dc.contributor.advisor | 蔡怡佳 | zh_TW |
dc.contributor.author (Authors) | 洪梓源 | zh_TW |
dc.creator (作者) | 洪梓源 | zh_TW |
dc.date (日期) | 2008 | en_US |
dc.date.accessioned | 9-Dec-2010 11:36:05 (UTC+8) | - |
dc.date.available | 9-Dec-2010 11:36:05 (UTC+8) | - |
dc.date.issued (上傳時間) | 9-Dec-2010 11:36:05 (UTC+8) | - |
dc.identifier (Other Identifiers) | G0094156007 | en_US |
dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/49866 | - |
dc.description (描述) | 碩士 | zh_TW |
dc.description (描述) | 國立政治大學 | zh_TW |
dc.description (描述) | 宗教研究所 | zh_TW |
dc.description (描述) | 94156007 | zh_TW |
dc.description (描述) | 97 | zh_TW |
dc.description.abstract (摘要) | 榮格(C.G. Jung)的宗教心理學理論,無論是他的原型思維或神話象徵等等,都經常是宗教研究上常常被援用的理論。然而他的理論充滿著爭議性:有人認為他的理論是實證、科學的,也有人認為他是浪漫、非理性的;有人認為他具有宗教情操,但也有人認為其理論破壞了宗教的主體性。這些爭議反映出他的理論在學術定位上的不易。本文以美學鑑賞與文學批評的角度,透過對榮格晚期代表作《基督教時代》(Aion)做為觀察對象,揭示出榮格理論如何透過「變向」(becoming)的書寫技巧有效地拓展讀者的主觀心理空間,使其理論為讀者所接受。同時,透過對其理論做書寫技巧的分析,亦能明瞭其書寫對於主觀感知上所產生的效果,和其對客觀事實陳述的有效性是兩回事,而這也是榮格理論爭議的來源。 | zh_TW |
dc.description.tableofcontents | 書名頁 1謝辭 2摘要 3目錄 5第一章:緒論 7第一節、前言 7第二節、正反相呈的榮格現象 9第三節、以書寫技巧的分析取代轉譯式的研究 14第四節、章節簡介 17第二章: 23雙面榮格--榮格宗教心理學的兩種面向 23前言:榮格理論的爭議性 23第一節:脈絡中的榮格--以佛洛伊德作為一個起點 25第二節:後現代榮格學派 30第三節:在看得見的脈絡與看不見的秘思之間 33第四節:小結 35第三章:風格間的連結、變形與開展 37前言:本質與效應 37第一節:風格與陌生化 40第二節:兩種風格的結合:抽象概念與具體形象 43第三節:具體形象內部的變形 47第四節:抽象概念間的變形 52小結 56第四章:整體與時空的書寫 59前言 59第一節:四方位體作為整體理論的展演 60第二節:想像力的終止與朝向整體的個體化歷程 67第三節:同時性理論與時空的書寫 77第四節:小結 86第五章:結論 89章節回顧 89超越真假的美學態度 91傳統與創造 92面向未來的榮格研究 96參考書目 98 | zh_TW |
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dc.language.iso | en_US | - |
dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0094156007 | en_US |
dc.subject (關鍵詞) | 榮格 | zh_TW |
dc.subject (關鍵詞) | 基督教時代 | zh_TW |
dc.subject (關鍵詞) | 書寫風格 | zh_TW |
dc.subject (關鍵詞) | 變向 | zh_TW |
dc.subject (關鍵詞) | 整體理論 | zh_TW |
dc.title (題名) | 創造與感受 ── 榮格《基督教時代》的書寫與風格 | zh_TW |
dc.type (資料類型) | thesis | en |
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