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明代後期「行旅書寫」研究
No full text文學作品源自作者才情、經歷，更與時代、生活風貌呈現高度相關。明代後期文人創作出現大量的走山訪水的遊歷作品，形成中國文學史中一個深具特殊性的階段。在廟堂政治上，統治者荒淫穢亂、草菅擅權，因政爭導致官員流貶情況相當普遍；學術思想上，陽明心學帶動思想革新，文人捨棄了科舉當官之途，或走向山林田野，或在居家園林中品味生活，用文學作品譜寫出不同際遇的生命篇章。有鑑於此，本文以〈明代後期行旅書寫研究〉為題，探討此一時期遊記文風，採傳統文獻分析法，引用中國傳統文學理論與文學社會學理論互為佐證，資料來源屬古籍文獻與今人著作。分為七章：第一章著眼於明代後期文人遊歷創作，以文學社會學視角，打破傳統「記」體文學範圍，採韻、散文本兼融的研究方法；第二章論述先秦至明代後期行旅作品發展脈絡；第三章聚焦在政治層面，探討官員因貶謫、行戍產生的作品；第四章論述陽明心學對行旅作品的影響，包括王守仁、湛若水以及所屬心學門人的創作；第五章分析明代後期唐宋派、公安派、竟陵派等文人的行旅書寫；第六章寫明代後期行旅書寫的最高峰，聚焦在徐宏祖及張岱，以及對後世的傳播與影響；第七章結論。目的在探索自明武宗正德帝至思宗崇禎帝共七位帝王近一百四十年間，文人行旅書寫呈現的時代風貌
陸游教子詩之家訓思想研究
No full text摘要 中國古代的詩歌文化源遠流長，具有極強的歷史文化蘊意和時代價值，在紛繁的詩歌中，陸游的教子詩以其獨特的視野，佔據了重要歷史地位。陸游的教子詩，大多數成於六十五歲以後，這時候的陸游經過多次的貶官，歷經人生跌宕起伏，在人生最低潮時回到故居，他想將自己一生的經歷，包括為人處事的規準、齊家守業的家風與矢志復國的決心，以言教、身教與境教的方式教導子孫，勉勵自己兒孫在讀書方面要「六藝江河萬古流，吾徒鑽仰死方休」。告誡他們在生活中「躬耕百畝可無飢」、「除卻為農百不宜」，最重要的還是要以儒家精神提升生命意識的高度，以「仁民志士」、「忠義傳子孫」、「一生凜凜蹈春冰」的節操世代相傳。 本文在緒論中講述了研究動機、研究目的、文獻探討、研究範圍、研究方法 與目前學界對陸游教子詩的研究成果。第二章介紹詩教觀念的淵源、意義與目的以及傳統家訓的分期、演進與內涵，以期探索陸游在晚年以大量教子詩進行詩教的動機與目的。第三章介紹陸游的家世背景、生平事蹟與家訓思想淵源，對陸游教子詩內涵形成的影響，以此追溯其家族耕讀傳家的家風與強烈愛國精神的始末，探悉陸游在滿懷國仇與憂民的環境中，是如何激勵他寫出許多思想豐富的詩作。第四章介紹陸游詩教的思想淵源，通過淵源的考察，可以得知陸游詩作的接受史與其家訓思想內涵、影響程度，進而達到上有所承，下有所啟的目的。第五章對陸游教子詩之內涵作了四類的歸納與分析，分別以天倫慈愛之情、讀書為學的功夫、躬耕可無飢的概念和高風亮節的情操來探究。第六章經由陸游教子詩之精神，從強烈愛國意識的教育觀，為貧出仕退為農的教育觀與陸游言教、身教與境教的教育方法，探討其對現代家庭教育的啟示。第七章於結論中提出個人對教育的看法，即培養超然物外的胸懷，學習不斷的自我澄清與肯定的應世哲學，如此才能坦然立於瞬息多變的社會，進而確立自己的生命意識與價值
Jakob von Uexküll’s theory of Umwelt revisited in the wake of the third culture: Staging reciprocity and cooperation between artistic agents
No full textReciprocity has been an issue in the interchange between humanities and sciences in view of divided observations concerning our motivation for relating to other people and their opinions. This study proposes to deal with the problem by way of reexamining Uexküll’s theory of Umwelt, seeking to deepen our appreciation of instincts, emotions, and intuitions in our absorption of alternative views. It is revealed that followers and interpreters of Uexküll’s work have actually embraced his functional cycle as a sort of mental work that induces pleasure, knowledge, and self-governance, regardless of the exact identities or even of the very being of others we are engaging with. From this point of view, we appear as really generous and brilliant agents by virtue of our capacity of ignoring certain traits or disparities that may reduce our chances of relating to others. It is argued that such a viewpoint is compatible with the idea of genuine altruism and reciprocity, much promoted in various fields of study today. The updated sense of Umwelt serves to explain why we may still work out intriguing ideas and relationships even with the least amount of feedback or payback from others
Words from the Editor
No full text本期三篇研究論文，分別以建制民族誌、訪談、政策分析與口述歷史等研究策略，探索了性別研究中的「再生產」主題。黃?雯、張恒豪與唐文慧的論文探討特殊教育助理員的勞動處境。該文提出，要能充分理解這項繁重且涉及多種技能的照顧工作，必須探索台灣的特教體制發展，包括專業主義與性別分工所形成的勞動特性。林東龍與劉蕙雯分析男性公務員的育嬰留職經驗，呈現新興的父職型態。這篇論文也建議持續推動職場的性別平權，並倡議「照顧」男子氣概，以提高男性採用育嬰假的比例。王秀雲研究1950年代以來的女性初經經驗，分析周遭親友的談論與作為、通俗醫學衛生知識、學校健康教育、衛生棉廣告如何在不同歷史時期，影響了青少女的身體經驗。蔡芬芳的研究討論「性別、族群與客家研究」，回顧了客家研究對於性別研究的貢獻與新挑戰。主流社會仍以勤儉刻苦作為客家婦女的主要形貌，本文細緻地解析這樣的圖像，如何與建立族群主體有關，又如何簡化了客家女性的樣貌。晚近客家研究則逐漸呈現客家婦女的異質性，並強調從性別、族群、階級的交織性來理解客家女性的處境，將跨國資本主義等結構性變遷帶入，並且看重世代生命經驗的差異，也更能精確捕捉客家女性的當代樣貌。這篇論文也提醒，以性別角度來探討客家男性的研究十分稀薄，是十分值得耕耘的主題。本期封面的版畫，呈現的是高雄美濃某個客家村落景象。用機車載著自製龍眼乾與生薑四處販售的閩南男性，以熟練的客家話與穿著藍衫的中年婦女閒話家常。如同蔡芬芳的提醒，多樣的移動與混雜，也造就更複雜的客家社會與文化，需要更多的研究投入。書評書介是本刊重要的交流園地。這期評介的專書是年輕早逝的陳香君力作《紀念之外：二二八事件．創傷與性別差異的美學》。關秀惠認為，該書看重女性藝術家創作出的二二八創傷主體，如何可能昇華創傷情感，提出了面對藝術與政治的重要性別視角
Good Words Hurt Too: The Cyberdiscourse Against Same-Sex Marriage in Taiwan
No full text網際網路的匿名性與方便近用性改變了人們傳播理念的方式，也讓網路上的歧視、偏頗言論充斥於新聞留言版、特定立場網站、論壇等。二十世紀末至本世紀初諸多相關研究探討、反思網際網路對公共議題溝通論辨之影響，指出其確實造成受到歧視群體之心理甚或身體傷害，此一現象亦隨而引發公眾注意及政府立法規範等考量。本研究聚焦於近年來掀起台灣各方激烈辯論之同性婚姻議題，以2014年相關網站文章、立法院公聽會紀錄網路版及網路新聞留言為對象，分析反對同性婚姻論述傳遞之意識型態與其所用之溝通策略，發現這些台灣當代網路論述與外國英語仇恨網站論述相當類似，除翻譯或挪用後者內容、策略外，難見本地獨特之論點及溝通模式，即使前者強調之我國國情主張，亦近似他國諸多明藉傳統文化為由，反對現代民主社會中平等人權之運動訴求，可能亦是網路無遠弗屆的跨國影響而形成全球公民社會之證。The anonymity and accessibility of the Internet has facilitated the way people promulgate ideas and beliefs and resulted in an unprecedented wave of biased and discriminatory speech in cyberspace. Its impact on policy issues and harm to disadvantaged groups has been widely explored since the end of the last century. This article analyzes cyberdiscourse attacking the same-sex marriage proposal in Taiwan in 2014 for its rhetorical strategies and imagined communal conceptions of marriage and homosexuals. The results show that although the anti-same-sex marriage discourse appeals to Chinese traditional values, it either appropriates the discursive strategies or translates the content and concepts from foreign hate group sites. This lack of local particularity illustrates the delocalizing effect of the Internet on today’s domestic anti-same-sex marriage campaigns and the ways they are heavily powered by transnational information flows via cyberspace
Can Audit Committee Improve Earnings Quality More than the Supervisors in Taiwan?
No full text本文主要探討從監察人制度轉換成審計委員會制度之公司，其盈餘品質是否提升。比較採用審計委員會制度的公司前、後期間之盈餘品質，相對於維持監察人制度之公司兩個時期的盈餘品質之變化，本文發現採用審計委員會制度之公司較能提升盈餘品質。此發現表示公司採用審計委員會制度者會比維持監察人制度之公司較為注重股東的權益。This study examines whether companies that are allowed to switch to the audit committee from the supervisors can achieve better earnings quality. I compare earnings quality for firms that switch to the audit committee between pre-adoption and post-adoption periods, relative to the corresponding change for a matched sample that retain the supervisors. I find that firms can improve earnings quality after they switch from the supervisors to audit committee. My findings suggest that firms adopting audit committee can embrace shareholder primacy to a larger extent than those that retain the supervisors
“Constellation Gods Come Down to Earth and Appear in Their True Form” in Jingju──The Example of the Performing History of Xue Rengui, Xue Pinggui, Zhao Kuangyin, and Generals of the Yangs
No full text本文擬以「星宿謫凡、本命顯形」為例，討論民間信仰與傳統京劇民間劇本
的密切關係。京劇起自民間，早期的民間劇本普遍反映時代社會文化思想，「星
宿」的普遍出現於劇中，便是一例。「星宿」不是京劇編劇個別的創造設計，而
是人們集體願望的投射。人們想像出來的「星宿傳奇、天上劇場」，既達到了紓
解、寬慰情緒的「補恨」作用，也具體反映人心底層的慾望，不僅是劇本的思想
底蘊，更是編劇技法和結構手段，民間劇本的文學與文化價值由此體現，更有值
得注意的舞台表現。
本文擬聚焦於薛仁貴、薛平貴、趙匡胤、楊家將等幾齣具代表性的京劇名
劇，先分析「星宿謫凡、本命顯形」在這些劇本裡的「意義」，包括《汾河灣》
的青龍復仇、《紅鬃烈馬》與《龍虎鬥》的真龍現形、《四郎探母》《洪洋洞》
唱詞裡所點出的本命星宿等，討論其思想底蘊、文學價值以及舞台表現，再考察
這幾齣名劇演出的變革(包括版本的演變，現場觀戲紀錄，及其與老唱片和歷
史錄音的比較)，指出星宿在當代京劇舞台上幾乎都已被刪去而逐漸失去「位
置」，對劇本及表演均造成影響。而這不僅受迫於(對岸的)國家禁令，同時也
是兩岸演員、觀眾雙方對「結構」觀念同步改變的結果。This study discusses the affinity between folk religion and Jingju scripts
through the focus of “constellation gods coming down to earth and appearing in their
true form.” Jingju grows from the folk, and there are no necessary glorious words
or well-constructed paragraphs in early folk scripts; however, folk contributions to
Jingju are filled with imagination and invention. “Constellation gods” are formed from
collective projects, rather than from individual playwrights’ design. The imagination
of “constellation legends and heavenly theatre” not only resolves resentment but also
concretely reflects deep desires of humans, and this reveals the literary and cultural
value of folk scripts—the ideological details, playwrighting techniques, script texture
and the most noteworthy stage performances.
This essay focuses on several famous plays of Xue Rengui, Xue Pinggui, Zhao
Kuangyin and the generals of the Yangs, and firstly analyzes the meaning of the motif
of“constellation gods coming down to earth and appearing in their true form” in these
scripts, including the revenge of the blue dragon in“The Cove of Fen River (Fenhe-
wan, 汾河灣)”, the true form of the dragon in“The Red-Maned Fighting Horse
(Gong-zong-lie-ma, 紅鬃烈馬)” and “Dragon and Tiger Fight (Long-hu-dou, 龍虎
鬥)”, and the true form of the constellation god in “Silang Visits His Mother (Si-langtan-
mu, 四郎探母)” and “The Hongyang Cave (Hong-yang-dong, 洪洋洞) .” Then,
one conducts research on ideological details, playwrighting techniques, script texture,
stage performances, and the study of performance history (such as editions, actor
interviews, notes of seeing plays, and the comparisons of the gramophone records and
recording history). Furthermore, the transformations of these plays were shaped by
the prohibition of this folk theme in China; meanwhile, there were many changes of
Jingju structure taking place between the cross-strait actors and audiences. Hence, the study emphasizes the effects on scripts and performance due to the loss of the motif of
constellation gods in modern Jingju