Jiao Da Fa Xue Ping Lun最新文献

由湯姆・摩爾及諾拉・托梅執導、並於2009年問世的奇幻動畫長片《凱爾斯的秘密》，以現代數位藝術重構愛爾蘭國寶《凱爾斯之書》的繪製過程，並勾勒出極富島嶼特色的愛爾蘭歷史和視覺文化，因而被評論家喻為愛爾蘭國族電影。然而，本文認為電影中所呈現的愛爾蘭異教神克魯姆・庫魯克一角，已然讓國族與基督教主體的可能性有別於傳統定義，而其與《凱爾斯之書》之間糾結難分的關係，挑戰了純粹性的想像，彰顯身分的流動及多重意義的跨界。在故事中，克魯姆・庫魯克之眼，既是一個為了完成基督教抄本而必需取得的物件，亦是揮之不去、與眾多視覺意象相互呼應的凝視。它猶如拉岡理論中的詭異凝視，讓主體感到焦慮不安，引領主角跨越疆界，為愛爾蘭的過往提供一個更全球化的詮釋。本文透過分析動畫片中描繪的疆界建構與解構、基督教文化與異教的關係，以及克魯姆・庫魯克及其眼睛／凝視揭露的苦難與重生，指出《凱爾斯的秘密》藉由再創《凱爾斯之書》所傳達的，並非一個單純融合基督與異教的愛爾蘭國族，而是呈現出身份內含的衝突、不穩定性，及其可能向更多元複雜的世界開放的特質。

 

Released in 2009, The Secret of Kells is an animated film directed by Tomm Moore and co-directed by Nora Twomey. Its vivid reconstruction of the origin of the Book of Kells and artful combination of Irish history, Celtic insular art, and modern digital techniques make it an Irish national cinema. However, the role of Crom Cruach, an intriguing pagan god/monster, contests traditional conceptions of nationality and Christian selfhood. His entangled relationship with the Book of Kells highlights the fluidity of identity and the multiple possibilities of border-crossing. The “Eye of Crom” is both an indispensable object in completing the Christian manuscript and a haunting gaze overlapping with various images in the film. Recalling the anxiety-triggering gaze in Jacques Lacan’s theoretical framework, the eye image propels the protagonist to step beyond the border and consequently hints at a more cosmopolitan interpretation of the Irish past. By scrutinizing the (de-)construction of borders, the intertwined relationship between Christianity and paganism, and the notions of suffering and rebirth underlying Crom Cruach’s eye and the recurring gaze, this article aims to argue that the animated reproduction of the Book of Kells suggests a hybrid identity that is unsettling, conflicting, and therefore more connectible to the world of infinite complexity.

 

本文從變動性、整體性及多元性的觀點，檢視並辯駁博物館教育潛存不合時宜的迷思，進而指出博物館需要傾聽公眾心聲，擴大公眾服務的對象及管道勢在必行，並從四個面向重新詮釋博物館教育作為公眾服務的核心價值及特點：（一）博物館不只是教育理論的直接應用，而是涉及跨學科理論的轉化運用；（二）博物館教育不只是學校教學活動的延伸，而是向所有人發出的邀請；（三）博物館不是傳遞意義的單向過程，而是詮釋意義的對話過程；（四）博物館教育必須與展覽共同發展，並將整個博物館視為教育的體現。

 

This article examines and refutes the outdated myths of museum education from the perspectives of variability, integrity and diversity, and then points out that museums need to listen to the voice of the public, and reinterprets the core value and characteristics of museum education as a public service from four aspects : (1) It involves the transformation and application of interdisciplinary theories rather than the direct application of educational theories; (2) It is not just an extension of school teaching activities, but an invitation to the public; (3) It is not a one-way process of transmitting knowledge, but a dialogue process of interpreting meanings; (4) It should take the entire museum itself as the embodiment of education.

 

蘇軾於〈諸葛亮論〉非常強調要全其「仁義」，反對諸葛亮「仁義、詐力雜用」，之後還「失機」、錯失了進攻曹魏政權的契機。其論點置諸傳統的諸葛亮相關論述場域中，具有相當特殊的地位。然而，翻新出奇的同時亦陷入標新立異的危機，致使該文的諸多論述頗有值得商議的空間。例如將身份不同的曹操視作諸葛亮的對照組、論述諸葛亮時往往過度強調其負面形象、趁曹操過世之際離間曹丕兄弟的「失機」說未免樂觀等等。後世雖不乏迴響，但亦有反對其說法者，尤其明代王世貞甚至以專文一一進行批駁。鑒於目前研究尚未較完整地梳理該文，及其相關言論、評價；本文即試圖較周全地進行探討，尤其著眼於蘇軾該文立論的特殊處，透過追溯史料以思量論述之得失。

 

Su Shi ’ Zhuge Liang theory ’ emphasizes the moral point of view, and criticized Zhuge Liang missed the opportunity attack Cao Wei regime. The argument is quite special status, also quite amazing. However, it also has negative effect. The opposition is more obvious, especially in the Ming Dynasty Wang Shih-chen even special article to refute him. In view of research is fragmented, we attempted to thoroughly explore the content. Focus on the central idea and view of history. Through tracing historical practice, consider the gains and losses.