, as well as the specific debate which surrounds uncertainty and fallibility. The textual analysis focuses on three separate works—Daniel Defoe’s A Journal of the Plague year (1722), Virginia Woolf’s Mrs Dalloway (1925), and finally, Tao Lin’s Taipei (2013)—with the twofold aim of (1) providing a model for approaching uncertain narration and (2) applying a historically contingent realist reading. I argue that in all three novels, emphasis on how readers may respond to uncertain narration provides insight into socio-historical and discursive points of friction surrounding their authors. The overarching ambition of this study is to provide a more substantial and historicized understanding of the stylistic devices of contemporary authorship, while more broadly signifying the unexpected critical acuity of mimetic approaches as well as the challenges and demands which metamodernist literature approaches.

University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

1945年後一貫道大量從中國來台傳道，在目前的台灣是具相當有活力的宗教，不僅在國內傳教，現在更積極往海外拓展道務。回顧一貫道在台灣的發展歷史，一貫道在台灣是一個備受打壓的一個宗教團體，當時國民黨政府為了維持以及安定社會秩序而決意打壓一貫道，直到國民黨政府在1988年開放同意讓一貫道合法化，讓一貫道遭受長達40多年的壓迫。也由於國民黨政府的打壓，造成一貫道的發展歷程誨暗不明、發展方式低調隱密，使得多數人無法理解一貫道的發展歷史。 在中國發揚的一貫道，自1930年農曆6月15日一貫道的師尊、師母同領天命後，一貫道從中國的濟南開展，次第往天津、青島、北平、西安等地發展，從地理來看，是由華北而華東、華中、東北、西北、華南、西南，至1945年二次大戰結束後，已將一貫道傳往中國各地。 一貫道普傳中國各地後，一貫道常州組於1943年正式成立，由上海基礎壇獨立出來，因此與基礎壇關係深厚。常州組成立後，吳萼偉派徐昌大、顧愛珩等人來台灣發展一貫道，之後徐昌大常駐在台灣發展道務，一貫道常州組遂在台灣穩定下來，發展至今。 徐昌大來台灣發展一貫道，銳意推廣一貫道，透過徐昌大學習在地的語言，用在地的語言推廣一貫道，在他這一代就已完成本土化的過程。本文為理解一貫道在台灣本土化的過程，以常州組為研究對象，分析其本土化過程，理解其發展的歷史，透過口述歷史的資料，描繪出一貫道常州組從中國開始成立，並且來台灣的發展歷史，同時也說明了常州組來台人員徐昌大是如何扎根本土、深耕在地、發揚國際，然後一直發展到2008年的過程。

《臺灣婦人界》（1934-1939）為日治時期最具規模的女性雜誌，也是1930年代刊載最大量通俗小說的刊物。本論文以殖民現代性與女性經驗的交織為主軸，提出《臺灣婦人界》小說的後殖民閱讀。日治時期台灣女性最初的現代體驗，奠基於殖民現代性所帶來的教育機會與物質文明，一方面秉持啟蒙開化的信念給予女性前所未有的自由與選擇，另一方面則訴諸文明優劣程度築起一道文化同化的門檻。「世界」指新女性走出家屋展望世界的文本效應。女性透過教養、知識提升成為公領域典範的可能，以及不同族裔、背景的女性基於文明信念而想像出的共同體，是《臺灣婦人界》一再宣揚的普遍價值。「民俗」是與上述普遍性對照之下的差異性，信仰漢人宗教的女性成為奇觀的拼貼素材，也化身被排除的迷信舊慣。這些文化差異性復又受到「帝國」殖民同化計畫的整編與改造，其透過女性之於家庭與社會的角色，以日本現代文明與大和民族的優越位階，對不同出身、階級與族裔的差異主體實行精神統馭。 　　筆者從《臺灣婦人界》觀察到上述三個大方向，並參照史碧娃克（Gayatri Chakravorty Spivak）、霍米巴巴（Homi Bhabha）的後殖民觀點，進一步解析殖民現代性排除與整編的策略如何在小說中一一受到挑戰。被體制重重壓迫的底層女性身影解構了以自由主義理念為根基、中產階級身份為前提的文明女性想像。被現代理性準繩貶抑的民俗迷信拯救了台灣女性的主體分裂危機，證明原生文化始終是殖民現代性無法割除斬斷的一部份。混血的女性身體隱喻著台灣多層歷史與地緣脈絡的軌跡，那難以馴化的混雜性揭發了殖民改造計畫的破綻。本論文探討的包括黃寶桃、西川滿等已受學界所知的作家，以及陳華培、別所夏子等未曾受到討論的台日創作者，期能為這份議題性與份量兼具、卻幾乎未受到注意的史料梳理一個輪廓，揭示《臺灣婦人界》之於日治時期文學研究、女性史研究以及後殖民研究的價值。 / Taiwan Fujinkai (1934-1939) was the most influential women’s magazine in colonial Taiwan, on which women’s experience were closely interweaved with colonial modernity. For women in colonial Taiwan, the first experience of modernization was founded on the modern education and material environment by Japanese power, and thus contained double sides. One was the sense of liberation brought by the belief of enlightenment, another was the awareness of discrimination between the superior and the inferior. “The cosmopolitan” refers to an imagined community where women from all backgrounds can be canonized if they followed the universal route of modernization. Being a contrast of this universality, images of women in “the folklore” was represented as the backwardness eliminated from the modern society. In the civilizing mission of “the empire,” these eliminated cultures were assimilated into the imperial project again, which seek to rule and reform the colonized through the hand of civilized wives and mothers. With Gayatri Chakravorty Spivak and Homi Bhabha’s postcolonial concepts, this paper examines how Japan’s strategy of elimination and assimilation was challenged in the fictions in Taiwan Fujinkai. The subaltern women in the bottom of social system broke the liberalist imagination of women’s civilizing route. A ghost haunted in Taiwan women’s mind implied that the native folklore can be oppressed but never divisible. The mixed-blood woman’s body disclosed the invalidity of Japan’s attempt to discipline the hybridity of it colony. My discussion includes Huang Pao-tao, Nishikawa Mitsuru and other undiscovered texts. Probing into this important but rarely investigated magazine, I seek to uncover its value for the literature study, women’s study and postcolonial study in the field of Taiwan literature.

This MA thesis is primarily concerned with the poetics of the first two poetry collections by the Bulgarian writer Georgi Gospodinov. The said collections, Lapidarium and The Cherry Tree of One People were published for the first time in the 1990s. The first part of the thesis is devoted to the author's debut, Lapidarium; mainly, we are attempting to capture the collection's characteristic traits and draw attention to the conspicious features connecting this oeuvre with the book Tao Te Ching. In the second part we continue by the analysis of The Cherry Tree of One People. We are focusing on the change of the author's poetics and furthermore, we concetrate on the national/supranatural aspects of the texts. In the concluding part, we anchor Gospodinov's work in the wider context of the 1990s and provide a comparison of contemporary Czech and Bulgarian poetry.

Chow, Chun Shu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 180-187). / Abstract also in Chinese. / Abstract --- p.i / Acknowledgements --- p.iii / Table of Contents --- p.iv / Tables and Figures --- p.vi / Chapter Part 1 --- An Overview / Chapter Chapter 1: --- Introduction --- p.1 / Chapter Chapter 2: --- Literature Review --- p.8 / Chapter Chapter 3: --- Theoretical Framework --- p.30 / Chapter Chapter 4: --- Methodology and Research Questions --- p.36 / Chapter Part 2 --- Comparison between Headline Daily and The Standard / Chapter Chapter 5: --- The July 1st Rally 2009 --- p.42 / Chapter Chapter 6: --- Legislative By-election 2007 --- p.67 / Chapter Part 3 --- Ethnography on Sing Tao Daily / Chapter Chapter 7: --- Newsroom observations and Newsmaking --- p.102 / Chapter Chapter 8: --- News Handling - Compliance of News Workers --- p.118 / Chapter Chapter 9: --- Interviews --- p.139 / Chapter Part 4 --- Discussion and Conclusion / Chapter Chapter 10: --- Discussion --- p.148 / Chapter Chapter 11: --- Conclusion and Limitations --- p.161 / "Appendix I: Comparison between Headlines, Word Count and Page Count of Headline Daily and The Standard on Legislative Council By-election 2007" --- p.167 / Appendix II: List of news articles written during the part-time working period in Sing Tao Daily --- p.174 / Appendix III: List of Reporters and Assignment Editors in Sing Tao Daily whom I have encountered during the working period --- p.179 / References --- p.180

The understanding, I draw from this inquiry has come through a muddy, and complex entangledprocess. I have been re-turning like a "Baradian" earthworm, to experiences of being, in spacesof not-knowing. Digesting the mud, moving it, once more, like worms do, through the body.By doing an agential cut, into two spaces, eventually three strong agents unfold: Risk,Vulnerability, and Trust. Out of this result, an ethical and pedagogical question arise: How totake account of Vulnerability and Trust when encouraging our students to Risk?Entering a space of not knowing is at the foundation of my art practice. When as an arteducator,I went to China to inquire into the educational strategies of Chinese Classical Painting,I found myself thrown into a multitude of spaces of not knowing. This thesis, is an inquiry intohow being in such spaces, perform knowledge. To explore this, I return to the field-notes andvisual material including a report in the form of a visual essay of the study from 2011. I re-turnto this material with new tools and concepts inspired by Karen Barads metaphors of diffractionand earth-worms approach, as well as my artists tools: brush, water colours, ink, and paper;inrtoducing painting as a tool for analysis.As a theoretical approach, I entangle the flat ontology of Deleuze and Guattari, and theonto-epistem-ology of Barad, with the philosophical traditions in China of Buddhism and Dao.From an onto-epistem-ological perspective, I ask the question: "If we know about the worldbecause we are of the world," what knowledge then appear, when we experience our being in theworld as a space of not knowing. In this study, I have found that a space of not knowing performlearning through experiences of Vulnerability, Risk and Trust.The art part of this thesis is connected to Risk as well as to Vulnerability and Trust. Itfeatures a rope hanging from the ceiling to the floor. It is a rope that has been used during severalyears by a Circus artist during performances; hanging high up in the ceiling — demanding focusand presence from him. The installation at Konstfack spring-show 2018 featured the Circus artistrope together with a painting made in the context of Buddhist Vipassana meditation, entanglingmy tactile approach in art, with the text of this thesis.

王覺一是清末末候一著教的創始者，也是近代一貫道的開山祖師，藉著對其著作<<理數合解>>的研究，可以對清代民間宗教的信仰核心與教義思想略做了解，本研究的撰述方向如下： 第一章緒論說明研究的動機、目的、方法及預期目標。 第二章，王覺一生平其及其教案析探。想要了解一個人的思想，必須先對此人的人生經歷做一番認識。因此本研究將王覺一的生平考述列為本論首章。這一章係借助故宮<<月摺檔>>的資料，對於其教派的成立與發展做合理的推測，以及他如何成為一方之領導者。並且對於光緒九年王氏領導的教派所發生的教案始末，作一較詳細的釐析，並由此一分析中重新檢視王覺一的角色定位。 第三章，王覺一對「理」觀念的承襲與轉化。本章乃追溯王氏思想的啟蒙根源，探討他對於「理」觀念的承襲，並且解析他對「理」的詮釋與所賦予的意義，為下一章的主題作引子。 第四章理天析探本章乃承上一章的敘述觀念，探討王氏理論的核心主旨，撰述理天在他思想體系中的重要性，以及他如何傳承理學思想，轉化思想家思考範疇中「理」的觀念，並且由此而開展的宇宙論與心性論。身為民間宗教的傳道者，如何來看待這些問題，如何由此問題觀攝宇宙的整體與主宰，本章擬由此探討王覺一的理天思維。 第五章，理天在宗教上的意義。如何呈現理天在修道上的意義，才是王覺一思想的關鍵所在。他如何在整體思想中展現人生的終極目的，強調宗教修煉的意義，亦即討論宗教人修道的最後目標與正鵠，尋探回歸人的根源處，本章擬就扣緊宗教意義以探討理天主體的核心。 第六章結論將本論文所作的研究結果，作一綜合性的討論，並敘述王覺一思想對一貫道教義的影響，以及以王覺一做為主題所開演的研究展望，總結王覺一在民間宗教史的價值與意義。

一貫道已成當代的顯學，雖其學術研究成果尚不豐富，但其參與各種社會活動卻相當活躍，而信徒人數也佔臺灣人口相當高的比率。其在臺灣的發展，從早年政府、社會各方的打壓，而至登記為合法宗教並向海外傳播，至今在國內外蓬勃發展，秉持的是什麼樣的修行觀？宗教實踐的內涵為何？兩者的關聯性如何？這些都是本論文要探討的問題。 　　本論文採取的研究方法包括文本分析、田野調查與問卷調查。先從《皇 訓子十誡》訓文本中提出一貫道的修行觀，並從中歸納一貫道信仰的核心價值為無生老 的概念，由此概念才能推展出其他的修行觀。再從田野調查中觀察一貫道的宗教實踐，分為宗教儀式、個人修辦與社會公益三類。最後則以問卷調查分析的方式來探討修行觀與宗教實踐的關聯性，從寶光崇正道場中對特定族群做不分年齡、性別、學歷的抽樣調查，分析結果發現，宗教實踐確實和修行觀有所關聯，而影響最多的選項為「行功了愿」的修行觀，這也和研究觀察的發現相符，但其內在的觀念仍是無生老 。

L'objet de cette thèse est la définition et l'étude, au moyen d'une maquette, du concept de Traduction Automatisée Fondée sur le Dialogue pour auteur monolingue. Nous situons d'abord l'objet de cette étude dans une perspective historique en montrant pourquoi les travaux précédents en TAFD n'ont pas (encore) conduit à des systèmes utilisés en pratique. Nous proposons alors le concept de TAFD pour auteur monoligue qui offre de nouvelles perspectives concrètes et permet de poser des questions scientifiques intéressantes. Le but est de permettre à un auteur monolingue de documentation technique de traduire les documents qu'il rédige. Dans ce cadre, l'auteur aide le système à traduire dans une ou plusieurs langues cibles, via une standardisation et une clarification interactives effectuées une seule fois quel que soit l'ensemble des langues cibles visées. Afin que la station de rédaction de l'auteur soit un ordinateur personnel de milieu de gamme, le système est distribué. Les traitements linguistiques couteux (analyse, transfert et génération) - écrits en Ariane-G5 par les linguistes du GETA - sont donc effectués sur un serveur de traduction distribué en mode asynchrone. La maquette LIDIA-1 permet d'étudier les contraintes informatiques, ergonomiques et linguistiques d'un tel système, et de proposer des solutions. Elle permet de traduire une pile de démonstration qui explique certaines ambiguités du français, vers l'allemand, l'anglais et le russe. Pour vérifier les traductions produites, l'auteur peut demander des rétrotraductions. Nous avons utilisé une architecture distribuée dans laquelle trois serveurs communiquent au moyen de messages et de boîtes aux lettres. Le processus de clarification est basé sur un mécanisme de reconnaissance de patrons à chacun desquels est associée une méthode de production du dialogue en langue naturelle.