Dissertations / Theses on the topic 'Taoism in literature'

This thesis encompasses a survey of contemporary environmental literature (1970s to the present) as it relates to the tenets of Taoist literature, specifically the Chuang Tzu and the Tao te Ching. The thesis also presents and evaluates pertinent criticisms concerning the practice of relating modern environmental problems to ancient Chinese philosophy. The thesis contains a preface that describes the historic roots of Taoism as well as an explanation of the Chinese terminology in the paper. The environmental literature is divided into three major groups and discussed in the three chapters of the paper. The three groups include mainstream environmentalists, deep ecology, and ecofeminism.

This thesis explores John Steinbeck's Cannery Row as a taoist text. It furthers this investigation by examining Cannery Row's recently discovered precursor, The God in the Pipes; examining the question of whether or not both novels were inspired by the ancient eastern philosophy of Taoism. The thesis uses clues from The God in the Pipes to determine which version of the Tao Teh Ching Steinbeck used to compose these novels.

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O outono foi uma das estações preferidas dos autores da era T´ang (618-907) e de Camilo Pessanha (1867-1926), escritor português, residente, por muitos anos, na China. A China é um país profundamente confucionista, budista e taoísta. Muitos comentadores já aludiram à proximidade entre a poesia de Pessanha e a doutrina de Buda, mas nenhum crítico, que saibamos, aproximou-a da doutrina de Lao-tzu (século VI a.C.). Nosso trabalho, portanto, procura salientar os pontos de contato entre a poesia de Camilo Pessanha e o Tao Te Ching, livro fundador do Taoísmo, provavelmente escrito por Lao-tzu, e fulcral no pensamento chinês, que Pessanha tanto admirava.
Autumn was a major theme for T´ang poets (618-907) as well as for Camilo Pessanha (1867- 1926) – Portuguese writer who lived in China for many years. China is profoundly affected by the doctrines of Confucius, Buddha and Lao-tzu (respectively, Confucianism, Buddhism and Taoism). Many essayists pointed out the resemblances of Buddha in Pessanha´s poetry, but none, till now, as we know, pointed out, in his work, the resemblances of Lao-tzu (VI c. B.C.). So, we tried to do this: to make clear how “Taoist” is the poetry of Pessanha, by comparing it with the Tao Te Ching, a major book for Taoism.

Esta dissertação tem como objetivo apresentar a obra Excerptos de Filosofia Taoista do autor Manuel da Silva Mendes, considerado o primeiro português a estudar e divulgar a tradição taoísta chinesa em Macau. Baseado nos conceitos de que tradução é uma recriação ou reinvenção, apresentados por Haroldo de Campos em sua obra Da transcriação poética e semiótica da operação tradutora, 2011, procurar-se-á analisar quatro poemas da obra em questão a fim de demonstrar que estes tratam-se de adaptações dos trechos dos livros clássicos do pensamento chinês 道德經 Dào Dé Jīng de 老子 Lăozĭ, e 南華經 Nán Huá Jīng de 莊子 Zhuāngzĭ. Para se atingir este fim, será feita uma análise comparativa com os originais em chinês clássico e com as traduções para o inglês do sinólogo escocês James Legge, tradutor com o qual Silva Mendes dialoga. A análise também servirá para mostrar as semelhanças e diferenças entre as versões poéticas do autor português e as originais, em sua grande parte escrita em prosa.
This dissertation aims to introduce the work Excerptos de Filosofia Taoista by Manuel da Silva Mendes, whom is considered to be the first Portuguese to study and disseminate the Chinese Taoist tradition in Macau. Based on the concepts that translation is a re-creation or a reinvention, which were presented by Haroldo de Campos in his work Da transcriação poética e semiótica da operação tradutora, 2011, four poems of the work in question will be analyzed in order to demonstrate that they are adaptations of the classic books of Chinese thoughts stretchs 道德經 Dào Dé Jīng, by 老子 Lăozĭ, and 南華經 Nán Huá Jīng, by 莊子 Zhuāngzĭ. To this end, a comparative analysis will be made between the original stretchs in classical Chinese and the English translations by the Scottish sinologist James Legge, translator with whom Silva Mendes dialogues. The analysis will also serve to show the similarities and differences between the poetic versions of the Portuguese author and the originals, most part written in prose.

Orientador: Odil José de Oliveira Filho
Banca: Helder Garmes
Banca: Sandra Aparecida Ferreira
Banca: Maria Lídia Lichtscheidl Maretti
Banca: Annie Gisele Fernandes
Resumo: O outono foi uma das estações preferidas dos autores da era T'ang (618-907) e de Camilo Pessanha (1867-1926), escritor português, residente, por muitos anos, na China. A China é um país profundamente confucionista, budista e taoísta. Muitos comentadores já aludiram à proximidade entre a poesia de Pessanha e a doutrina de Buda, mas nenhum crítico, que saibamos, aproximou-a da doutrina de Lao-tzu (século VI a.C.). Nosso trabalho, portanto, procura salientar os pontos de contato entre a poesia de Camilo Pessanha e o Tao Te Ching, livro fundador do Taoísmo, provavelmente escrito por Lao-tzu, e fulcral no pensamento chinês, que Pessanha tanto admirava.
Abstract: Autumn was a major theme for T'ang poets (618-907) as well as for Camilo Pessanha (1867- 1926) - Portuguese writer who lived in China for many years. China is profoundly affected by the doctrines of Confucius, Buddha and Lao-tzu (respectively, Confucianism, Buddhism and Taoism). Many essayists pointed out the resemblances of Buddha in Pessanha's poetry, but none, till now, as we know, pointed out, in his work, the resemblances of Lao-tzu (VI c. B.C.). So, we tried to do this: to make clear how "Taoist" is the poetry of Pessanha, by comparing it with the Tao Te Ching, a major book for Taoism.
Doutor

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I pensieri di Bellavista é uma obra de Luciano De Crescenzo, autor contemporâneo italiano, composta de 365 aforismos. Estes aforismos são dotados de magnífica leveza e profundidade. Para atingir esse efeito de leveza, De Crescenzo se vale do conhecimento acumulado em sua carreira como romancista, filósofo, humorista, cineasta e cidadão napolitano. Além disso, recorre à ironia, figura de linguagem que, por mais de uma via, incorporou-se à cultura napolitana. Recursos como a sátira e o humor também apoiam as breves narrativas na voz do professor Don Gennaro Bellavista. Não apenas recursos linguísticos amparam De Crescenzo na construção da egrégora de leveza que envolve esta obra, o autor também se vale da filosofia Epicurista, dos valores do taoismo clássico e da própria cultura do povo napolitano nesta construção. O presente estudo verifica como são construídos os aforismos, em sua maioria, na estruturação linguística e semântica, para investigar como é criado o efeito de leveza em cada um deles.
I pensieri di Bellavista is a work of Luciano De Crescenzo, contemporary italian author, composed of 365 aphorisms. These aphorisms are endowed with magnificent lightness and profundity. In order to reach such lightness effect, De Crescenzo summons his knowledge, accumulated through his novelist, philosopher, humorist and film maker careers, as well through his Neapolitan citizenship. Besides that, he resorts to irony, figure of speech which, through various ways, had integrated itself to the Neapolitan culture. Means such as satire and humor also supports the brief narratives in the speech of professor Don Gennaro Bellavista. Not only linguistic means are summoned to ground De Crescenzo in the building of the lightness mood that involves this work, the author also evokes the Epicurean philosophy, the classic Taoist values and the Neapolitan culture itself to the same purpose. The present research verifies how the aphorisms are constructed, mostly, in the linguistic and semantic structuration, to investigate how the lightness effect in each of them is created.
CAPES: 1574922

Le but de cette thèse est de mettre en lumière la relation complexe entre le " corps " du voyageur et celui de l‟écrivain, mais aussi le " corpus " de l‟oeuvre littéraire, dans la mesure où nous avons affaire à quelques écrivains voyageurs en Extrême-Orient des XIX-XXème siècles. Il s‟agit des oeuvres de Segalen, Claudel, Loti, Michaux et David-Néel. Leur réflexion se porte à la fois sur des idéogrammes orientaux et des religions " alternatives " de l‟Extrême-Orient (Tibet, Chine et Japon), notamment le taoïsme et le bouddhisme, et parallèlement sur des confrontations de l‟altérité du " corps ".Notre problématique de l‟espace littéraire propose trois axes principaux que la thèse divise en trois parties en analysant l‟espace textuel, l‟espace " transcendant ", et ensuite l‟espace " intérieur ".L'intérêt de ce travail sur le " corps " dans le regard exotique se mesure à la faveur de la notion d‟espace littéraire qui s‟évalue dans un processus particulier propre à chacun de ces auteurs.

La fin du 20e siècle a vu l’émergence de la Chine comme puissance économique, mais le monde francophone connaît l’influence culturelle de la Chine depuis bien plus longtemps. Depuis les années 80, plusieurs écrivains d'origine chinoise ont publié en France des romans écrits directement en français qui ont rencontré un vif succès. Certains d’entre eux comme Dai Sijie, Ya Ding, Wei-Wei, Ying Chen et Shan Sa sont nés en Chine où ils ont vécu toute leur enfance, leur adolescence et parfois une première partie de leur vie adulte. Ils ont réussi à percer dans la littérature francophone grâce au parfum délicatement exotique qui s’est exhalé de leurs romans. Chargées de bagages historiques et traditionnels chinois, leurs œuvres convergent sur des thématiques telles que la mémoire collective de la Chine mouvementée au XXe siècle, le contact voire le choc des cultures chinoise et occidentale, la mise en avant des pensées taoïste, bouddhiste et confucianiste, etc. Avec ces voix originales, la langue française s’ouvrait à de nouvelles poétiques et témoignait de sa capacité à dire la réalité complexe du monde actuel. Partant de cette situation nous allons développer dans cette thèse trois grands axes de recherche qui chacun soulèveront leurs différentes problématiques : Quelle est la position adoptée par ces écrivains migrants chinois dans un contexte littéraire occidental ? Quel est l’impact de la mouvance postmoderne sur leur écriture ? Quelles sont les techniques esthétiques choisies par ces écrivains pour s’adapter à la situation de mixage culturel ? Quelle est l’influence des religions asiatiques (Bouddhisme, Taôisme, Confucianisme) sur les écrivains migrants d'origine chinoise ? Par quelles voies l’esprit des écrivains chinois est imprégné de pensées orientales ? Comment ces écrivains se situent-ils par rapport à l’héritage ancestral ? Quel rôle les pensées chinoises jouent-elles dans leur création littéraire ? La quête de l’identité des écrivains migrants. Existe-t-il un itinéraire commun pour les écrivains migrants d’origine chinoise? Où en sont-ils dans le processus de la reconstruction identitaire ? Quelles sont leurs démarches littéraires pour une quête identitaire ? En conclusion nous verrons en quoi certains des auteurs du corpus que nous avons étudiés sont restés ancrés à leurs origines dans le cadre de leur œuvre littéraire, et a contrario comment certains autres ont su et ont même mis un point d'honneur à mettre une distance la plus importante possible entre leurs origines et leur travail littéraire. D'autre aussi, sont à la lisière de ces deux conceptions et ont un positionnement moins claires voir même parfois cycliques
The late 20th century saw the emergence of China as an economic power, but the french-speaking world knows the cultural influence of China for much longer. Since the 80s, many Chinese writers have published in France novels written directly in French that have met a great success. Some of them as Dai Sijie, Ya Ding, Wei-Wei, Chen Ying Shan Sa were born in China, where they have lived all their childhood, their adolescence and sometimes the first part of their adult lives. They managed to break into the french literature through the delicately exotic perfume that was exhaled from their novels. Responsible for Chinese traditional and historical baggage, their works converge on topics such as the collective memory of China's turbulent twentieth century, the contact or the collision of Chinese and Western cultures, the emphasis of Taoist thought, Buddhist and Confucianist, etc. With these original voices, the French language was open to new poetic and showed his ability to tell the complex reality of today's world. Based on this we will develop in this thesis three major research areas, each of which will raise their various problems : What is the position of these chinese migrants writers in a western literary context? What is the impact of the postmodern movement on their writing? What are the aesthetic techniques chosen by these writers to adapt to the mixed cultural situation? What is the influence of asian religions (Buddhism, Taoism, Confucianism) on chinese migrant writers? Through what channels the spirit of chinese writers is steeped in oriental thoughts? How these writers stand in relation to the ancestral heritage? What role the chinese thoughts play in their literary creation? The quest for the identity of migrant writers. Is there a common route for migrants writers of chinese origin? Where are they in the process of identity reconstruction? What are their literary approaches to a quest for identity? In conclusion we will see how some of the authors of the corpus we studied remained anchored to their origins as part of their literary, and on the contrary how some others knew and even made a point to put the largest possible distance between their origins and literary work. Also some others are on the edge of these two concepts and have a less clear positioning, sometimes even a cyclical one

A mysterious goddess magically generates a swirling wind to conceal the body of a hero. A licentious flower deity seduces a male to experiment with forty-three postures of copulation in a picturesque garden. Such graphic details of late imperial Chinese fiction exhibit two types of power from women: their martial prowess and seductiveness. This dissertation brings these two types of female power together by focusing on the Mysterious Woman (Xuannü 玄女) and the Immaculate Woman (Sunü 素女), two Daoist goddesses who figure prominently in martial arts and erotic stories, respectively. I argue that after being marginalized by institutionalized Daoism, these goddesses played a pivotal role in framing two different, though occasionally interrelated, types of novels. One type of novel concerns war and public affairs, including dynastic crises; the other type concerns domestic life, as exemplified in erotic fiction. The metaphor that equates sex with war relates these two types of stories. I consider these fictional texts to be powerful agents that reused and reinterpreted the goddesses’ stories in late imperial China. I also situate these texts in the cultural network within which they constructed or reconstructed the goddesses’ images in collaboration with Daoist discourse. In this research, I also examine how femininity (yin 陰) is constructed in late imperial Chinese fiction. As I argue, the ideas of invisibility (yin 隱) and licentiousness (yin 淫) constitute the notion of femininity. The Mysterious Woman demonstrates the power of invisibility when being portrayed as a goddess of war and associated with Daoist magic, such as the magic of invisibility (yinshen shu 隱身術). The Immaculate Woman represents the idea of licentiousness as she appears in various forms to seduce male protagonists. The dissertation contains two sections. The first part focuses on the following fictional texts: Water Margin (Shuihu zhuan 水滸傳), Quelling the Demons’ Revolt (San Sui pingyao zhuan 三遂平妖傳), Bull’s Head Mountain (Niutou shan 牛頭山), and Unofficial History of Female Immortals (Nüxian waishi 女仙外史). In this part, I show how the Mysterious Woman is depicted as a war goddess and a moral agent in stories concerning war, rebellion, and dynastic crises. The second part of the dissertation discusses Su’e pian 素娥篇 (The Story of Su’e), Zhulin Yeshi 株林野史 (Unofficial History of the Forest), Yesou puyan 野叟曝言 (Humble Words of A Rustic Elder), and Honglou meng 紅樓夢 (Dream of the Red Chamber). These works create various literary reincarnations of the Immaculate Woman. These reincarnations guide male protagonists to their spiritual awakenings by means of sex. While drawing on fictional and Daoist texts to rebuild the history of the Mysterious Woman and the Immaculate Woman, this research illuminates a complex relationship between Chinese fiction and Daoism.

關秀瓊.
書名原作: 從「人的自覺」看魏晉文論與儒、道 ...
據手稿本影印.
Thesis (M.A.)--香港中文大學.
Shu ming yuan zuo: Cong "Ren de zi jue" kan Wei Jin wen lun yu ru, dao ...
Ju shou gao ben ying yin.
Includes bibliographical references (leaves 459-473).
Guan Xiuqiong.
Thesis (M.A.)--Xianggang Zhong wen da xue.
上篇 --- p.1
緒言
Chapter 第一章 --- 人的自覺 --- p.13
Chapter 第一節 --- 「人的自覺」一詞及研究角度之，學術背景 --- p.13
Chapter 第二節 --- 魏晉「人的自覺」與文論關係之研究背景 --- p.28
Chapter 第三節 --- 本論文在前人討論下仍可發揮之處 --- p.42
注釋 --- p.50
Chapter 第二章 --- 兩漢文論與儒，道思想之關係 --- p.57
Chapter 第一節 --- 兩漢經學及天人觀念 --- p.63
Chapter 第二節 --- 狹義下的兩漢文學現象 --- p.78
Chapter 第三節 --- 從對創作主體的認識，論兩漢文論與儒，道思想之關係 --- p.87
Chapter 第四節 --- 總結 --- p.116
注釋 --- p.121
Chapter 第三章 --- 「人的自覺」下的魏晉文論與儒，道思想的關係 --- p.131
Chapter 第一節 --- 魏晉玄學下的天人新義 --- p.134
Chapter 第二節 --- 魏晉文學現象 --- p.156
Chapter 第三節 --- 「人的自覺」精神下的魏晉文論 --- p.167
Chapter 第四節 --- 「人的自覺」下的魏晉文論與儒，道思想之關係 --- p.185
Chapter 第五節 --- 總結 --- p.198
注釋 --- p.202
下篇
Chapter 第四章 --- 曹丕「文氣說」 --- p.219
Chapter 第一節 --- 從「人的自覺」檢視以漢末才性義釋「文氣說」之局限 --- p.222
Chapter 第二節 --- 氣之「性」「情」義 --- p.240
Chapter 第三節 --- 從「氣」之「性」，「情」義釋文氣說與儒，道家文藝觀之關係 --- p.256
Chapter 第四節 --- 總結 --- p.267
注釋 --- p.273
Chapter 第五章 --- 陸機「文賦」 --- p.286
Chapter 第一節 --- 玄學新思維方式下的「言」「意」內涵 --- p.189
Chapter 第二節 --- 新「言」，「意」觀念下的審美態度 --- p.308
Chapter 第三節 --- 新「言」，「意」觀念在文論上的開展 --- p.327
Chapter 第四節 --- 從「文賦」對創作運「意」的剖析，論其與儒，道思想之關係 --- p.344
Chapter 第五節 --- 總結 --- p.357
注釋 --- p.359
Chapter 第六章 --- 葛洪「抱朴子」 --- p.373
Chapter 第一節 --- 「抱朴子」思想旨趣與「人」的再思考 --- p.376
Chapter 第二節 --- 「抱朴子」思想旨趣在美學上的折射 --- p.391
Chapter 第三節 --- 「抱朴子」的文論與儒，道思想之關係 --- p.403
Chapter 第四節 --- 總結 --- p.431
注釋 --- p.437
Chapter 第七章 --- 上，下篇總結 --- p.452
參考書目 --- p.459

碩士
國立新竹教育大學
中國語文學系碩士班
102
The Route to the New Conversion of Chinese Traditional Dissertation: From the Reciprocal Effects between Buddhism and Taoism to the New Imagination and Hope of Literature Abstract This study deals with the problem of the current application strategies for Chinese traditional dissertation. With the main sequence of ideas on the route to the new conversion from the reciprocal effects between Buddhism and Taoism to the new imagination and hope of literature, it not merely attempts to provide the present usage of literature research theories with the introspection of strategies, but pays close attention afresh to the position of the value of Chinese traditional dissertation. As for the threads of thinking, there are four main facets in this study. Firstly, it discusses the corresponding read with the literature category and philosophy category in the culture of the ‘gas-transformed’ viewpoint, and then proposes the ‘original’ literature viewpoint in Chinese tradition. Secondly, it discusses the reciprocal effects between Buddhism and Taoism, which represent the viewpoint of the ‘cause-effect culture’ and the ‘gas-transformed culture’ respectively, to illustrate the conditions of occurrence and fusion of the two viewpoints. It further expatiates on the comparative relationship between the categories of dissertation vocabulary and philosophy after the viewpoint of the ‘cause-effect culture’ entered in China. Thirdly, it discusses the thought of the literature theory in recent globalized viewpoints, and inspects the thought with the concept of the ‘creation culture’. Fourthly, it attempts to read correspondingly with the Western literature theories and Chinese traditional literature theories based on the premise of the frequent cultural reciprocation in recent epoch, which farther provides the referential notion of the manners on thinking. Based on the above threads of thinking, the emphasis of this study is on the provision for thinking policies; nevertheless, the so-called ‘policy for dealing with a contingency’ can be considered in many other cases of actual criticism except for the samples offered in this study to ‘execute’ or ‘criticize’ the thinking of discussion in this study. Additionally, there are still lots of vocabulary about atmosphered-language and mysterious experiences in traditional Chinese not being interpreted in the system of epistemology in modern language, which is not less than being deliberated upon. Keywords: Chinese traditional dissertation, reciprocal effects between Buddhism and Taoism, new imagination and hope of literature, Western literature theories

碩士
國立嘉義大學
中國文學系研究所
107
This research focuses on the postcolonial discourse within Ye Shi-tao’s literature. Ye had lived across three periods in the history of Taiwan New Literature, which are defined by Chen Fung-ming as Colonial period, Recolonial Period and Postcolonial period. Throughout these three periods, the writer presents an unchangeable spirit, which is the confrontation of the periphery and the center of power between Taiwanese writers and the potentates. Chapter One, Introduction, elaborates the research motive, the outcome of previous studies, the research purpose and methods. Based on previous studies, this research focuses on the analysis of Postcolonial periods, which includes not only opposing the center of power but also the reconstruction of the subjectivity. On the basis of the reconstruction of the subjectivity, the author would like to take a closer look at the process of how the concept of national awareness in literature was established. Chapter Two, The Origin of the Postcolonial Theory and the Local Practice in Taiwan, probes into the influence of the development of the postcolonial theory. Moreover, how the theory was utilized by Taiwan academic circles after delivered into Taiwan and what the challenges were for the people as Chen Fung-ming and Chiu Guei-fen, who believed in postcolonial theory, would be discussed in this chapter. Therefore, “postcolonial discourse” is decided to be the core of this article. Chapter Three, A Review of Ye Shi-tao’s Literary Critics from Postcolonial Perspective, rounds up his standpoint of literary critics on the basis of his life, exploring the twist of his mindset, and probing into the phenomenon how people interpreted the Taiwan Awareness which was raised by Ye. Chapter Four, The Postcolonial Discourse in Ye Shi-tao’s Novels, explores Ye’s novels in three different periods according to Chen Fung-ming’s theory and focuses on analyzing the works from colonial to postcolonial period, with topics changing from facing traumas to reconstructing the subjectivity. Chapter Five, Conclusion: From Postcolonial Period to the Age of Community, sums up all the mentioned outcomes to make a conclusion of the postcolonial discourse in Ye Shi-tao’s literary works.

O presente trabalho de investigação em literatura abrange um conjunto sistémico de ideias e de conceitos oriundos das correntes sapienciais do pensamento oriental, que foram tomados por Antero de Quental nos seus sonetos, e por Manuel da Silva Mendes nos seus ensaios, e tomaram um lugar central na sua mundivisão, através de um processo elaborado de tradução cultural, enformando a sua interpretação da realidade e estruturando o seu pensamento. No seio de debate sobre o Orientalismo, foi nossa intenção sublinhar o papel activo que estes autores de língua portuguesa desempenharam no diálogo cultural entre a Europa e o Oriente. Tendo como objectivo central a compreensão de como é que estes dois autores activaram um conjunto de estratégias e de instrumentos para efectivarem uma real tradução cultural, a fim de poderem inserir elementos da sabedoria e da filosofia orientais (budista e taoista) nos seus sistemas de interpretação do Mundo e do Homem, efectuámos uma análise detalhada das suas obras, de acordo com um enquadramento teórico bem definido. Se é verdade que, por um lado, Antero de Quental teve um contacto indirecto com o Oriente cultural, sobretudo através de traduções, já Silva Mendes, que viveu em Macau durante cerca de três décadas, teve um diálogo directo e contínuo com os orientais. Todavia, o que é relevante é que os dois pertencem a uma geração de grande empenhamento político e social, para além de fecunda do ponto de vista literário. Para além disso, ambos desenvolveram uma reflexão profunda que se estendeu pelos campos da metafísica e da ética, facto que trouxe às suas obras uma densidade e um alcance único, especialmente no contexto português. Se Antero de Quental tem já uma posição bem estabelecida no contexto do sistema literário de língua portuguesa, Manuel da Silva Mendes é bem menos conhecido, muito possivelmente porque passou a sua vida em Macau, apartado dos centros de cultura e de decisão, onde construiu uma carreira docente e de causídico. Sendo autores dos finais do séc. XIX e do início do séc. XX, ambos tiveram, ao longo de várias décadas, uma actividade poética e filosófica bastante importante. A sua obra, aliás, influenciou de forma marcante o diálogo intercultural da literatura portuguesa e europeia com o oriente sapiencial. Pensamos que estudos como este que apresentamos, são essenciais no mundo do dealbar do séc. XXI, pois que se colocam como um desafio académico a uma reflexão intercultural, com vista a poder desencadear um diálogo mais racional e uma compreensão mútua mais aprofundada com a Alteridade, que nos possam conduzir a uma tão desejada paz global.

Lawrence was familiar with the Demeter-Persephone-Hades triangle from his extensive reading in literature and other disciplines that study myth. He was perhaps too familiar with it from enacting and observing the roles of the three principals in his parents' marriage and his own. Because his fiction followed from his life, the Persephone myth threads through his oeuvre from The White Peacock to The Man Who Died. In this dissertation, I examine the four New World stories, written in 1922–1925 in New Mexico and Mexico, for narrative details of the myth. I first discuss the most authentic version of the myth, Hesiod's Homeric Hymn to Demeter . Then, for each story, I point out which version(s) of the myth and which Great Mother figure(s)—Demeter, Persephone, or Hecate—predominate. Because Lawrence read and responded to Freud and Jung, I use psychoanalysts and analytical psychologists for clarification. Critics accuse Lawrence of misogyny in these works because the myth seems an excuse to visit travails upon women: murder of the Woman in “The Woman Who Rode Away,” a direly rundown ranch for Lou and a nervous breakdown for Mrs. Witt in St. Mawr. multiple rapes for Dollie in The Princess and, for Kate in Ouetzalcoatl and The Plumed Serpent, coarsening of sensibility and danger of assassination. Therefore, I end the interpretation of each story with an explanation of why it's inappropriate to apply “misogynist” to Lawrence. In all of them, Lawrence believes that women need rescue (as do men) from a patriarchal matrix of organized religion', industrialization, and various “isms.” Once sprung, as he and Frieda are, they too can struggle towards individuation, an integration of the four levels of life: intrapsychic, interpersonal, socio-political, and cosmic. What appears to be misogyny I see as an attempt to resolve the isolation/assimilation dilemma and an example of Freud's “feminine repudiation” in “Analysis Terminable and Interminable”: hostility to men who were his real-life competitors and empathy verging on self-masochism towards women which forced him to battle those closest to him for breathing space.

碩士
一貫道崇德學院
一貫道研究所
107
In the I-kuan Tao Society, it’s a common notion that Confucius had publicly delivered classical teachings while discreetly transmitting Tao to his disciples. Additionally, in the divine propagation of Tao, which takes the concerted efforts of heaven and humanity, words of deities are often revealed through the mediums in writing. This kind of heavenly teachings has emerged in response to the needs of the time and to the spiritual capacities of all human beings. The teachings are hence important guidelines for self-cultivation for I-Kuan Tao members. On the 24th of July, 1999, revelations from Confucius were received by the “Three Talents,” mediums who conduct séances during which revelations from the gods are received either in writing or orally, in I-Kuan Tao’s Tian Yuan Temple, located in Puli Township in Nantou City. His utterance included the following: “ I had in fact devoted my life to the public teachings of classic literature and the secret transmission of Tao. My ultimate intention was to cultivate moral individuals, bring order to society and turn the tide of moral decline in our society.” In the revelations, Confucius clearly pointed out that he had devoted to “public teachings of classic literature and the secret transmission of Tao,”which is consistent with the common belief among members of the Tao society. In this case, “public teachings of classic literature and the secret transmission of Tao,”seemed to be the way the quintessential sage handed down his doctrine. Yet this has never been seen in the intellectual history of Confucianism. This contradiction certainly deserves further investigation. Confucius, the great Chinese philosopher, is an inheritor of the past and an inspiration for the future. He’s renowned worldwide for his literary achievements—including compiling the Book of Odes and the Book of Documents, editing the Book of Rites and the Classic of Music, writing the Spring and Autumn Annals, and composing commentaries on the Book of Changes. Nevertheless, his discreet transmission of Tao( also known as the Way) is rarely acknowledged in the historical documents, and is not even mentioned in the Analects. However, is it possible that Confucius, considered the greatest sage of the time, had never transmitted Tao, the true essence of Dharma? If he had, in fact, done so, what was his approach and what were the content and purposes of his teachings? The greatest challenge for such investigation is that no definitive evidence can be found in the canon of intellectual history of Confucianism. Nevertheless, the above revelations received in I-Kuan Tao’s temple shed some important light on the matter. When we re-read and re-analyze the text of the Analects based on the clues discovered in the revelations, we found that further investigation and clarification on the matter is required. Tsze-kung once lamented that “The Master’s discourses about man’s nature, and the Way of Heaven(天道 tien Tao), cannot be heard.” Is the “man’s nature, and the Way of Heaven”here related to the Tao secretely transmitted by Confucius? In addition, is there a more comprehensive intepretation for the unsettled historical cases of Confucius’ remarks— “an all-pervading unity,”(一以貫之 )and “ a man in the morning hears the right way, he may die in the evening without regret”(朝聞道夕死可矣) —and so they can in turn support the notion that Confucius had publicly taught classic literature while secretly transmitting Tao? How should such argument be perceived? The research shows that some people do not believe that Confucius had transmitted Tao and therefore the argument is invalid for them. Other people argue that all of Confucius’ teachings took place in open spaces, with no concealment, and therefore it is true that Confucius had publicly taught classic literature but he had never transmitted Tao. What’s I-Kuan Tao’s interpretation of this case? The study found that Confucius’ “public teachings of classic literature and the secret transmission of Tao” has two layers of meaning. The first one is that there is a hidden purpose behind the public teachings without concealment—to transmit Tao. In other words, Confucius did not only nurture moral values and ethics among disciples, he also sought to deliver “the treasury of the true eye of the dharma” that is “transmitted outside the teaching tradition.” Secondly, the “secret transmission of Tao”implies the act of ascending to the hall, passing into the inner apartment and delievering Tao, as mentioned in the Analects: a man in the morning hears the right way(Tao), he may die in the evening without regret. When Tsze-kung lamented how “The Master’s discourses about man’s nature, and the way of Heaven, cannot be heard,” he was actually expressing how difficult it was to “pass into the inner apartment” and receive Tao. This interpretation may have been nowhere to be seen in the literature of Confucianism's intellectual history, it is an undisputable historical account that the fifth Patriarch of Chan Buddhism, Daman Hongren, had secretly passed the Dharma to the Sixth Patriarch, Huineng, in a closed room during midnight. We can therefore infer that by Confucius’ teachings, he was actually constantly seeking to inspire his disciples to understand the indescribable and unspeakable Tao, the doctrine of an all-pervading unity, passing on from sages to sages. However, not all of Confucius’ disciples can attain such enlightenment. Only Yan-Hui and Tzen-Tze could “pass into the inner apartment” and receive Tao from the Master. The process is what we refer to as “secret transmission of Tao.” Nonetheless, times have changed dramatically since ancient times, when Confucius was seeking to secretly transmitting Tao. During Confucius’ time, successful self-cultivation was a precondition to initiation(先修後得 : first cultivate the self in order to receive Tao later). One has to exemplify virtues and benevolence in order to “ascend to the hall and pass into the inner apartment.” Today, it’s time for universal propagation of Tao, and anyone desiring to “seek Tao” can do so and subsequently pursue cultivation(先得後修 : first obtain Tao, then cultivate the self). Mencius had said that when we examine the sages, both the earlier and the later, their principles are found to be the same. Similarly, the study observes that Confucius’ mind to mind transmission is essentially the same with I-Kuan Tao’s Tao transmission, which takes place in a ritual and the path of return is pointed out to the receivers by Holy teachers. That is the Tao of oneness, commonly pursued by Buddhists, Taoists, and Confucianism followers. Receivers of such supreme Dharma can transcend the three realms of existence and six paths of suffering. This is why Confucius said in the Analects that “If a man in the morning hears the right way,he may die in the evening without regret.” Upon receiving Tao, one knows where the gate of life and death is. While “the Master’s discourses about man’s nature, and the way of Heaven, cannot be heard,” one would find the Master’s discourses to be crystal clear after receiving Tao. He would also learn that the Holy Teachers are truly authorized by Heavenly decree, and understand why the Tao transmitting ceremony should be conducted behind closed door, and why the Three Treasures should not be disclosed outside of the temple. Additionally, he would learn the reason why Confucius said “I have concealed nothing from you,” and “I would prefer not speaking. Does Heaven speak?”, knowing that Tao is unspeakable and indescribable. Based on the above considerations, one may conclude that, apart from publicly teaching the Book of Odes and the Book of Documents to help his disciples practice filial piety and comply with the rites and humanity, Confucius also transmitted Tao,“man’s nature, and the way of Heaven,” in a discreet manner. As a collection of sayings and ideas attributed to Confucius, the Analects demonstrates how he had “publicly delivered classical teachings while discreetly transmitting Tao to his disciples.” The ideals and principles advocated by Confucius are close to our day-to-day life. More importantly, the Analects does not only instruct us on how to tune in to our inner humanity, it also discusses human nature and the Way of Heaven. Therefore, Ji-Gong Living Buddha once remarked, “the Analects explores the nature of human mind” and thus can be regarded as a Mahayana sutra. Hence, on can understand that the common notion in I-kuan Tao Society that Confucius had publicly delivered classical teachings while discreetly transmitting Tao to his disciples, has a solid basis in fact. In this case, Confucius’ place in history would change accordingly: not only a distinguished historian, thinker, teacher, and philosopher but also a holy teacher with Heavenly decree who transmits Tao by the Mandate of Heaven.

There are five chapters. Chapter 1 reviews the publishing of catalogs, the methods used to identify fake copies, and previous scholarly studies. I will also define the research scope, objective and methodology of the study. Chapters 2 to 4 explain the relationships between official sutra copies and Buddhist ones, religion and scripture calligraphy, and the copyists and their calligraphy. Through analysing the colophons at the end of the manuscripts and the style of the calligraphy, I intend to show the impact of politics, religion and the status of the copyists on the calligraphy. Chapter 5 focuses on the artistic style of the calligraphy of Dunhuang scriptures, explores the concepts of Xiejing Style and Beiliang Style , and highlights the stylistic differences and similarities in different geographical areas.
This study demonstrates that Dunhuang scriptures are an important part in the history of Chinese calligraphy. The quality of the calligraphy varies: some may be masterpieces while others common everyday writings.
This thesis investigates the calligraphy of Buddhist and Daoist scriptures found in Dunhuang and Xinjiang, spanning from the Jin dynasty to the Song dynasty. The calligraphy of the copied scriptures is analyzed in its specific social and historical context. Based on historical records, contemporary references and the actual objects themselves, this study uses a textual, comparative research method to give an overview of the calligraphy and to describe its course of development in an approach that is as faithful to history as possible.
毛秋瑾.
呈交日期: 2005年12月.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 143-149).
Cheng jiao ri qi: 2005 nian 12 yue.
Advisers: Jao Tsung-i; Harold Mok Kar-leung.
Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4016.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 143-149).
Mao Qiujin.