Pub Date : 2022-05-01DOI: 10.53106/230597612022050025002
盧莉茹 盧莉茹
自十九世紀以降，歐洲列強的帝國勢力快速擴張，此時美國的領土亦迅速擴張。西方列強仗著船堅砲利優勢在世界各處探尋自然物產和大地資源。歐美強權國家在海外殖民地的擴展為此時空催生了大量與旅行相關的書寫──亦即出自海軍探險者及軍艦成員、自然史科學家、海外商人、外交官等人的旅行書寫。在這段時空下，福爾摩沙早已成為西方列強眼中的肥羊。十九世紀以前，台灣鮮為人知。1860年，清廷因天津條約被迫開放打狗和基隆等港口，大批西方人士於是造訪福爾摩沙。此文聚焦於漢卡克、鼓里馬、禮密臣這三位十九世紀英美旅行者的自然史文本，探究他們如何為福爾摩沙這個神秘而詭譎的島嶼書寫自然史、如何為台灣的本土物種和自然資源做科學觀察與描述、如何在其充滿帝國主義動機的旅行自然史作品中交織夾雜了他們的初期環境意識與生態感知。藉此探討，此文填補自然書寫的拼圖缺塊，呈現十九世紀英美旅行者筆下的福爾摩沙自然史建構以及初期生態感知，同時為生態批評與自然書寫拓展新疆域。 Prior to the mid-nineteenth century, Formosa was little known and largely unexplored by English and American travelers. After the discovery of Formosan coal by Anglo-American navy explorers in 1847 and Formosa’s ports had been opened for trade by the Western Powers in 1860, a great number of Western explorers, navy investigators, naturalist scientists, merchants, and diplomats visited Formosa. Through their writings, these travelers documented the island’s unknown landscapes and natural resources, including heavy timber and forest trees. This paper focuses on the traveling natural histories of three nineteenth-century English and American travelers —William A. Hancock (1847-1914), and Francis Henry Hill Guillemard (1852-1933), and James Wheeler Davidson (1872-1933). It explores the historical and cultural underpinnings of natural resources in the island’s eco-geopolitical history and is interested to examine the ways these travel writings represented Formosa’s environmental productions (such as coal, sulphur, camphor). It addresses the following questions: What might be the links between nineteenth-century imperial motivations and representations of Formosa’s natural resources? How might the genre of natural history relate to imperial-colonial travel narratives and science narratives? How did Hancock, Guillemard, and Davidson report their scientific observations on Formosa’s natural productions? How might British and American imperial travel narratives reveal an environmental consciousness embedded in the history of colonial/imperial exploitation of Formosa’s natural resources?
自十九世纪以降，欧洲列强的帝国势力快速扩张，此时美国的领土亦迅速扩张。西方列强仗著船坚砲利优势在世界各处探寻自然物产和大地资源。欧美强权国家在海外殖民地的扩展为此时空催生了大量与旅行相关的书写──亦即出自海军探险者及军舰成员、自然史科学家、海外商人、外交官等人的旅行书写。在这段时空下，福尔摩沙早已成为西方列强眼中的肥羊。十九世纪以前，台湾鲜为人知。1860年，清廷因天津条约被迫开放打狗和基隆等港口，大批西方人士于是造访福尔摩沙。此文聚焦于汉卡克、鼓里马、礼密臣这三位十九世纪英美旅行者的自然史文本，探究他们如何为福尔摩沙这个神秘而诡谲的岛屿书写自然史、如何为台湾的本土物种和自然资源做科学观察与描述、如何在其充满帝国主义动机的旅行自然史作品中交织夹杂了他们的初期环境意识与生态感知。借此探讨，此文填补自然书写的拼图缺块，呈现十九世纪英美旅行者笔下的福尔摩沙自然史建构以及初期生态感知，同时为生态批评与自然书写拓展新疆域。 Prior to the mid-nineteenth century, Formosa was little known and largely unexplored by English and American travelers. After the discovery of Formosan coal by Anglo-American navy explorers in 1847 and Formosa’s ports had been opened for trade by the Western Powers in 1860, a great number of Western explorers, navy investigators, naturalist scientists, merchants, and diplomats visited Formosa. Through their writings, these travelers documented the island’s unknown landscapes and natural resources, including heavy timber and forest trees. This paper focuses on the traveling natural histories of three nineteenth-century English and American travelers —William A. Hancock (1847-1914), and Francis Henry Hill Guillemard (1852-1933), and James Wheeler Davidson (1872-1933). It explores the historical and cultural underpinnings of natural resources in the island’s eco-geopolitical history and is interested to examine the ways these travel writings represented Formosa’s environmental productions (such as coal, sulphur, camphor). It addresses the following questions: What might be the links between nineteenth-century imperial motivations and representations of Formosa’s natural resources? How might the genre of natural history relate to imperial-colonial travel narratives and science narratives? How did Hancock, Guillemard, and Davidson report their scientific observations on Formosa’s natural productions? How might British and American imperial travel narratives reveal an environmental consciousness embedded in the history of colonial/imperial exploitation of Formosa’s natural resources?
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Pub Date : 2022-05-01DOI: 10.53106/230597612022050025004
應芳瑜 應芳瑜
莎士比亞的皇室悲劇：《李爾王》、《哈姆雷特》、以及《馬克白》以瘋狂和死亡著名。將悲劇人物的極端情緒與相對應的場景並置，是為了悲劇結局—死亡—而鋪陳或預示。埃德蒙·伯克 (Edmund Burke) 定義了兩個審美範疇—優美與崇高，後者源自於痛苦和恐懼，是悲劇人物所表達的極端情緒。基於伯克對崇高的美學解釋，本研究假設這三部悲劇可能展現崇高感覺與崇高場景融合以預示悲慘的結局。有些主角在極端感情中掙扎時，他們就出現在崇高的場景中，漆黑的夜晚、懸崖峭壁、高山、暴風雨、無邊的大海都可能與他們被摧殘的心靈相匹配。本文的研究方法採用愛德蒙·伯克針對自然景物氣候和人類情感所提出的定義和弗洛伊德針對人類心理所提出的觀點來細細分析崇高場景和悲劇角色之崇高感覺相互搭襯的關係。在《李爾王》劇中，愛德伽偽裝成一個乞丐帶領他悲痛欲絕的父親(格洛斯特)到月光照耀的多佛懸崖。李爾王因為大女兒和二女兒的背叛而感到痛苦，所以離開女兒住處，隻身一人獨自在暗夜的暴風雨中遊蕩。在《哈姆雷特》劇中，哈姆雷特深深思念他死去的父親，因而在夜景中形象化了鬼魂。在《哈姆雷特》劇中的夜景，奧菲莉亞失魂落魄，唱著哀歌來哀悼她死去的父親。《馬克白》被公認為最黑暗的戲劇之一，本劇的開場就以閃電雷鳴的場景來歡迎三位女巫，她們說出了有關馬克白稱王的預言，因而讓這位崇高且恐怖的反派角色謀殺鄧肯、班柯、麥克德夫人和她的孩子們。驚恐萬分的馬克白夫人在夜間場景中產生視覺幻象。這三部悲劇中的崇高場景包覆了悲劇角色的崇高感覺，同時也反映了隱藏在悲劇背後的痛苦與悲傷。總而言之，崇高感覺和崇高場景有著類似的黑暗和無邊無際，基於這種同質性和相容性，兩者相融共存，本文舉例說明悲劇角色的崇高感覺和崇高場景互搭的美學境界。 Among Shakespeare’s royal tragedies, King Lear, Hamlet, and Macbeth are renowned for madness and death. Juxtaposing tragic characters’ extreme emotions with corresponding scenes is to pave the way for or foreshadow a tragic ending—death. Edmund Burke defined two aesthetic categories—beauty and sublimity, the latter is derived from pain and fear, which are the extreme emotions expressed by tragic characters. Grounded on Burke’s aesthetic explanation of sublimity, this study hypothesizes that these three tragedies may show a fusion of sublime feelings and sublime settings, foreshadowing dismal denouements. As some of main characters struggle with their extreme feelings, they appear in sublime scenes in which dark nights, cliffs, mountains, storms, and boundless sea may match their devastated minds. This study draws on Burke’s definitions of natural elements and human emotions and Sigmund Freud’s views of the human psyche to scrutinize the juxtaposition of tragic characters’ sublime feelings and sublime settings. In King Lear, Edgar, disguised as a beggar, leads his grief-stricken father, Gloucester, to a moonlit cliff at Dover. Lear, seriously affected by his elder daughters’ betrayal, feels emotional pain, and hence roams alone at night in a thunderstorm. Hamlet, obsessed by a deep feeling of sadness for the death of his father, visualizes the ghost in night scenes in Hamlet. Ophelia becomes distracted, singing a mourning song as a lament for her father’s death, at night in Hamlet. As one of the darkest plays, Macbeth begins with thunder and lightning that welcome three witches. The sublime and terror-striking villain, Macbeth, kills Duncan and orders the murders of Banquo and Lady Macduff and her children. Horror-stricken, Lady Macbeth experiences visual hallucinations in nighttime scenes. To sum up, this article exemplifies the aesthetic effects in which the tragic characters’ sublime feelings merge into the sublime settings in these three tragedies based on the homogeneity and compatibility.
莎士比亚的皇室悲剧：《李尔王》、《哈姆雷特》、以及《马克白》以疯狂和死亡著名。将悲剧人物的极端情绪与相对应的场景并置，是为了悲剧结局—死亡—而铺陈或预示。埃德蒙·伯克 (Edmund Burke) 定义了两个审美范畴—优美与崇高，后者源自于痛苦和恐惧，是悲剧人物所表达的极端情绪。基于伯克对崇高的美学解释，本研究假设这三部悲剧可能展现崇高感觉与崇高场景融合以预示悲惨的结局。有些主角在极端感情中挣扎时，他们就出现在崇高的场景中，漆黑的夜晚、悬崖峭壁、高山、暴风雨、无边的大海都可能与他们被摧残的心灵相匹配。本文的研究方法采用爱德蒙·伯克针对自然景物气候和人类情感所提出的定义和弗洛伊德针对人类心理所提出的观点来细细分析崇高场景和悲剧角色之崇高感觉相互搭衬的关系。在《李尔王》剧中，爱德伽伪装成一个乞丐带领他悲痛欲绝的父亲(格洛斯特)到月光照耀的多佛悬崖。李尔王因为大女儿和二女儿的背叛而感到痛苦，所以离开女儿住处，只身一人独自在暗夜的暴风雨中游荡。在《哈姆雷特》剧中，哈姆雷特深深思念他死去的父亲，因而在夜景中形象化了鬼魂。在《哈姆雷特》剧中的夜景，奥菲莉亚失魂落魄，唱著哀歌来哀悼她死去的父亲。《马克白》被公认为最黑暗的戏剧之一，本剧的开场就以闪电雷鸣的场景来欢迎三位女巫，她们说出了有关马克白称王的预言，因而让这位崇高且恐怖的反派角色谋杀邓肯、班柯、麦克德夫人和她的孩子们。惊恐万分的马克白夫人在夜间场景中产生视觉幻象。这三部悲剧中的崇高场景包覆了悲剧角色的崇高感觉，同时也反映了隐藏在悲剧背后的痛苦与悲伤。总而言之，崇高感觉和崇高场景有著类似的黑暗和无边无际，基于这种同质性和相容性，两者相融共存，本文举例说明悲剧角色的崇高感觉和崇高场景互搭的美学境界。 Among Shakespeare’s royal tragedies, King Lear, Hamlet, and Macbeth are renowned for madness and death. Juxtaposing tragic characters’ extreme emotions with corresponding scenes is to pave the way for or foreshadow a tragic ending—death. Edmund Burke defined two aesthetic categories—beauty and sublimity, the latter is derived from pain and fear, which are the extreme emotions expressed by tragic characters. Grounded on Burke’s aesthetic explanation of sublimity, this study hypothesizes that these three tragedies may show a fusion of sublime feelings and sublime settings, foreshadowing dismal denouements. As some of main characters struggle with their extreme feelings, they appear in sublime scenes in which dark nights, cliffs, mountains, storms, and boundless sea may match their devastated minds. This study draws on Burke’s definitions of natural elements and human emotions and Sigmund Freud’s views of the human psyche to scrutinize the juxtaposition of tragic characters’ sublime feelings and sublime settings. In King Lear, Edgar, disguised as a beggar, leads his grief-stricken father, Gloucester, to a moonlit cliff at Dover. Lear, seriously affected by his elder daughters’ betrayal, feels emotional pain, and hence roams alone at night in a thunderstorm. Hamlet, obsessed by a deep feeling of sadness for the death of his father, visualizes the ghost in night scenes in Hamlet. Ophelia becomes distracted, singing a mourning song as a lament for her father’s death, at night in Hamlet. As one of the darkest plays, Macbeth begins with thunder and lightning that welcome three witches. The sublime and terror-striking villain, Macbeth, kills Duncan and orders the murders of Banquo and Lady Macduff and her children. Horror-stricken, Lady Macbeth experiences visual hallucinations in nighttime scenes. To sum up, this article exemplifies the aesthetic effects in which the tragic characters’ sublime feelings merge into the sublime settings in these three tragedies based on the homogeneity and compatibility.
{"title":"《李爾王》、《哈姆雷特》以及《馬克白》悲劇中之崇高場景和崇高感覺的相融共存","authors":"應芳瑜 應芳瑜","doi":"10.53106/230597612022050025004","DOIUrl":"https://doi.org/10.53106/230597612022050025004","url":null,"abstract":"\u0000 莎士比亞的皇室悲劇：《李爾王》、《哈姆雷特》、以及《馬克白》以瘋狂和死亡著名。將悲劇人物的極端情緒與相對應的場景並置，是為了悲劇結局—死亡—而鋪陳或預示。埃德蒙·伯克 (Edmund Burke) 定義了兩個審美範疇—優美與崇高，後者源自於痛苦和恐懼，是悲劇人物所表達的極端情緒。基於伯克對崇高的美學解釋，本研究假設這三部悲劇可能展現崇高感覺與崇高場景融合以預示悲慘的結局。有些主角在極端感情中掙扎時，他們就出現在崇高的場景中，漆黑的夜晚、懸崖峭壁、高山、暴風雨、無邊的大海都可能與他們被摧殘的心靈相匹配。本文的研究方法採用愛德蒙·伯克針對自然景物氣候和人類情感所提出的定義和弗洛伊德針對人類心理所提出的觀點來細細分析崇高場景和悲劇角色之崇高感覺相互搭襯的關係。在《李爾王》劇中，愛德伽偽裝成一個乞丐帶領他悲痛欲絕的父親(格洛斯特)到月光照耀的多佛懸崖。李爾王因為大女兒和二女兒的背叛而感到痛苦，所以離開女兒住處，隻身一人獨自在暗夜的暴風雨中遊蕩。在《哈姆雷特》劇中，哈姆雷特深深思念他死去的父親，因而在夜景中形象化了鬼魂。在《哈姆雷特》劇中的夜景，奧菲莉亞失魂落魄，唱著哀歌來哀悼她死去的父親。《馬克白》被公認為最黑暗的戲劇之一，本劇的開場就以閃電雷鳴的場景來歡迎三位女巫，她們說出了有關馬克白稱王的預言，因而讓這位崇高且恐怖的反派角色謀殺鄧肯、班柯、麥克德夫人和她的孩子們。驚恐萬分的馬克白夫人在夜間場景中產生視覺幻象。這三部悲劇中的崇高場景包覆了悲劇角色的崇高感覺，同時也反映了隱藏在悲劇背後的痛苦與悲傷。總而言之，崇高感覺和崇高場景有著類似的黑暗和無邊無際，基於這種同質性和相容性，兩者相融共存，本文舉例說明悲劇角色的崇高感覺和崇高場景互搭的美學境界。\u0000 Among Shakespeare’s royal tragedies, King Lear, Hamlet, and Macbeth are renowned for madness and death. Juxtaposing tragic characters’ extreme emotions with corresponding scenes is to pave the way for or foreshadow a tragic ending—death. Edmund Burke defined two aesthetic categories—beauty and sublimity, the latter is derived from pain and fear, which are the extreme emotions expressed by tragic characters. Grounded on Burke’s aesthetic explanation of sublimity, this study hypothesizes that these three tragedies may show a fusion of sublime feelings and sublime settings, foreshadowing dismal denouements. As some of main characters struggle with their extreme feelings, they appear in sublime scenes in which dark nights, cliffs, mountains, storms, and boundless sea may match their devastated minds. This study draws on Burke’s definitions of natural elements and human emotions and Sigmund Freud’s views of the human psyche to scrutinize the juxtaposition of tragic characters’ sublime feelings and sublime settings. In King Lear, Edgar, disguised as a beggar, leads his grief-stricken father, Gloucester, to a moonlit cliff at Dover. Lear, seriously affected by his elder daughters’ betrayal, feels emotional pain, and hence roams alone at night in a thunderstorm. Hamlet, obsessed by a deep feeling of sadness for the death of his father, visualizes the ghost in night scenes in Hamlet. Ophelia becomes distracted, singing a mourning song as a lament for her father’s death, at night in Hamlet. As one of the darkest plays, Macbeth begins with thunder and lightning that welcome three witches. The sublime and terror-striking villain, Macbeth, kills Duncan and orders the murders of Banquo and Lady Macduff and her children. Horror-stricken, Lady Macbeth experiences visual hallucinations in nighttime scenes. To sum up, this article exemplifies the aesthetic effects in which the tragic characters’ sublime feelings merge into the sublime settings in these three tragedies based on the homogeneity and compatibility.\u0000 \u0000","PeriodicalId":32442,"journal":{"name":"Jiao Da Fa Xue Ping Lun","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88922986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.53106/172876182022040075002
盛子龍 盛子龍
{"title":"租稅核課處分存續力之突破與退稅請求權","authors":"盛子龍 盛子龍","doi":"10.53106/172876182022040075002","DOIUrl":"https://doi.org/10.53106/172876182022040075002","url":null,"abstract":"<jats:p />","PeriodicalId":32442,"journal":{"name":"Jiao Da Fa Xue Ping Lun","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90963178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.53106/172876182022040075001
陳景發 陳景發
{"title":"集會遊行與公共設施之利用——以公共論壇理論為中心","authors":"陳景發 陳景發","doi":"10.53106/172876182022040075001","DOIUrl":"https://doi.org/10.53106/172876182022040075001","url":null,"abstract":"<jats:p />","PeriodicalId":32442,"journal":{"name":"Jiao Da Fa Xue Ping Lun","volume":"11 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72466246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.53106/172876182022040075004
陳宗憶 陳宗憶
{"title":"統一解釋法律之權限行使及其分權——從最高行政法院大法庭及司法院大法官之角度談起（上）","authors":"陳宗憶 陳宗憶","doi":"10.53106/172876182022040075004","DOIUrl":"https://doi.org/10.53106/172876182022040075004","url":null,"abstract":"<jats:p />","PeriodicalId":32442,"journal":{"name":"Jiao Da Fa Xue Ping Lun","volume":"78 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83756811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.53106/172876182022010074003
蔡璧竹 蔡璧竹
{"title":"長期照顧服務之消費者保護法適用性","authors":"蔡璧竹 蔡璧竹","doi":"10.53106/172876182022010074003","DOIUrl":"https://doi.org/10.53106/172876182022010074003","url":null,"abstract":"<jats:p />","PeriodicalId":32442,"journal":{"name":"Jiao Da Fa Xue Ping Lun","volume":"252 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75842812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.53106/172876182022010074002
林政佑 林政佑
{"title":"刑法第一百四十條侮辱公務員及公署罪之保護法益之探討","authors":"林政佑 林政佑","doi":"10.53106/172876182022010074002","DOIUrl":"https://doi.org/10.53106/172876182022010074002","url":null,"abstract":"<jats:p />","PeriodicalId":32442,"journal":{"name":"Jiao Da Fa Xue Ping Lun","volume":"115 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76243781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-01-01DOI: 10.53106/172876182022010074004
陳自強 陳自強
{"title":"雙務契約給付返還不當得利法之適用","authors":"陳自強 陳自強","doi":"10.53106/172876182022010074004","DOIUrl":"https://doi.org/10.53106/172876182022010074004","url":null,"abstract":"<jats:p />","PeriodicalId":32442,"journal":{"name":"Jiao Da Fa Xue Ping Lun","volume":"348 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79711209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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