DOCSLIB.ORG

[ 児童文学 ] 1/3 書名 著者名 the Children of Green Knowe (The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
[ 児童文学 ] 1/3 書名 著者名 the Children of Green Knowe (The [ 児童文学 ] 書名 著者名 The children of Green Knowe (The Green Knowe chronicles) L.M. Boston An enemy at Green Knowe (The Green Knowe chronicles) L.M. Boston The river at Green Knowe (The Green Knowe chronicles) L.M. Boston The stones of Green Knowe (The Green Knowe chronicles) by Lucy M. Boston A stranger at Green Knowe (The Green Knowe chronicles) L.M. Boston Treasure of Green Knowe (The Green Knowe chronicles) L.M. Boston The secret garden Frances Hodgson Burnett Alice's adventures in Wonderland and other stories Lewis Carroll The BFG Roald Dahl Charlie and the chocolate factory Roald Dahl Charlie and the great glass elevator Roald Dahl Danny the champion of the world Roald Dahl George's marvellous medicine Roald Dahl James and the giant peach Roald Dahl Matilda Roald Dahl The Twits Roald Dahl The witches Roald Dahl The wonderful story of Henry Sugar and six more Roald Dahl Momo : or the curious story about the time thieves and the child who Michael Ende returned the people's stolen time The neverending story Michael Ende Emil and the detectives Erich Kästner Emil and the three twins Erich Kästner A wizard of Earthsea (Earthsea cycle ; bk. 1) Ursula K. Le Guin The tombs of Atuan (Earthsea cycle ; bk. 2) Ursula K. Le Guin The farthest shore (Earthsea cycle ; bk. 3) Ursula K. Le Guin Tehanu (Earthsea cycle ; bk. 4) Ursula K. Le Guin Tales from Earthsea (Earthsea cycle ; bk. 5) Ursula K. Le Guin The other wind (Earthsea cycle ; bk. 6) Ursula K. Le Guin Finding my elegy : new and selected poems 1960-2010 Ursula K. Le Guin Where on Earth. (The unreal and the real ; v. 1) Ursula K. Le Guin Outer space, inner lands. (The unreal and the real ; v. 2). Ursula K. Le Guin The magician's nephew (The Chronicles of Narnia ; bk. 1) C.S. Lewis The lion, the witch, and the wardrobe (The Chronicles of Narnia ; bk. 2) C.S. Lewis The horse and his boy (The Chronicles of Narnia ; bk. 3) C.S. Lewis Prince Caspian : the return to Narnia (The Chronicles of Narnia ; bk. 4) C.S. Lewis The voyage of the Dawn Treader (The Chronicles of Narnia ; bk. 5) C.S. Lewis The silver chair (The Chronicles of Narnia ; bk. 6) C.S. Lewis The last battle (The Chronicles of Narnia ; bk. 7) C.S. Lewis Pippi Longstocking Astrid Lindgren Doctor Dolittle and the green canary Hugh Lofting Doctor Dolittle and the Secret Lake Hugh Lofting Doctor Dolittle in the moon Hugh Lofting Doctor Dolittle's caravan Hugh Lofting Doctor Dolittle's circus Hugh Lofting Doctor Dolittle's garden Hugh Lofting Doctor Dolittle's post office Hugh Lofting Doctor Dolittle's Puddleby adventures Hugh Lofting Doctor Dolittle's return Hugh Lofting Doctor Dolittle's zoo Hugh Lofting The story of Doctor Dolittle Hugh Lofting The voyages of Doctor Dolittle Hugh Lofting Anne of Avonlea L.M. Montgomery 1/3 [ 児童文学 ] 書名 著者名 Anne of Green Gables L.M. Montgomery Anne of Ingleside L.M. Montgomery Anne of the island L.M. Montgomery Anne of windy poplars L.M. Montgomery Anne's house of dreams L.M. Montgomery Chronicles of Avonlea Lucy Maud Montgomery Rainbow valley Lucy Maud Montgomery Rilla of Ingleside L.M. Montgomery The Borrowers Mary Norton The Borrowers afield Mary Norton The Borrowers afloat Mary Norton The Borrowers aloft ; with the short tale Poor Stainless Mary Norton The Borrowers avenged Mary Norton Minnow on the Say Philippa Pearce Tom's midnight garden Philippa Pearce Flambards (Flambards ; 1) K.M. Peyton The edge of the cloud (Flambards ; 2) K.M. Peyton Flambards in summer (Flambards ; 3) K.M. Peyton Flambards divided (Flambards ; 4) K.M. Peyton The golden compass (His dark materials) Philip Pullman The subtle knife (His dark materials) Philip Pullman The amber spyglass (His dark materials) Philip Pullman Lyra's Oxford Philip Pullman Once upon a time in the North Philip Pullman The shadow in the north Philip Pullman The big six Arthur Ransome Coot Club Arthur Ransome Great Northern? Arthur Ransome Missee Lee Arthur Ransome Peter duck Arthur Ransome The Picts and the Martyrs, or, Not welcome at all Arthur Ransome Pigeon post Arthur Ransome Secret water Arthur Ransome Swallowdale Arthur Ransome Swallows & Amazons Arthur Ransome We didn't mean to go to sea Arthur Ransome Winter holiday Arthur Ransome When Marnie was there Joan G. Robinson Dawn wind Rosemary Sutcliff The eagle of the Ninth Rosemary Sutcliff The silver branch Rosemary Sutcliff The lantern bearers Rosemary Sutcliff Frontier wolf Rosemary Sutcliff Knight's fee Rosemary Sutcliff The mark of the Horse Lord Rosemary Sutcliff Sword at sunset Rosemary Sutcliff Sword song Rosemary Sutcliff The wanderings of Odysseus : the story of the Odyssey Rosemary Sutcliff Mary Poppins P.L. Travers Mary Poppins comes back P.L. Travers Mary Poppins from A to Z P.L. Travers Mary Poppins in the kitchen : a cookery book with a story P.L. Travers Mary Poppins in the park P.L. Travers 2/3 [ 児童文学 ] 書名 著者名 Mary Poppins opens the door P.L. Travers A traveller in time Alison Uttley Little house in the big woods (The little house books) Laura Ingalls Wilder Little house on the prairie (The little house books) Laura Ingalls Wilder Farmer boy (The little house books) Laura Ingalls Wilder On the banks of Plum Creek (The little house books) Laura Ingalls Wilder By the shores of Silver Lake (The little house books) Laura Ingalls Wilder The long winter (The little house books) Laura Ingalls Wilder Little town on the prairie (The little house books) Laura Ingalls Wilder These happy golden years (The little house books) Laura Ingalls Wilder The first four years (The little house books) Laura Ingalls Wilder 3/3.
Load more

Recommended publications
  • Language in the Modern Arthurian Novel
    Volume 20 Number 4 Article 4 Winter 1-15-1995 Whose English?: Language in the Modern Arthurian Novel Lisa Padol Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Padol, Lisa (1995) "Whose English?: Language in the Modern Arthurian Novel," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 20 : No. 4 , Article 4. Available at: https://dc.swosu.edu/mythlore/vol20/iss4/4 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Analyzes the use of language, mood/tone, vocabulary, syntax, idioms, metaphors, and ideas in a number of contemporary Arthurian novels. Additional Keywords Arthurian myth; Arthurian myth in literature; Language in literature; Style in literature This article is available in Mythlore: A Journal of J.R.R.
    [Show full text]
  • The Aeneid with Rabbits
    The Aeneid with Rabbits: Children's Fantasy as Modern Epic by Hannah Parry A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2016 Acknowledgements Sincere thanks are owed to Geoff Miles and Harry Ricketts, for their insightful supervision of this thesis. Thanks to Geoff also for his previous supervision of my MA thesis and of the 489 Research Paper which began my academic interest in tracking modern fantasy back to classical epic. He must be thoroughly sick of reading drafts of my writing by now, but has never once showed it, and has always been helpful, enthusiastic and kind. For talking to me about Tolkien, Old English and Old Norse, lending me a whole box of books, and inviting me to spend countless Wednesday evenings at their house with the Norse Reading Group, I would like to thank Christine Franzen and Robert Easting. I'd also like to thank the English department staff and postgraduates of Victoria University of Wellington, for their interest and support throughout, and for being some of the nicest people it has been my privilege to meet. Victoria University of Wellington provided financial support for this thesis through the Victoria University Doctoral Scholarship, for which I am very grateful. For access to letters, notebooks and manuscripts pertaining to Rosemary Sutcliff, Philip Pullman, and C.S. Lewis, I would like to thank the Seven Stories National Centre for Children's Books in Newcastle-upon-Tyne, and Oxford University. Finally, thanks to my parents, William and Lynette Parry, for fostering my love of books, and to my sister, Sarah Parry, for her patience, intelligence, insight, and many terrific conversations about all things literary and fantastical.
    [Show full text]
  • “Swan Song”: a Fitting Culmination of the Rosemary Sutcliff Legacy?
    Sword Song as her “Swan Song”: A Fitting Culmination of the Rosemary Sutcliff Legacy? Barbara Carman Garner Carleton University, Ottawa The novel that Rosemary Sutcliff was revising when she died suddenly on July 23, 1992 at the age of 72 was to have been called The Sword Song of Bjarni Sigurdson. 1 Sutcliff had seen the manuscript through two-thirds of the second draft of her traditional three -draft writing process before making a fair copy (Meek 62 qtd. in Garside-Neville). Sutcliff’s cousin and godson, Anthony Lawton, transcribed the draft, and Sutcliff’s long-time editor, Jill Black, did the final editing of Lawton’s transcription. Sword Song was published in 1997. Early reviews of the novel were mixed. Sandra Johnson’s review in The (London) Times considered the opening a “stunner,” explaining that “a 16- year old boy is exiled from his settlement.” She continued, “Regrettably, the story quavers thereafter, meandering around the coast of Britain as young Bjarni sells his fighting skills to one fiery-beardy after another, but the dense historical detail and rich colours are all still there” (n. pag.). Compare this assessment with The Horn Book reviewer’s high praise for the novel: “Sutcliff’s careful handling of how a young man, influenced by hero-worship and the force of custom, deals with the difficult choices that lead to maturity is nothing short of masterly. An unexpected and most welcome gift”(n.pag.). 1 Today I aim to convince you of the validity of yet another reviewer’s comment, that “Sword Song is a fitting capstone to Sutcliff’s marvelous career as one of Britain’s premier authors of Historical fiction” (jacket hard cover edition).
    [Show full text]
  • The Underground and the Labyrinth in Ursula K. Le Guin's
    L L L Page 1 of 8 Original Research LLL i t e r a t o r Womanspace: The underground and the labyrinth in Ursula K. Le Guin’s Earthsea narratives Authors: Ursula K. Le Guin’s renowned Earthsea cycle, spanning 20 years and five texts, is often 1 Lynette Douglas acknowledged to be a textual space for the creative exploration and interrogation of gender. Deirdre Byrne1 The two spaces in the title – ‘earth’ and ‘sea’ – are held in equilibrium, both by the author’s Affiliations: craft and by magic. Unfortunately, though, few critics have explored how these spaces 1Department of English function in the narrative. In this article, we explore the representation of underground Studies, University of South spaces and labyrinths as meaningful landscapes in the Earthsea cycle. These spaces are found Africa, South Africa throughout Le Guin’s Earthsea fiction, but are foregrounded in four narratives: ‘The finder’ Correspondence to: and ‘The bones of the earth’ (Tales from Earthsea), The tombs of Atuan and The other wind. Le Lynette Douglas Guin’s writing consistently identifies the earth as feminine, in keeping with the archetype of ‘Mother Earth’, and we find that subterranean spaces and labyrinths are depicted as sites Email: [email protected] of power and empowerment for women. Nevertheless, we argue that Le Guin’s affinity for gender equity and balance prevents these tropes from becoming another tired revisioning of Postal address: an easy equation of earthy forces and ‘the feminine’. Rather, for Le Guin, the underground PO Box 392, Tshwane 0003, and the labyrinth are sites of union between masculine and feminine elements and characters, South Africa through the empowerment of the feminine.
    [Show full text]
  • 2002 Hugo Nominating and Voting Statistics
    2002 Hugo Nominating and Voting Statistics Presented at ConJosé, September 1, 2002 in San José, Calfornia , USA Of the 626 total valid nominating ballots received, 371 were cast electronically through the ConJosé web site and 255 received by mail: 389 from members of ConJosé (236 voting electronically, 153 by mail) and 237 from members of the Millennium Philcon (135 voting electronically, 102 by mail). 924 valid final voting ballots were received (681 electronic, 226 by mail, 17 by fax), with an additional 16 invalid ballots. (Eligibility was verified only for the finalists.) Nominating Finalist Total Category Ballots Range Nominees Nominations Final Ballots Novel 486 44-121 226 1,469 794 Novella 300 40-55 58 738 629 Novelette 292 27-43 144 823 607 Short Story 331 21-35 263 929 653 Related Book 252 22-68 88 514 549 Dramatic Presentation 452 89-343 130 1,303 885 Professional Editor 382 87-121 91 979 676 Professional Artist 323 36-83 156 862 635 Semiprozine 283 31-116 45 573 614 Fanzine 237 29-43 100 531 439 Fan Writer 248 26-51 164 531 436 Fan Artist 248 17-59 93 410 448 Web Site 365 36-75 240 941 609 Campbell Award 272 29-53 101 653 441 Novel (486 people nominated) 121 American Gods (Neil Gaiman; Morrow) 78 Passage (Connie Willis; Bantam) 71 Curse of Chalion (Lois McMaster Bujold; Eos) 64 Perdido Street Station (China Miéville; Macmillan, Del Rey) 44 Cosmonaut Keep (Ken MacLeod; Orbit, Tor) 44 The Chronoliths (Robert Charles Wilson; Tor) ------------------------- 33 Declare (Tim Powers; Subterranean Press; HarperCollins/Morrow) 33 Revelation Space (Alastair Reynolds; Ace) 27 Nekropolis (Maureen F.
    [Show full text]
  • SF Commentarycommentary 80A80A
    SFSF CommentaryCommentary 80A80A August 2010 SSCCAANNNNEERRSS 11999900––22000022 Doug Barbour Ditmar (Dick Jenssen) Bruce Gillespie Paul Ewins Alan Stewart SF Commentary 80A August 2010 118 pages Scanners 1990–2002 Edited and published by Bruce Gillespie, 5 Howard Street, Greensborough VIC 3088, Australia as a supplement to SF Commentary 80, The 40th Anniversary Edition, Part 1, also published in August 2010. Email: [email protected] Available only as a PDF from Bill Burns’s site eFanzines.com. Download from http://efanzines.com/SFC/SFC80A.pdf This is an orphan issue, comprising the four ‘Scanners’ columns that were not included in SF Commentary 77, then had to be deleted at the last moment from each of SFCs 78 and 79. Interested readers can find the fifth ‘Scanners’ column, by Colin Steele, in SF Commentary 77 (also downloadable from eFanzines.com). Colin Steele’s column returns in SF Commentary 81. This is the only issue of SF Commentary that will not also be published in a print edition. Those who want print copies of SF Commentary Nos 80, 81 and 82 (the combined 40th Anniversary Edition), should send money ($50, by cheque from Australia or by folding money from overseas), traded fanzines, letters of comment or written or artistic contributions. Thanks to Ditmar (Dick Jenssen) for providing the cover at short notice, as well as his explanatory notes. 2 CONTENTS 5 Ditmar: Dick Jenssen: ‘Alien’: the cover graphic Scanners Books written or edited by the following authors are reviewed by: 7 Bruce Gillespie David Lake :: Macdonald Daly :: Stephen Baxter :: Ian McDonald :: A.
    [Show full text]
  • Convertible Bus No. 4 Comes from the Word- Pseudonym When You Don’T Want to Write Well
    The Convertible Bus Has A New Garage The title inspiration comes from Steve I saw two shooting stars last night ... Green, whose response this was to learning I was lucky enough to hear the Today pro- that I’ve moved (address in the indicia at the gramme’s interview with a New Zealand end). I now have space to put up all my fisherman who had been in the area of the books (my academic ones that is — my SF Pacific that Mir had come down in. The gist collection still largely resides in my of the conversation was as follows (jazzed mother’s loft, but they’re mostly embarrass- up for comic effect): ing Star Trek novels anyway) but worry constantly about whether I can actually af- TODAY: So, did you see anything when Mir ford the rent. burnt up? Apologies to anyone who should have got FISHERMAN: No, it was foggy. Convertible Bus 3 but didn’t; my laptop TODAY: Did you hear anything? died in the New Year, taking irretrievably FISHERMAN: No. with it my mailing list (and a half-written TODAY: So did you take any special precau- LoC to Banana Wings that will now never tions? see the light of day). FISHERMAN: No, I left New Zealand in January. First I heard of Mir coming ——— oOo ——— down was last week. No, no, break the mould! You couldn’t make it up (and I didn’t). I feel terribly ‘fannish’ at the moment, in ——— oOo ——— that I’m actually producing this in order To Have A Fanzine For Eastercon.1 Normally I Oh, spooky produce these after cons, since cons provide I have a ghost in the new flat that opens the me with the material (and I may well do kitchen door late at night while I’m working another Convertible Bus for the May First in the living room on my computer (it’s Thursday).
    [Show full text]
  • Through Casting in King Arthur and the Last Legion*
    On second thoughts, let’s not go to Camelot: situating the ‘historical Arthur’ through casting in King Arthur and The Last Legion* Tony Keen Abstract. Hollywood produced two major Arthurian movies in the mid-2000s, King Arthur (Antoine Fuqua, 2004) and The Last Legion (Doug Lefler, 2007), even though the latter only introduces Arthur in the final scene. Both choose to place their narratives within the ‘historical Arthur’ genre, rejecting the quasi- medieval setting used by Excalibur (John Boorman, 1981), and later the TV series Merlin (UK, 2008– present), and instead placing the story in the context of the end of Roman Britain and the collapse of Roman rule in the west. They thus come within the interests of this conference. This paper is concerned with the ways in which the two movies characterise post-Roman Britain, and in particular, how they use the casting of their lead actor to underline their respective characterizations. King Arthur presents a soldier’s-eye view of the world, and is largely anti-authority (in the shape of the Pope’s representative Germanus). Arthur is a man whose first loyalty is to his men; to this end, the movie casts Clive Owen, known for working class roles in the TV series Chancer (UK, 1990–1991), Croupier (Mike Hodges, 1998) and Gosford Park (Robert Altman, 2001), as Arthur, though supporting him with more upper class figures such as Ioan Gruffudd and Joel Edgerton as Lancelot and Galahad. The Last Legion’s hero, Aurelius, is, in contrast, a man whose first loyalty is to his emperor.
    [Show full text]
  • Fantastic Fantasy
    FANTASTIC FANTASY World Fantasy Award WinnWinninginginging NOVELS Deer Park Public Library 44 Lake Avenue, Deer Park NY 11729 (631) 586-3000 www.deerparklibrary.org 1975: The Forgotten Beasts of Eld by Patricia A. McKillip 1998: The Physiognamy by Jeffrey Ford 1976: Bid Time Return by Richard Matheson 1999: The Antelope Wife by Louise Erdrich 1977: Doctor Rat by William Kotzwinkle 2000: Thraxas by Martin Scott 1978: Our Lady of Darkness by Fritz Leiber 2001: Declare by Tim Powers 1979: Gloriana by Michael Moorcock Galveston by Sean Stewart 1980: Watchtower by Elizabeth A. Lynn 2002: The Other Wind by Ursula Le Guin 1981: The Shadow of the Torturer by Gene Wolfe 2003: The Facts of Life by Graham Joyce 1982: Little Big by John Crowley Ombria in Shadow by Patricia A. McKillip 1983: Nifft the Lean by Michael Shea 2004: Tooth and Claw by Jo Walton 1984: The Dragon Waiting by John M. Ford 2005: Jonathan Strange & Mr. Norrell by Susanna Clarke 1985: Mythago Wood by Robert Holdstock 2006: Kafka on the Shore by Haruki Murakami 1986: Song of Kali by Dan Simmons 2007: Soldier of Sidon by Gene Wolfe 1987: Perfume by Patrick Suskind 2008: Ysabel by Guy Gavriel Kay 1988: Replay by Ken Grimwood 2009: The Shadow Year by Jeffrey Ford 1989: Koko by Peter Straub Tender Morsels by Margo Lanagan 1990: Lyoness: Madouc by Jack Vance 2010: The City & The City by China Miéville 1991: Only Begotten Daughter by James Morrow 2011: Who Fears Death by Nnedi Okorafor Thomas the Rhymer by Ellen Kushner 2012: Osama by Lavie Tidhar 1992: Boy’s Life by Robert R.
    [Show full text]
  • The Language of Myth?
    Volume 20 Number 4 Article 5 Winter 1-15-1995 Braid Yorkshire: The Language of Myth? Mary M. Stolzenbach Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Stolzenbach, Mary M. (1995) "Braid Yorkshire: The Language of Myth?," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 20 : No. 4 , Article 5. Available at: https://dc.swosu.edu/mythlore/vol20/iss4/5 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the use of Yorkshire dialect in The Secret Garden, as well as the imagery of gardens, mothers, food, and nature. Additional Keywords Burnett, Frances Hodgson. The Secret Garden; English language—Dialects—England—Yorkshire; Gardens in literature This article is available in Mythlore: A Journal of J.R.R.
    [Show full text]
  • A Taoist Study of Magic in the Earthsea Cycle
    religions Article A Taoist Study of Magic in The Earthsea Cycle Yini Huang and Hongbin Dai * College of Foreign Languages and Cultures, Xiamen University, Xiamen 361005, China; [email protected] * Correspondence: [email protected] Abstract: The Earthsea Cycle by Ursula. K. Le Guin is a fantasy work in Western literature that shines with ostentatiously idiosyncratic sparks of Taoist philosophies. Resorting to Taoism (also translated as Daoism) and its representative work Tao Te Ching, this article aims at exploring the Earthsea magic, a ubiquitous motif in fantasy, with Taoist thoughts and theories including the law of relativity, harmonious dialectics, and equilibrium. This article reconstructs the magical Earthsea world within a Taoist framework and reveals the Taoist connotations of magic. Finally, this article concludes that, radically distinct from its traditional image, magic in Earthsea serves to heal the physical, mental, and spiritual wound of separation; set up harmony of the opposites in binaries; and preserve the delicate equilibrium insusceptible to the ravages of time. Magic in The Earthsea Cycle works miracles in a Taoist manner. Keywords: The Earthsea Cycle; Taoism; Ursula K. Le Guin; magic; harmonious dialectics 1. Introduction Deriving “from the Greek term magoi” but remaining as a fluid construct (Gilbert et al. 2016), magic and magical practices, which permeated the worldly life of men dating back Citation: Huang, Yini, and Hongbin to ancient Greece and Rome, readily accessible to be “employed for the most mundane Dai. 2021. A Taoist Study of Magic in ends” (Bailey 2007, p. 10), have seemingly been the subjects of the perpetual infatuation of The Earthsea Cycle.
    [Show full text]
  • The Development of Dragons in Ursula K. Le Guin's the Earthsea
    國立台灣師範大學英語學系 碩 士 論 文 Master Thesis Graduate Institute of English National Taiwan Normal University 從平衡到改變： 論娥蘇拉‧勒瑰恩《地海六部曲》之龍的演變 From Equilibrium to Change: The Development of Dragons in Ursula K. Le Guin’s The Earthsea Cycle 指導教授：梁 孫 傑 Advisor: Dr. Sun-chieh Liang 研 究 生：歐 妍 儀 Advisee：Yen-I Ou 中 華 民 國 九 十 九 年 六 月 June, 2010 From Equilibrium to Change: The Development of Dragons in Ursula K. Le Guin’s The Earthsea Cycle A thesis submitted to The Graduate Institute of English National Taiwan Normal University in partial fulfillment of the requirements for the degree of Master of Arts by Yen-I Ou June 2010 ix 摘要 娥蘇拉‧勒瑰恩《地海六部曲》的創作橫跨三十多年，而每一部新的地海 作品總是不斷改寫前一部作品中既有的架構，其中對龍的描寫更是不斷顛覆西方 古典敘事中龍的原型，使龍有愈趨人性化的傾向。在不斷對龍去妖魔化與動物化 的過程中，勒瑰恩也跳脫了傳統西方英雄敘事中以人征服自然為主軸的架構，並 加入了女性主體的覺醒，從而與德希達的動物論述與東方老子哲學的柔弱思想， 能夠相互呼應。地海之龍的形象與塑造，因而可作為進一步探究人、動物、自然 三者交互關係的論述對象。另外，勒瑰恩藉著地海之龍的演變，也透露出她對「改 變」一詞所持的看法，與之在地海作品中不斷提到的「平衡」觀，產生持續的相 互辯證關係。故本論文希冀從觀察地海之龍的改變與發展，除了討論地海世界不 斷產生的自我解構外，也在東西方對人性與動物性的探究上，提供一種融合的詮 釋之道。 關鍵詞：《地海六部曲》，龍，動物，凱密拉 (Chimera)，巫術，德希達，道家思 想，平衡，改變。 xi Abstract Ursula K. Le Guin has spanned over three decades to create her classic fantasy The Earthsea Cycle, and in each new Earthsea book, she keeps rewriting the structure she designates for the previous one. Among all the changes, her depiction for the Earthsea dragons especially subverts the draconian archetype in the Western conventional narratives, enabling her dragons to be humanized step by step. In the process of de-demonizing and de-animalizing the Earthsea dragons, Le Guin also escapes the confines set by the traditional Western heroism, which often acclaims the human conquering over Nature.
    [Show full text]