社群媒體已經深刻地改變了我們的生活，並且對於企業行銷上產生了重大的影響。 這項研究的動機來自於社群媒體 Facebook 在台灣的普及性。此外，價值共創的概念，導致消費者忠誠度的重生，他們可以參與價值鏈的任何階段。我們的目標是將價值共創概念運用於Facebook粉絲專頁經營，探索如何達到最大化的行銷效益。 我們的研究數據來自於台灣資策會，結果顯示：一個粉絲專頁如果擁有越高的價值共創程度，確實能夠提高品牌行銷的效益。具體而言，我們發現粉絲專頁若提高內容多樣性和提供的回饋種類，更容易增加品牌的知名度。用戶原創內容程度越高，更可能增加使用者與品牌的互動，若要求使用者刻意推薦，則是更降低他們與品牌的互動。 此外，當粉絲年齡在大於或等於25歲時，以及粉絲專頁的粉絲總數越多時，價值共創程度對於行銷效益的顯著性會更明顯。 / Social media has profoundly changed our lives and is having a major impact on marketing today. This research is motivated by the tremendous growth of a social computing platform, Facebook. Besides, the co-creation concept leads to a rebirth of customer loyalty. Customers, in other words, can get involved at just any stage of the value chain. We aim to apply the co-creation concept in the Facebook fan page to explore what and how co-creation in social media marketing is effective. Our study has collected data from Taiwan’s Government research institute – Institute for Information Industry. The results of our findings show that the co-creation level in the Facebook marketing campaigns can truly increase brand’s performance. In detail, we found that kind of information and form of exchange are more likely to increase the brand’s awareness. Type of user created content is more likely to increase the brand’s engagement while way of advocacy is more likely to decrease the brand’s engagement. In addition, co-creation level is more significantly related to campaign’s performance when the fans are over (or equal to) 25 years old, and is more significantly related to campaign’s performance when the fan page has more fans than others.

MSc / Thesis (MSc (Earth Sciences))—University of Stellenbosch, 2009. / Fan 2, one of five submarine fan systems of the Tanqua fan complex in the south-western Karoo Basin, South Africa, is subdivided into Lower, Middle and Upper units. Here, detailed analysis of the internal architecture and distribution of lithofacies associations of Middle Fan 2 facilitated the 3-D visualisation of the sedimentological and stratigraphical changes towards the pinch-out. Middle Fan 2 is interpreted to be a lower-fan, sand-rich terminal lobe, comprising three sandstone-lobe elements, separated by two siltstone interlobe elements. It is fed by a distributary channel that is hypothetically positioned to the west-southwest of the study area. The sandstone-lobe elements pinch out downdip to the north-east and updip to the southsouthwest in the study area. The consecutive pinch out of lobe elements to the north-east indicates a progradational stacking pattern similar to the entire lobe complex. Palaeocurrent analysis and the interpretation of isopach maps indicate that the transport direction of Middle Fan 2 was in a north-easterly direction. The fringes of the lobe and the distribution of internal elements (channels, amalgamated sheets and sheets) show a finger-like geometry in plan-view, in contrast to simple radial-lobe bodies that are commonly envisaged.

本論文全一冊，有十萬餘字，分為六章。 第一章緒論。第一節研究動機與目的。第二節研究範圍及取材。第三節研究方法。昃 這篇論文的概要。 第二章田園詩的淵源。第一節陶淵明以前的田園詩。第二節陶淵明的田園詩。第三節 唐朝的田園詩。第四節北宋的田園詩。是范成大以前田女園詩的概況。 第三章范成大之生平。第一節傳略。第二節思想。第三節交遊。此為范成大田園詩的 外緣研究。 第四章范成大田園詩之內容分析。第一節吟詠農民疾苦的作品。第二節吟詠農事的作 品。第三節吟詠田園生活的作品。第四節吟詠田園景色的作品。第五節吟詠閒適逸趣 的作品。 第五章范成大田園詩的表現技巧分析。第一節用字技巧。第二節造句技巧。第三節聲 韻特色。以上兩章為范成大田園詩的內在研究。 第六章結論。第一節前人對范成大田園詩的評價。第二節范成大田園詩的特色。

說唐家將小說包括《說唐後傳》、《說唐三傳》、《反唐演義》與《粉妝樓》四部小說。系列小說前承說唐系列小說，書寫題材由「君王」轉向「家將」，呈現了講史小說發展脈絡本身由「國」而「家」主題更迭的動態移轉過程。又說唐家將小說之題材於史有據，再依民間想像改編創想，承衍脈絡淵遠流長、橫跨古今，其間的家／國想像或合乎正統、或顛覆遊戲，形成官／民、虛／實等等多元對話空間。 論文第二章先討論「前之所承」，梳理小說成書之前，由官方史傳而至民間之平話、詞話、雜劇、傳奇等作品。民間說唱曲藝受官方史傳影響甚深，保持了系列小說國家宏偉敘述的「講史」特色；戲曲搬演深入民間，促成了「離家／榮歸」的情節結構，講史系統與民間戲曲的特色雜揉、交融於小說文本之中，形成說唐家將小說的獨特體質。 論文之第三、第四章進入核心論題，分從「情感關係」與「空間配置」探討小說文本之家／國想像，呼應影響家／國認同之血緣與地緣概念。第三章剖析小說中親子代際、男女性別與敵我陣營關係，發現看似穩固的倫理規範之下，其實隱藏了諸多不盡平靜的衝突與角力。第四章探察系列小說「家、國間遭到架空、戰場空間卻誇張膨脹」的空間配置情形。發現「寒窯」等破碎的家屋意象充斥文本，國朝空間更遭擠壓，只枯澀地擔負故事之間的串場任務；倒是邊境戰場含納各種家、國互動的情感因子，成為民間自掌定義、恣意戲耍的狂歡空間。 第五章再論「後之所衍」，以「個案研究」方式觀察臺灣戒嚴時期由楊麗花領銜主演之電視歌仔戲《薛剛》、二十一世紀初國光劇團創作之新編京劇《新編樊梨花》與本論文寫作當下於東森電視臺上映之電視連續劇《薛仁貴傳奇》三種現代承衍作品，探察系列小說進入現代之後，如何透過情節改編新詮改造家／國想像內涵，使更切合現代人的生命處境，故事持續傳講搬演。 第六章為總結，提出「完成承衍脈絡探討」、「深化家／國想像內涵」與「重估系列小說於小說發展史脈絡中的定位」等三項研究成果。 / The “Novels about family of warriors in Tang dynasty”(說唐家將小說) include “Shou Tang Hou Zhuan”(說唐後傳), ”Shuo Tang San Zhuan”(說唐三傳), “Fan Tang Yian Yi”(反唐演義), “Fen Zhuang Lou”(粉妝樓). Although those novels were combined with folk tales, they were also based on history facts. Thus, there are some opposite views in those novels, such as official vision verses folk culture, reality faces unreality. They inherit the “Novels about Tang dynasty”(說唐系列小說), but the subject matter transforms from the emperor to the family warriors, which reflects the theme transformation flow in history-based-novels. It leaves state and get closer to home. Related texts before the novels have been composed were collated in chapter 2. We can see those stories appeared in folk art “Quyi” (曲藝) were deeply effected by official history story. History vision still remains. At the same time, some Chinese operas have formed the basic structure of these novels, which is “leaving family/ coming home proudly”. Chinese opera and Quyi are two important sources of those novels we referred. Relationship and space arrangement are discussed in chapter 3 and chapter 4 to analyze the imagination of state and of family in the novels. In the study of chapter 3, it seems that conflicts in the novels happen under a stable requirement of ethic. However, code of ethics are shown only in appearance. In chapter 4, we will find out that war spaces are almost overstated, while space of home and state are ignored. Three case studies are put in Chapter 5. They have one thing in common: they are three modern works of art which inherits the series of novels. In Chapter 5, the study focus on how those novels has been revised to adapt nowadays culture. The essay is trying to achieve the following statement from the ” Novels of family warriors in Tang Dynasty”(說唐家將小說): further study to the heritage of tradition Chinese novels; further understanding of the imagination of family and state; revaluate the position of these novels in the history of Chinese traditional novels.

This thesis explores the concepts of “voice” and “influence” through the case studies of two famous English-speaking Canadian women writers, Margaret Atwood and Carol Shields. The “voice” is multiple, ambiguous and influenced, but it is also apparently unique. How, therefore, is it constructed and where does it come from? I examine, work with and adapt Harold Bloom’s paradigmatic study of influence to a feminist context, exploring the idea that a literary voice can be developed and influenced by Atwood and Shields. I discuss how these writers searched for an appropriate literary role model, exemplified by nineteenth-century English-Canadian writer Susanna Moodie, at the moment when Canadian nationalism and feminism coincided. Atwood and Shields are now canonical writers themselves and important in both the nationalist and women’s tradition, but have they gone on to influence new Canadian women writers? I test the pleasures and the anxieties of Shields’ influence with regard to her creative writing students and her own daughter, Anne Giardini, who has published her first novel. I compare Shields with Atwood, who has achieved a high level of fame, and examine what kind of influence each exerts. I discuss whether literary influence is politically different for women than men and whether there is any jealousy or power struggles between the sexes. Rivalry and competition between writers are not purely caused by the aesthetic issues that Bloom discusses, therefore I contextualise his concept of influence using literary celebrity studies to consider the economic basis of cultural production. This is in order to show that tensions are determined by market conditions, just as much as the new poet’s desire to overthrow a literary precursor. Finally, I examine fan letters to Atwood and Shields as another important source of literary influence. I discuss how fans are constructed through a commercial relationship and how they can also provide an amateur literary voice. Atwood and Shields have helped to create a network of writers across the globe. I explore whether both authors can be role models who will inspire the next literary generation.

This thesis explores women’s writing and its place in the formation of female film culture in the British silent cinema era. The project focuses upon women’s literary engagement with silent cinema as generative of a female film culture, looking at materials such as fan letters, fan magazines, popular novels, short story papers, novelizations, critical journals and newspaper criticism. Exploring this diverse range of women’s cinema writing, the thesis seeks to make an original contribution to feminist film historiography. Focusing upon the mediations between different kinds of women’s cinema writing, the thesis poses key questions about how the feminist film historian weights original sources in the reclamation of silent female film culture, relative to the varying degrees of cultural authority with which different women commentated upon, reflected upon, and creatively responded to film culture. The thesis moves away from conceptualization of cinema audiences and reception practices based upon textual readings. Instead, the thesis focuses upon evidence of women’s original accounts of their cinemagoing practices (fan letters) and their critical (newspaper and journal criticism) and creative (fiction writers) responses to cinema’s place in women’s everyday lives. Balancing original archival research with multiple overarching methodological frameworks—drawing upon fan theory, feminist reception theory, audience studies, social history and cultural studies—the thesis is attentive to the diversity of women’s experiences of cinema culture, and the literary conduits through which they channeled these experiences. Shifting the recent focus in feminist silent film historiography away from the reclamation of lost filmmaking female pioneers and towards lost female audiences, the thesis thus constructs a nationally specific account of British women’s silent era cinema culture.

Följande studie har utförts på begäran av energiföretaget Norrenergi AB, där det finns en önskan att tillförlitlighetssäkra den nuvarande driften av stofttransportsystemet tillhörande två av värmeverkets hetvattenpannor. Studien har undersökt huruvida det finns möjlighet att framförallt minska underhållskostnaderna. Studien har framförallt inriktats mot två stofttransportfläktar som vardera tillhör ett stofttransportsystem, eftersom mycket underhållsarbete lagts på de fläktarna. En jämförelse med andra liknande verk har även utförts då det visats att Norrenergi AB:s lösning av stofttransporten är ytterst ovanlig. Vidare har en analys av fläktarna utförts, vilken visade att de är underdimensionerade för systemet. Det har konstaterats utifrån genomförda SPM-, temperatur- och bullermätningar. Olika typer av lösningar på problemet har undersökts och då på en förändring av hela systemet, alternativt enbart av fläktarna eller lagren till stofttransportfläktarna. Rapporten har utmynnat i flera förslag vilka innefattar en ny systemutformning, installation av nya fläktar samt en uppgradering av det nuvarande systemet, där installation av nya fläktar rekommenderas. / This study has been carried out at the request by the energy company Norrenergi AB. It consists of an analysis on how they can reduce the maintenance regarding two dust transporting fans installed in the flue gas cleaning compartment of their thermal power plant. The study also compares what solutions other plants have regarding the dust-transport. The solution installed at Norrenergi AB was found to be rather unusual. Measurements and calculations have been performed to investigate further what have caused the high maintenance on the fans. The study looks into what upgrades are available to the entire dust transporting system. The result of the study turned into different suggestions, which includes a new configuration of the dust transporting system, and installation of new fans and also an upgrade of the existing dust transporting system. Among the suggestions the final recommendation is the alternative of installing new fans.

Fan studies has examined how fan fiction resists heteronormativity by challenging depictions of gender and sexuality, but to date, this inquiry has focused disproportionately on slash, to the exclusion of other genres of fan fiction. Additionally, scholars disagree about slash’s subversive effects by setting up a seemingly stable dichotomy—subversive vs. misogynistic—where one does not necessarily exist. In this project, I examine multiple genres of fan fiction—namely, slash arising from bromances; femslash from female friendships; incestuous fan fiction from dysfunctional familial relationships; and polyamorous fics. I chose fics from four televisions shows—NBC’s Revolution, MTV’s Teen Wolf, the CW’s The Vampire Diaries, and its spin-off, The Originals—and closely read them to identify patterns in their representations of gender and sexuality and how they connect to the source texts. Taking a dialogic “both/and” approach, I argue that critics claiming that slash is often not subversive are right to a point, but miss a key potential of fan fiction: its ability to evoke possibility—for new endings, relationships, and sexualities. Heteronormativity often asserts itself in endings; queerness plays in the middles and margins. So, too, does fan fiction. While some individual fics may reinforce elements of heteronormativity, many also actively question and transgress norms of gender, sexuality and love. Further, they embrace fluidity and possibility, and engage with the source texts and larger culture around them in a way that provides a subversive interpretation of both and offers insight into the function of the constructed nature of institutionalized heterosexuality.

台灣與韓國過去曾多年在經濟產業與運動競賽交手，也因雙方在各層面的競合關係，導致大多數的台灣民眾對韓國觀感較差，然而此一情況在近二十年來因為韓國流行文化「韓流」進入台灣以後有所改變。 在台灣，韓流帶來的熱潮無所不在，從網上論壇的討論到電視螢幕上的瘋狂播放可見一斑。然而對於大多數以女性為主的韓流迷族群，在韓流熱潮中卻被媒體描述為瘋狂、失去理智的受害者，在日常生活中也必須面對來自他者的敵意。為進一步探討此一現象，本研究將著眼於研究女性韓流迷在日常生活中面對反韓情緒的經驗，了解她們的應對策略。 透過與12位女性韓流迷訪談，本研究發現：首先，即使女性韓流迷透過參與、消費韓流文化學習到相當可觀與韓國有關的知識，但卻難以將此一知識與反韓他者分享；再者，即便雙方並無直接交戰或其他歷史上敵對的背景，台灣的反韓情緒主要來自於媒體不斷操作的結果，形成代代相傳的集體意識；最後，對於反韓群眾而言，反韓情緒就像是一種「微型國族主義」，即使雙方無真正交戰敵對關係，卻能供給台灣反韓群眾抒發與韓國競爭所帶來的焦慮一處出口。 / Taiwan and South Korea have a long-time history competing with each other in sports and industries. Due to these competitions, most Taiwanese people dislike South Korea. However, in the two recent decades, the Korean Wave has gradually become globally recognized and has won a place in the Taiwanese market. In Taiwan, the hype of the Korean Wave can be seen from music programs on TV to the discussion forums on the Internet. Korean Wave fans, most of whom are female, have been portrayed in a maniacal and negative way in the meddled coverage by Taiwanese media. These fans not only need to endure discrimination by the media, but also in their daily interactions with other people who hold anti-Korean attitudes. This study intends to discuss how Korean Wave fans confront anti-Korean attitudes in their daily experiences. Through the interviews of twelve female fans, the study has found, first, that even though these fans learned valuable knowledge about South Korea during their participation in the Korean Wave, that great amount of knowledge is difficult to share or persuade the anti-Korean people who confront them. Second, the nationalistic antagonism towards South Korea has surged in Taiwan for decades, yet, there is no specific historic reason for Taiwanese people to be hostile towards South Korea. Under this circumstance, the nationalistic antagonism toward South Korea in Taiwan still existed as a kind of collective memory from generation to generation thanks to the news media. For those anti-Korean Taiwanese, the nationalistic antagonism may serve as a kind of petty nationalism that expresses their anxiety in facing and competing with South Korea.

Thèse écrite grâce au financement du Fonds Québécois de la Recherche sur la Société et la Culture (FQRSC) / De nature essentiellement théorique, la présente thèse porte sur un sujet peu étudié dans le milieu universitaire francophone, que ce soit en Europe ou au Québec. Il s’agit du fan. Bien que les fan studies constituent un champ disciplinaire très actif dans les universités anglo-saxonnes (voir entre autres Henry Jenkins et Matt Hills), il n’existe aucun ouvrage dans la langue de Molière s’affairant à synthétiser et théoriser l’expérience affective du fan. Ma thèse entend combler cette lacune. Fortement inspiré par la notion de hiérophanie du célèbre historien des religions Mircea Eliade, j’ai créé le néologisme cinéphanie pour désigner un concept que je résume comme suit : toute manifestation affective s’échelonnant sur une courte période de temps, qui suscite un haut degré de satisfaction affective. À partir de ce concept, je déclinerai une typologie qui servira à illustrer les types d’expériences cinéphaniques qui peuvent motiver le spectateur et le fan à s’engager dans des activités de réappropriation culturelle (seul ou au sein d’un fandom) afin de réactualiser les émotions liées à l’objet culturel source. À l’aide des travaux de l’anthropologue Victor Turner portant sur l’activité rituelle, je proposerai l’organisation tripartite de l’expérience cinéphanique comme suit : la cinéphanie préliminale, la cinéphanie (liminale) et la cinéphanie post liminale. L’ensemble de mon travail répondra à trois objectifs. Le premier voudra théoriser de manière diachronique et synchronique le rapport affectif intense pouvant naître d’une relation entre le consommateur et un objet culturel issu de la culture populaire. De plus, il n’existe pour l’instant aucun ouvrage qui va dans ce sens, même chez les chercheurs anglo-saxons. Ma seconde ambition sera de séculariser la terminologie servant à décrire une expérience intense chez le fan. Certains d’entre eux se servent encore de l’analogie religieuse avec, entre autres, les termes d’épiphanie et de révélation pour souligner le plus adéquatement possible l’importance qu’ils accordent aux émotions qu’ils ressentent à l’endroit d’un objet culturel spécifique. Enfin, mon dernier objectif sera de synthétiser, dans une perspective ouvertement transdisciplinaire, les travaux provenant de disciplines variées liés à la question des affects médiatiques. Cela me permettra d’esquisser un portrait suffisamment précis qui visera à mettre en relief l’existence de traces théoriques du concept de la cinéphanie en filigrane dans les travaux d’autres chercheurs. / Mostly theoretical in nature, this thesis looks into a subject that has been little researched by the francophone academia both in Europe and in Québec: fans. Though fan studies are an active field of study in English-language universities (see Henry Jenkins and Matt Hills, among others), there exists no body of work in French that summarizes and speculates about the affective experience of fans. My thesis intents to fill this gap. Inspired by the concept of hierophany that was formulated by the famous religious historian Mircea Eliade, I created the neologism cinephany to describe the following concept: any affective expression spreading over a short period of time which culminates into a high level of emotional satisfaction. From this concept, I will define the typology which will illustrate the various types of cinephanic experiences that can drive viewers and fans to get emotionally involved in cultural reappropriation activities (alone or within a fandom) in order to adapt the emotions linked to the source cultural object. Using anthropologist Victor Turner's work on rituals, I suggest a tripartite organization of the cinephanic experience into the following phases: premilimal cinephany, cinephany (liminal) and post-liminal cinephany. My research objectives are threefold. The first is to speculate about the intense affective relationship between consumers and a pop culture object in a diachronic and synchronic manner. There currently exists no such body of work in the world, including among English-language researchers. My second aspiration is to secularize the terminology used to describe the intense episodes fans experience. Some still use religious analogies with words such as epiphany and revelation to adequately illustrate the importance fans attach to the emotions they feel towards a specific cultural object. Finally, my last objective is to synthesize – in an openly transdisciplinary perspective – the work from various disciplines in regards to media affect. This will allow me to paint a clear picture highlighting the implicit existence of theoretical traces of cinephany within the work of other researchers.