從皺褶概念詮釋「過門」空間與靈性教育之主體自發性－以《魔法師的外甥》、《奧祕匕首》和《神隱少女》為例

本文旨在連結奇幻敘事之「過門」特性與靈性教育之「心靈」特質，以G. Deleuze的皺褶理論為方法，對奇幻敘事過門的空間性進行詮釋，包含《魔法師的外甥》（界中林）、《奧祕匕首》（喜喀則）以及《神隱少女》（復樂站）等。透過皺褶、展開與再皺褶之創造性詮釋，試將「過門」與「心靈作用」進行連結，以人為主體並作為鍛鍊自發性啟動的可能。過門作為鍛鍊心靈意志的法門，係個人主體靈性自由之展現，包含心靈的回歸和冒險的啟程，此心性（空性）之作用表現在教育上，即肯定學習主體的自發性與自我完成性，透過自覺乃至行動予以實踐。

關鍵字

皺褶；過門；靈性；主體；自發性

並列摘要

The purpose of this research is to connect the ＂threshold＂ of the fantasy narrative with the ＂soul＂ of spiritual education, using G. Deleuze's ＂folding＂ theory as a method to interpret the spatiality of the fantasy narrative ＂threshold＂, including The Magician's Nephew, The Subtle Knife and Spirited Away. Through the creative interpretation by folding, unfolding and refolding to connect ＂threshold＂ with ＂spiritual effect＂, take people as the subjective and using it as a possibility to exercise spontaneously. ＂Threshold＂ is a method to exercise the will of the soul, and it is the manifestation of the individual spiritual freedom, including return of the soul and the journey of adventure. This role of mind (emptiness) is manifested in education, that is, to affirm the spontaneity and self-completion of the learning subjective through ＂self-awareness＂ and even action.

並列關鍵字

folding ； threshold ； spiritual ； subjective ； spontaneity

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從皺褶概念詮釋「過門」空間與靈性教育之主體自發性－以《魔法師的外甥》、《奧祕匕首》和《神隱少女》為例

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