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乌托邦社团和梦想更加美好的世界:关于生命禅园(中国),Christiania(丹麦),Damanhur(意大利)的民族志研究 ; 本博士论文探讨乌托邦社团的文化及其所在社会的背景。乌托邦社团的成员们选择了各自的乌托邦团体,作为其创造一个更美好世界的战略位置,并参与了种种变革世界的活动。本文从民族志观点的细节陈述三个社团:1.中国的生命禅园,以自由情爱和共产主义为天堂捷径,最终被当地机关取缔。2.丹麦的Christiania,一个多彩多姿的政治社团,提倡完全民主,为人人都有居住在城市中心的权力和自由而战,同时也是一个庞大的大麻市场,给来自各地的游客们提供了一个体验非主流文化的实验场所。3.Damanhur,一个意大利的灵修社团,那里每个成员都是拯救人类命运的战士。深入的调查显示这些乌托邦团体就像一面面扭曲的镜子,反映出的是该社会尚未解决的价值争议,而并非创建者的虚无幻想。乌托邦社团的出现往往与其所处的社会变革及其特定的历史背景有紧密关系。这份研究还将各邪教惊人的讲故事才能,成员们追捧怪诞信仰的现象与其抗争各社会政治经济领域中的主流文化的关系联系在一起。 ; This PhD thesis is an exploration into the cultures of utopian communities and the societies in which they are embedded. Members of utopian communities are engaged in transformation projects and have chosen their utopian community as a strategic place from where to make a better world. Three communities are presented in ethnographic detail: 1. Life Chanyuan in China, which has attempted to promote free-love and communism as a short-cut to heaven but was finally closed down by the state, 2. Christiania in Denmark, a colorful political community standing for consensus democracy, the fight for freedom and urban space for all, a massive market for hashish, and a counter-cultural entertainment experience for visitors, and 3. Damanhur, an Italian esoteric community, whose members see themselves as warriors on a mission to rescue humankind. Further analysis shows that all these utopian communities act as distorted mirrors of their societies by addressing their societies' unresolved value contests. They are not just fictional fantasies of their founders. Intentional communities with utopian aspirations are presented as a regular social phenomenon related to social innovation and change and are shown to engage in historically specific conversation with their societies. This research also connects the amazing capability of story-telling of cultish groups, as well as their members adopting beliefs which at times appear extremely bizarre, with counter-cultural opposition to the dominating paradigms in politics and the economy in different ...

本論文選取畫家符羅飛(1897-1971)進行研究,旨在通過文字及圖像史料復原這一被視作"歷史失蹤者的藝術家個案,並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化,分爲五個章節,結合文獻考據、視覺分析及藝術社會學等研究方法,分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動,並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體,是如何通過主動轉變藝術面貌,從而與20 世紀中國社會的大變動連成一體。本文認爲:符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國,但其藝術救國活動最初並未達至理想效果;直到40 年代中期才在通過不斷地寫生、辦展,逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素,脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌,在特定的政治人群中得到廣泛承認,在此過程中輿論因素的影響不可忽視;同時,他的彩墨實驗等游離於政治目標之外的藝術活動打破了"革命畫家"的刻板印象;而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運,又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。 ; This thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu's artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles. ; As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on "saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), ...