摩登伽女的故事歷來都是漢傳佛教警戒男修行者遠離美色誘惑的 典型，她也成為情欲魔女的象徵。民國16 年溥緒（1882－1933）（清逸 居士）創作《摩登伽女曲本》，由京劇名伶尚小雲於北京新明戲院演出， 引起轟動。民國22 年，這個印度來的故事被印度泰戈爾（1861－1941） 創作成歌舞劇《昌達爾姑娘》，再改編為《昌達爾姑娘歌舞劇》搬上劇 場公演，至今仍表演不輟。同時代的二個劇本都能移動傳統視角，正視 摩登伽女自身，卸去僵化的魔女形象，但又各自呼應著自己的文化土壤 與時代關懷，呈現不同主題寓意：一者關注她的情愛與修悟，以色幻悟 道為精神；一者關注她的啟蒙與平等，以實踐平等新生為精神。 在溥緒筆下，摩登伽女具有端莊美麗，專情高潔的形象，有傳統文 學的杜麗娘之傷春幽情、賈寶玉之色空悟道，又有《西遊記》魔考誘惑 的情節。故事關注情愛與修悟，在情愛美色的貪執中，徹悟不淨與如幻， 並輔以平等慈悲之懷。 而泰戈爾的歌舞劇，藉此抒發對印度種姓不平等制度的批判。他筆 下的摩登伽女言語靈動，活潑熱情，從不平等的種姓思惟中被啟蒙新生 後，自我作主，勇敢追愛，這份蘊含「愛」的新生，歸向阿難與佛陀所 象徵的平等慈悲，隱含泰戈爾「在愛中徹悟」的梵愛合一路徑。 就女性視角詮釋的二個路徑「情欲主動」、「速證果位」觀察，溥緒 以專情高潔之主動來詮釋其「情欲主動」，並以消融情欲而得悟，雖然 能呈現她因情而悟，但並無深刻描寫其「速證果位」。泰戈爾則完全沒 有著墨「速證果位」，主力全在「情欲主動」上，這份主動來自平等的 啟蒙，情欲化為自主勇敢去愛，與泰戈爾「梵愛合一」的宗教哲學呼應。 關鍵詞：摩登伽女、阿難、溥緒、泰戈爾、昌達爾姑娘 In Chinese Buddhism, the story of Matangi's daughter has been taken as a warning for male Buddhists to keep away from the temptation of lust, and Matangi's daughter has become a representative of femme fatale. In 1927, Pu Xu (1882-1933, art name Qing Yi Ju Shi) composed a tune of ＂Matangi's daughter＂, starred by Shang Xiao-yun and caused a sensation in the Xinming Theater in Beijing. Then in 1933, this Indian story was written as a musical drama ＂Chandalika＂ by the respected Indian writer Rabindranath Tagore, and be readapted and played in theaters until now. These two scripts of the same era both change the point of view toward female by facing up to this character and getting rid of the stereotype as a femme fatale. What's more, they reflect to their own cultural soil and contemporary concern, and present two different theme implications: the former focuses on her love and enlightenment, taking enlightenment from form & vision as the essence; the later focuses on h...

Founded in 1922 in Yogyakarta, Taman Siswa was an alternative school to the Dutch colonial education system. During the post-independence period, Taman Siswa had been engaging a tug of war between the debates of “traditional education” & “national education”. What position should the school take to preserve its uniqueness during the postcolonial period? Decades later, contemporary Yogyakarta is home to alternative art and cultural spaces. They more or less, like Taman Siswa, look for autonomous, independent space outside the authoritative education system. In 2016, Kunci Cultural Studies Center founded a “School of Improper Education” (it was named "Sekolah Salah Didik" in Bahasa, literally "school of wrong education’). It invites participants to learn “how to learn” together. Kunci’s method is said to be inspired by Taman Siswa, and they seek to experiment the possibility of building a postcolonial alternative education in contemporary times. 1922年在印尼日惹成立的Taman Siswa（學生樂園）有別於西方殖民教育，然而1950至60年代的學生樂園在「傳統教育」和「國家教育」之間辯論拉扯。具有強烈反殖和民族主義精神的替代教育系統「學生樂園」，要如何在後殖民社會的現代教育體制中，維持其獨特性？當代印尼日惹的替代文化和藝術空間眾多，或多或少都因不滿國家教育體制而另尋獨立自主的空間。Kunci文化研究中心在2016年建立「不當教育學校」（印尼語原名為Sekolah Salah Didik，錯誤教育學校），以共同學習「如何學習」這回事。學校的學習方法便以「學生樂園」為鑑，實驗後殖民替代教育的可能。

從規範佛教而言，佛教戒律中不贊同修道者歌舞倡伎以影響道心，但是佛教 傳至明清時期卻扭轉了這種規範性的認知，確實看見了大傳統與小傳統的不同。 不論從唐代的《洛陽伽藍記》描述佛教寺院中有戲臺的影子，到了明清版畫中也 能看到寺院搭起戲臺表演俗劇。除了戲臺外，還出現佛道融合的儀軌例如「破地 獄」，將表演與儀式結合，表現出的文化現象。在佛教戒律中禁止歌舞倡伎，但 是在寺院外卻搭起戲臺歌唱世俗情愛，這種佛教與民間衝擊的弔詭現象，現在佛 教研究的學術界甚少討論，因此希望藉由本文作為一個開端，使未來更多人關注 佛教音樂的研究。 本文欲透過文本分析、圖片考證，整理中國佛寺戲臺以及明清佛教戲劇與儀 式的資料，試圖歸納過去佛寺戲臺搬演及紀錄，還有現存佛寺戲臺的遺址。並且 列出明清時期佛教相關戲曲，乃至於佛教故事表演如何與儀式結合進行探討。希 望透過這兩個層面，概述明清佛教寺院戲劇與儀式的形態。

Tsao, Hung-ping 曹恆平 (2021). Dedication to Dr. Liang-Chi Tsao for His Contributions in Taiwan Education and Evolutionary Mathematics and Science. In: "Evolutionary Progress in Science, Technology, Engineering, Arts, and Mathematics (STEAM)", Wang, Lawrence K. 王抗曝 and Tsao, Hung-ping 曹恆平 (editors). Volume 3, Number 5, May 2021; 387 pages. Lenox Institute Press, Newtonville, NY, 12128-0405, USA. No. STEAM-VOL3-NUM5-MAY2021; ISBN 978-0-9890870-3-2. ...............ABSTRACT: Dr. Lian-Chi Tsao 曹亮吉 greatly improved the mathematical education in Taiwan of his time. His background and his 52 articles concerning the interesting stories and accomplishments of most influential mathematicians in the past are introduced. In order to commemorate Dr. Lian-Chi Tsao and numerous other scientists, we further include a commemorative poem "The Wind Blows Red Leaves to the Cloud" 風吹紅葉至雲端 of Dr. Lawrence K. Wang, Dr. Mu-Hao Sung Wang, and Dr. Hung-ping Tsao...........KEYWORDS: 曹亮吉, Lian...

In recent years, the research performance evaluation of members of the academic community conducted by government or institutions has been applied with multiple indicators and peer review, however, there are many controversies about the design and application of research evaluation indicators. This article aims to introduce the development process of San Francisco Declaration on Research Assessment (DORA) and Leiden Manifesto and summarize their contents of guidelines and attempts to compare the differences between these two documents. It hopes that this article can arise the attention and reflection of research evaluation indicators and relevant issues from Taiwan academic community to reach consensus of utilization of research evaluation indicators. It will be beneficial to develop the version of declaration with local characteristics in the future.

This study explored the concept of faculty-librarian collaboration from the perspective of culture. Five research purposes are proposed in this study. They are: 1. to discover the elements that can be utilized to construct the concept of faculty-librarian collaborative culture; 2. to explore the value levels of faculty-librarian collaborative culture in the colleges and universities of Taiwan; 3. to measure the differences in the value levels of faculty-librarian collaborative culture between faculty members and librarians; 4. to understand the current development of faculty-librarian collaboration in the colleges and universities of Taiwan; and 5. to examine the impact relationship between faculty-librarian collaborative culture and the current development of faculty-librarian collaboration. This study adopted Schein's three-level model of organizational culture as the conceptual structure to explore the dimensions and factors that are utilized to construct collaborative cultur...

本文在方法論上嚴謹依循「澄清概念」、「釐清判準」，以及「建構系統」三條原則，透過對先秦儒家原典的全面分析，探討「聖」、「聖人」及「聖人之道」等重要概念的豐富內涵，闡明「君子之道」與「聖人之道」之間適當的義理關係，並藉由先秦儒家「聖人觀」的基本理解進一步釐清其人性論與其「道統意識」的確切指涉，從而對先秦儒家之「道」展開系統性的界說。為了達成這些研究目的，本文著手回應下述四項核心問題：一，先秦儒家所謂的「聖」及「聖人」到底實指什麼？換言之，「聖人」的標準何在？二，如何界定「君子」（「君子之道」）與「聖人」（「聖人之道」）之間的適當關係？三，能否藉由先秦儒家「聖人觀」的分析反思其共通的「道統意識」？四，先秦儒者所主張的「聖人觀」與其人性論能否取得意義上的融貫？經由本文對《論語》、《孟子》以及《中庸》之「聖人觀」的解析，以及對先秦儒家「道統意識」的重新界定及再詮釋，我們得出以下三點結論。 其一，有關儒家「聖人」的定位問題，「聖人」是在某君子離世以後作為後世君子所敬仰和追念的道德典範而獲得的尊稱；它既是對君子一生道德事蹟的肯認與嘉定，也是作為後世君子所學習與效法的垂世典範。其次，「聖人之道」與「君子之道」不是彼此對立，各自為政的兩個概念，而實為一對相互證成、交相輝映的概念：「君子之道」以達成「聖人之道」為其終極目的，「聖人之道」必須藉由「君子之道」的具體開展而呈現其意義。具體來說，「聖人之道」透過聖人教化的形式構成一連接異代儒者的「意義場域」，而在此特殊的意義場域中，君子或聖人之徒將以歷代聖人的道德事功及人格典範為其自身行道的參照系。此「意義場域」之所以可能，關鍵在於先秦儒家一貫主張的「聖凡同心」之要義——每個人都有可能透過自身的立志和實踐而與「聖人之道」相契合，而「聖人之道」亦有義務光照每個人的成聖之路 。如此一來，「聖人之道」與「君子之道」即為同一個「道」的兩種面向，而這兩種面向經常是相互交涉的——沒有「君子之道」對「聖人之道」的期許與追求，「聖人之道」將淪為空洞懸浮的理念；沒有「聖人之道」的範導作用，「君子之道」將難以完成其自身的拓展。 其二，本文承接前面對先秦儒家「聖人觀」所展開的分析，試圖藉由一個概念的提出凸顯先秦儒家「聖人觀」的共同意識與關懷，並且將散漫於各先秦儒家經典的「聖賢論述」統合在一嚴謹的理論架構之中。這個概念即為「道統意識」。先秦儒者的「道統意識」...