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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4336

    Title: 「死而復生」神話意涵之研究;The Study of Death-rebirth in Mythos Thesis Abstract
    Authors: 黃君琦;Chun-Chi Huang
    Contributors: 中國文學研究所
    Keywords: 復生;變化神話;死亡
    Date: 2005-06-30
    Issue Date: 2009-09-22 09:16:54 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 本論文主要討論「死而復生」神話中,所表現的內在精神,與象徵。方法上仍以文獻為主要討論對象,針為神話文意描述的意思進行分析,或由文章結構釐清語言情境,並參酌應用先秦兩漢學者,對生死、變形主題的論述,進而了解「復生」在神話中蘊含的思想旨趣。 首先是經由神話中「復生行為」的描述,了解初民面對死亡的態度,無論是精衛填海、夸父追日皆呈現出「知其不可為而為之」的奮勇精神;鯀、蚩尤、刑天神話更是呈現其猛志常在的內在力量,這都是初民在面對「不可違逆的命運」下,對生命提出的終極關懷。而在「死而復生」神話中,也以「由死到生」的復生過程,傳達某種文化,如以刑天、夏耕之尸、后稷的死而復生隱喻農神崇拜;以顓頊死而復生,呈現年歲更替的神聖時刻;瑤姬神話則說明含有古代祭祀高禖的文化;鯥魚冬死夏生則是初民對蟄類的觀察心得。 其次,神話中的變形情節,實際上是蘊含了初民對自然的觀察與認知:宇宙間存在一種不可言述,而又可以體驗的力量,使物種和物種間可自然變化,至於,復生之後「變形形態」的選擇,依循神話給予的訊息,大約分出以動物形態復生、植物形態復生、原體形態復生三大類型,皆是針對神話做出的選擇,以彰顯其中旨趣。 最後,本文認為神話中「死亡」情節,實際上是提供一個轉換的時機,「死亡」在其中,已不單純是提供逃避的前因,而是重要的切換點,借由這一關鍵點的切割,緊接在後的「復生」情節,得以彰顯神話想要表達的壯大情志。同時,借由「死亡」情節,直線的生命歷程也獲得回歸的契機,意即,死亡的同時也成就新生,類比於農作物與時間,一切皆得以反覆循環,自強不息。 總之,「死亡」的經歷激發古人對生命、宇宙本質的設想,神話中「死而復生」的情節絕非不明是非的混淆,也不是為逃避死亡所作出的想象,那些神話人物以其獨立的個體,驗証生命歷程的苦難,或是向後人展現自然的奧妙,在通過突破物種限制,超越生死大限,由死到生的動態意象中,得以體悟初民對生死、宇宙的智慧。 This paper is to discuss the intrinsic spirit and symbolic of death-rebirth in mythos. The major methodology used is documentary review. By analyzing the content of mythos, examining the meaning of article structures, and reviewing previous statements of birth, death, and metamorphosis from scholars in Chin/Han Dynasty, this paper attempts to clarify the radical metaphor of death-rebirth in mythos. First, by analyzing previous descriptions of rebirth behavior, this paper tries to understand primitive’s attitudes toward death. Many examples show primitive has strong concern about life when facing unchangeable faith, such as: Jing-Wei sea-fulfilling and Kua-Fu running-after-the-sun represent the spirit of defying the hardship and danger; mythos of Sun, Ji-You, and Xing-Tian reveal the unbeatable intrinsic power. In death-rebirth mythos, the process description of death to rebirth also conveys some cultures, such as: the dead body of Xing-Tian and Sha-Geng, and the death-rebirth of Ho-Chi are metaphors of Saturnalia; Rui-Xiang’death-rebirth reveals the intervals of year change; Yao-Ji mythos represents the Great mother custom; Lu-Yu’s death in winter and rebirth in summer represents what primitive has learned from turtle observing. Second, the variable plots in mythos, in fact, involve primitive’s observations and acknowledgements of nature. An unspeakable, but can be experienced power exists in the universe to make metamorphosis happen. The metamorphosis images after re-birth, according to mythos, can be divided into three types: animal-like, plant-like, and original, which are choices from mythos standing for different meanings. Third, this paper suggests that death in mythos actually provides a chance to change. It represents not merely an excuse of avoidance, but also an important timing. By pointing out this critical point, a rebirth afterwards enhances strong emotions that a mythos would like to convey. Simultaneously, death gives lives a chance to re-start. It can bring a new life, like crop and time revolve. In conclusion, the experience of death aspires ancients’ thinking about lives and the universe. Death-rebirth in mythos is neither confusion, nor the imagination to avoid death. The key character in mythos uses its individuals to prove the hardships of lives, and to show the magic of nature. Through the breaking down limitations among species and transformation from death to birth, primitive’s thinking about life and death, and the universe can be understood.
    Appears in Collections:[中國文學研究所] 博碩士論文

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