精神障礙者的服務深受現代精神醫學的影響，「診斷」會先於「人」作為看待精神障礙者的框架。隨著對精神疾病的詮釋更加多元，開始出現一些以重視精神障礙者主體性、社會結構取向、優勢正向思考為特點的另類工作方法。本研究所探討的繪畫團體和展覽行動也是基於以上理念的工作方法。 本研究透過與五位精神障礙者的深度訪談，以及對他們繪畫作品的視覺評估，來瞭解他們參與繪畫團體和展覽行動中的轉化歷程。本研究以精神障礙者的生命故事和作品作為開啟，去走進每一個人的生命經驗，去瞭解每一個人的個性、想法，藉此放下視他們為精神障礙者的視框，逐漸展現每一個獨特的個體。基於對每一個個體的深入理解，從而瞭解到他們如何在繪畫團體中感受當下的平靜專注、運用創作練習自我表達、透過自我覺察促成改變的契機、彼此被看見、被傾聽，並獲得人對人之影響力的過程。繪畫也成為了一種非結構化的工作方式，去幫助工作者更貼近每個精神障礙者的內心世界。隨著繪畫團體的「自我探索」面向不斷加深，個人生命背後共有的社會處境被看見，該團體開始有意識地以展覽行動來朝向「社會參與」的面向發展。該團體運用展覽為精神障礙者建立一個真實社會互動的空間、獲得新的身份以及人際磨合和情緒控制的學習，並透過情感共鳴的方式達到去污名的效果。 / The service for people with psychosocial disability is deeply influenced by the modern psychiatry, which tends to see the person as a diagnosis rather than a man / women. As the interpretation of mental illness is becoming more diverse, there comes some alternative treatment methods, which emphasize the individuality of people with psychosocial disability, using social structure orientation and strength-based thinking. The art group and art exhibition studied in this paper are also based on above philosophy. Through in-depth interviews with five people with psychosocial disability and visual assessment on their artworks, this study aims to understand their changing experience in the art group and art exhibition. This study starts with the life stories and artworks of the five interviewees, stressing them as unique individuals with own personality then thoughts rather than those imposed stereotypes of people with psychosocial disability. Based on the depth understanding of every interviewees, the study described their experience in the art group allowing them to feel peaceful and focused, and through art making they were able to express and develop awareness of self, hence promoting changes in self and relationships. The art group described in this study used nonstructural working method, which allowed the group leader and social workers to become closer to the inner world of people with psychosocial disability. With time, shared self-experiences emerged among the art group members, and the group started to evolve towards more social participation in ways of art exhibition. The art exhibition provided them a platform for real interaction with the society, for formulation of new identity, for opportunities to learn interpersonal skills and emotion control, and for diminishing stigmatization through emotional empathy. Keywords: people with psychosocial disability, personal stories, art group, art exhibition

這篇論文的目的是為盧曼社會系統理論中的一個難題提供可能的解決之道。此難題即為：社會系統既是去主體化的，又是主體化的。這個難題的出現，乃肇因於盧曼認為系統既是自我透明的，也是自我不透明的，既是環境透明的，也是環境不透明的。這兩種弔詭就是盧曼社會系統理論的自我同一性弔詭與環境同一性弔詭。因此，為了解決社會系統理論的去主體化問題，首先就必須解決自我同一性弔詭與環境同一性弔詭。對此，我們建議從盧曼與胡塞爾的比較開始。藉由此種比較以及隨之而來的清洗與重組，我們可以從他們那裡擷取有利於解決上述弔詭的概念與命題。這些概念與命題是：一、存在著諸系統；二、新的觀察概念：構造；三、社會作為內在於意識系統中的社會行動秩序，而溝通系統則作為內在於理解系統中的社會溝通秩序。 / This thesis is aimed at solving a dilemma in Luhmann's theory of social systems.The delimma is: social systems are both desubjectized and subjectized. This is because in Luhmann's theory, they are both transparent and intransparent to itself, and the environments are both transparent and intransparent to systems. These two paradoxes are self-identity paradox and environment-identity paradox. Therefore, if we want to solve the problem of desubjectization in Luhmann's theory, we must solve the self-identity paradox and environment-identity paradox at first. We suggest that it can begin with the comparison between Luhmann and Husserl. Through this comparison, and correspondingly, cleaning and recombination, we can take concepts and propositions which can be used for resolving the above-mentioned paradoxes. The concepts and propositions are: 1. there are systems; 2. new concept of observation; and 3. society as the order of social actions in a consciousness system, and communication system as the order of social communications in a understanding system.

溫特森最新的實驗小說《魔力書》，以網際空間為喻，探討性自由與權力之間的關係；是一本因應千禧年而誕生的作品。故事中的主人翁阿里(Ali)，藉由答覆網上不知名的筆友，為讀者揭示女性主體及性慾自主的議題；作者巧妙地將自己擅長的詩意散文、新奇敘事體，融入哲學思維，與網際網路天馬行空的力量相結合。本論文旨在以宏觀哲學的角度分析女性各個不同時期的處境，並指出《魔力書》除了充溢智慧、想像、力量之外，是一本關切女性處境及主體的小說。 本論文以西蒙•波娃有關女性主體論述為主要理論架構。論文主體可分三部分。第一部分旨在分析權力關係的影響，並以書中網路外遇事件為例，彰顯出已婚女性受傳統意識型態箝制，失去性自主的契機。第二部分從敘事者的角度，以女性特有言說方式，持續探討女性情慾自主的議題。最後一部分處理敘事者不同形式的存在模式，並以宏觀角度分析，不同時期(神話、奇想、網際空間)女性主體的變化性。 對照四十年前的女性處境，處於科技時代的摩登女性仍然受制於傳統女性特質的制約，或是受到強勢意識型態所掌控。面對此情境，女性應藉由參與社會或政治活動，承擔起改變世界的責任，來確保個人主體性的完整；女性應對自我有更多的期許及要求。溫特森在《魔力書》中藉由答覆網路筆友的要求─「自由，給我一晚的自由」─其實真正探討的是確立女性主體性的重要概念。 / Winterson’s latest novel The PowerBook (2000) is an experimental work of fiction that uses the metaphor of cyberspace to portray the issue of sexual freedom and power, a book that greets the challenge of the new millennium in Winterson’s design. By answering to an unknown on-line correspondent’s need, the narrator and e-mail writer Ali explores the very issue on women’s subjectivity and the autonomy of femininity, adroitly connecting the power of the Internet (the imaginary and the virtual) with her poetic prose and inventive narrative in conjunction with philosophical significance. My thesis aims to start a complicated analysis of women’s different situations from a philosophical perspective. I think The PowerBook, invested with wisdom, imagination and power, is a book that concentrates on women’s situation and subjectivity. Simone de Beauvoir’s concept on women’s subjectivity constitutes the most important theoretical framework of my thesis. The main body of the thesis can be grouped into three parts. Firstly, I will probe the effect of power relations on a virtual forbidden love affair, manifesting that the married woman is manipulated by the patriarchal ideology so that she ultimately fails to fulfill her autonomy of femininity. Secondly, I will discuss, mainly in terms of a feminist discourse theory, the issue on the autonomy of femininity revealed in Ali’s narrative. Thirdly, the last section of the main body will not only deal with Ali’s various modes of existence, but also aim at exploring women’s selfhood in respect of myth, fantasy and cyberspace. By contrasting women’s situation at present with that almost forty years ago, I will show that modern women in the technological age are still either bound by the myth of femininity, or conditioned by dominant ideologies. Finally, I will conclude that modern women should not only act as independent subjects, but also demand more and expect more for themselves. By participating in social and political activities, they are able to take the responsibilities for improving the world. It can be interpreted that to answer to the correspondent’s need—“Freedom, just for one night”—is actually to examine the main subject on women’s existence in Winterson’s intention.

本文所稱之「先購後併」乃係指併購公司或公開收購公司於併購或公開收購消息公開前，於市場上先行購買目標公司之股份提前佈局的行為，亦有以「立足點持股」或「預先持股」稱之。於先購後併之情況下，是否併購方有構成內線交易之疑慮，因我國無論證券交易法或企業併購法對此議題皆無明確規定，故素來即存在爭議，實務上亦不乏收購人因建立投資部位而招致內線交易訴訟之案例存在。 本文試以我國內線交易法規範之根源—美國法作為比較法，分析先購後併的情況下，是否併購人或公開收購人本身為內線交易之主體，以及併購人或公開收購人是否得與他人一同建立投資部位，再加入104年7⽉月8⽇公布之企業併購法第27條第10項⾄至第15項關於併購前建立投資部位之最新修訂說明，以及實務案例研析，並於文後嘗試提出本文見解。

公共工程於政府採購之履約過程中常因政策性考量、實際施作問題、法令修改、民意反映、使用單位需求等因素，而須適當辦理變更設計、追加減預算，此時機關辦理程序除應依工程採購契約之規定，確認機關得辦理契約變更之內容及範圍；並應依行政院公共工程委員會令頒「採購契約變更或加減價核准監辦備查規定一覽表」，確認該採購之核准、監辦及備查程序。 惟機關辦理工程採購實務上，對於工程契約變更的意義，以及何種情形可以構成契約的變更，得以調整契約之金額或工期，可說是最常見的工程爭議。而國內之工程契約，對於工程契約之變更，原則上均設有簡繁不一之契約條款，而這些條款對於工程契約變更之意義、內涵或態樣，在實務上究應如何解釋或適用，對於機關工程人員而言常生困惑。 因此本文首先就實務上常用得為契約解釋及漏洞填補之法律原則作說明。並透過民法第247條之1說明有關契約之規制，乃在防止契約自由之濫用，以避免契約淪為一方當事人剝奪他方權利之工具，而造成利益顯失平衡之狀態；而契約如發生非具體生活經驗所得預料之障礙或分配風險之契約條款因法律規定而無效時，則應依民法第227條之2第1項規定，透過契約之調整以維契約之公平。 其次，對於機關辦理之工程採購而言，為防範得標廠商不自行履行契約之轉包行為，政府採購法對於契約主體之變更或契約之轉讓有嚴格之限制。惟對於機關辦理之工程採購而言，如絕對禁止契約主體之變更或轉讓，在若干情形下並非當然符合機關之利益，此時仍有契約主體之變更或轉讓之可能。故本文除就契約主體變更之意義略作說明外，亦將對實務上可能發生契約主體變更之情形作一探討；另就工程契約客體變更部分，本文將以常見工程契約變更之原因及相關契約條款規定作說明。並就工程契約變更之範圍與限制、機關指示契約變更的必要性與容許性進行探討。 最後，依契約變更的內容，以新增契約工作項目、刪減契約工作項目、工作數量增減及工作性質與內容等四種變更情形分別討論之，期能理出工程契約變更相關爭議之處理方式，減少機關人員與廠商對於履約管理實務上之認知落差，進而降低政府採購履約階段糾紛之發生，並藉此提高政府整體之採購效率及經濟利益。

在蓋曼（Neil Gaiman）第一部小說《無有鄉》（Neverwhere, 1997）裡，透過對地下倫敦的想像，挖掘蟄伏於城市之中的邪惡、混亂與時空的交錯。主人翁理查（Richard）地下倫敦之旅顛覆他對城市既有的認識，城市不是如表面所見的井然有序、善惡分明，而是過去與現在的混雜和交織，惡勢力隨時匍匐其中。本文擬以空間議題為經、城市居民主體為緯，探討蓋曼筆下的倫敦呈現何種後現代都市空間、城市空間和主體間的互動，以及游牧主體如何在他者空間中生成。 論文第二章主要藉助索雅（Edward W. Soja）第三空間（thirdspace）的概念，闡釋小說裡後現代倫敦空間。首先爬梳瑞本（Jonathan Raban）、列斐伏爾（Henri Lefebvre）, 和索雅三人對於後現代地理學的觀念，而後側重於索雅提出的第三空間。《無有鄉》裡，城市遠比理查所認為的還要複雜、失序，他漫遊於地上倫敦和地下倫敦之間，其所見景象呈現倫敦浮世繪，解構真實倫敦和想像倫敦間的界線，而此正體現索雅所謂的第三空間。 第三章以班雅明（Walter Benjamin）對漫遊者（flâneur）的討論為出發點，闡釋《無有鄉》裡漫遊者／偵探和城市空間的互動。身兼漫遊者和偵探的理查，由於處在混雜猶如迷宮的倫敦市景中，所以喪失經典漫遊者對城市全景的掌控。雖然《無有鄉》在情節的過程裡呈現後現代氛圍，企圖解構二元對立，但惡勢力最終的剷除，暗示地下倫敦又將回歸秩序，於焉似又陷入善惡二元對立的局面，但另一方面，女性在回歸秩序的過程裡，扮演舉足輕重的地位，女性的參與展現對空間父權化的抵制，而此也打破性別空間的二分法。 第四章著重討論小說的結局。筆者援引德勒茲（Gilles Deleuze）和瓜達里（Félix Guattari）游牧學（nomadology）的概念，闡釋主人翁主體的變異。在他者倫敦空間裡，主人翁和他者接觸而歷經生成他者（becoming-other），並開啟其逃逸路線（lines of flight），所以在回到原本的世界後，他又欲重返地下倫敦，擺盪於兩個世界，不囿於其中一方。 在《無有鄉》裡，兩個倫敦空間並非截然劃分，卻是相互滲透交織。想像的地下倫敦是一個暗喻，代表被城市邊緣化、他者化而忽略的空間，透過主人翁的漫遊，展現倫敦市景的多重面貌。 / Neil Gaiman’s first novel Neverwhere (1996) depicts an imaginary London Below which exposes the urban evil, chaos, and juxtaposition of diverse spaces. After his journey to London Below, the protagonist Richard changes his view of the city. That is, London is not of orderliness as it appears, but of the present interwoven with the past; it lacks a clear distinction between good and evil, and contains evil power embedded underneath. This thesis employs a spatial perspective as a thread to explore postmodern spatiality embodied in Gaiman’s London cityscape, the interaction between urban space and the subject, and the formation of nomadic subjectivity in the spaces of the other. In Chapter Two, I resort to Edward W. Soja’s conception of Thirdspace to deal with postmodern London spatiality in Neverwhere. I first introduce three spatial critics’ notion of postmodern geographies, including Jonathan Raban, Henri Lefebvre, and Soja whose Thirdspace serves as the main spatial framework of the thesis. Neverwhere delineates the urban landscape which is far more complex and disorderly than Richard assumes. He strolls between London Above and London Below, and his view of these two worlds which deconstructs the line between the real and the imagined presents Thirdspace in Soja’s term. Chapter Three utilizes Benjamin’s discussion of the flâneur as a starting point to deal with the interaction between the flâneur/detective and urban spatiality. As a flâneur/detective, Richard encounters labyrinthine cityscape, so he loses a classical flâneur’s/detective’s panoramic view of the city. Although Neverwhere as it progresses smacks greatly of postmodern aura by deconstructing dualisms, the collapse of evil power near the end of the novel suggests the retrieved order, so the novel seems to regress into dualisms. Simultaneously, in the process of regaining order, females play an important role, for females’ participation presents their resistance to patriarchal space and also subverts a gendered spatial dichotomy. Chapter Four focuses on the discussion of the ending of the novel. I apply Gilles Deleuze and Félix Guattari’s conception of nomadology to the protagonist’s nomadic subjectivity. I argue that the other London spatiality triggers the protagonist’s becoming-other via the contagion of the other and initiates his lines of flight. Because of this, after returning to his previous world, the protagonist seeks to leave for London Below. He keeps vacillating between the two worlds, for he refuses to be bound by either of them. In Neverwhere, the multifarious facets of London cartography are outlined through the protagonist’s strolling. The imagined London Below is a metaphor which represents marginalized, otherized and overlooked urban spatiality. The line between London Above and London Below is not completely clear-cut, but interwoven with each other.

本研究針對紀登斯（Anthony Giddens），探討其對於現代社會的結構特性、作為能動者的人類主體之構成，以及建構合乎現代人性需求政治制度的思想，並推演其在教育上可以有的發展。研究發現：一、紀登斯將主體重建為兼具身體與人格、意識與無意識、論述與實踐、自我與共在、源流與變化、例行性與創造性的能動者；二、意識可分為三個層級但其與行動層級並非一一對應關係；三、本體安全感除透過擱置之外，仍須透過生活政治學反思性地處理本體安全感的需求；四、結構概念具有多項特性，並與人類的能動性呈現雙重性及二元性兩種關係；五、系統與結構的區分應從組合式及聚合式之間的差異來瞭解。六、高度現代性社會有不同於以往的制度、動力、後果與特性。七、生活在高度現代性之下人們有更多自我決定的空間與必要性。八、針對高度現代性的各種特性，政治治理必須有不同以往的思考，並秉持烏托邦現實主義、世界主義，調和懷疑與獻身，使每個人都能對社會有所貢獻。依據上述發現，筆者在教育方面針對個人、結構、現代性、政治治理，與社會學研究方面進行衍釋，作為教育方面的啟示。 / This dissertation study Anthony Giddens’s thoughts about Structuration theory, modernity and politics, and try to find the implications in education. The author find that Giddens reconstructed subjects as agents by 6 pairs of concepts, pointed out 8 relative characters about structure, and contrasted structure with system as paradigmatic with syntagmatic. The author also find that Giddens’ stratification model of personality did not simply correspond to his stratification model of action. And the existential questions which are bracketed by the ontological security should be answered by life politics. Radical Modernity is different from tradition in institutions, dynamics, consequences and properties. People living in this era have more space and necessities to make decisions for themselves. To avoid the possible risks, people should hold the utopian realism, cosmopolitanism, balance the doubts and commitments. Implications in education are addressed on these findings.

證券市場是企業取得營運資金最主要的管道，也是國民資金投資最佳的選擇，惟前提是必須有一個健全的證券市場，使投資人能安心地將資金投入其中。為了建立這樣的一個投資環境，就必須有要完善的證券法規，當中，主要職司這個功能的就是「證券詐欺法制」。 基於證券詐欺法制在證券法規中所居的關鍵性地位，其良莠不能不說是與國家經濟的健全與否息息相關，因此，本文便以此一主題為研究對象，主要的研究範圍設定在證券詐欺之「構成要件」，定名為「證券詐欺構成要件論」。而「因果關係」只是在證明請求權的存在與否，可與「構成要件」切割，故本文並不包含此一議題。 本文所使用之資料，有相當大的比例是美國(1934年證券交易法Section 10(b))與我國(證券交易法第二十條第一項)的法院判決，以增進本文的實證價值。依據本文之研究，無論是行為要件、客體要件、主觀要件或主體要件，都著實存在相當的瑕疵待修補。希冀本文所得出之研究結論，能為修補這些瑕疵盡到些許的功效。 / The securities market is the most important channel that enterprises gain their business capital; it is also the best option that nationals invest their money to. But this is on the premise that there is a sound securities market. In order to establish this kind of investment environment, a set of flawless securities statutes is needed. Within this legal system, this major function is exercised through the “securities fraud regime.” The securities fraud regime is decisive of the soundness of the securities statute and nation’s economy. Therefore, this dissertation selects this topic as research subject. The scope of this dissertation is restricted in the “requirement ” of the securities fraud. The title is: “The Requirements of Securities Fraud.” The causation element is just an attestation of plaintiff’s plea, it can be separated from “requirement,” therefore, this issue is excluded in this dissertation. The references this dissertation cited are mainly from U.S. and Taiwan’s court decisions. According to the research this dissertation did, no matter behavior requirement, object requirement, mental requirement or subject requirement, there are quite some loopholes that need to be fixed. The writer hopes the conclusion that this dissertation comes up with can somewhat fixed these loopholes.

根據國內的人權教育相關研究，當前臺灣學校人權教育的發展未臻成熟，尚有待改善之處。時有所聞的校園反人權現象亦突顯「紀律/規訓」的魔咒仍是當前首需「問題化」的關鍵。 本研究藉由國內學術文獻的研究成果，檢視臺灣學校人權教育的可能問題癥結，包含：(1)主體性概念的缺席；(2)多元價值的匱乏。 並以傅柯在其著作《監視與懲罰》中對「規訓」之析論：(1)被規訓者的身體柔順性；(2)規訓者的管教手段；(3)全景敞視的規訓環境等三方面，以及(4)傅柯對主體的關注，闡釋傅柯規訓觀對臺灣學校人權教育未來的啟示，包括：(1)教育場域中主體的關注及(2)校園生活中多元價值的實踐。 / According to the related research for human rights education in Taiwan, the current development of human rights education has not been mature yet; it could be improved in most schools. The phenomenon of anti-human rights at campus which occasionally published in the news also emerged that we should urgently problematize “Discipline/power” and disciplinary institutions in the modern society. Michel Foucault vividly described the disciplinary power which permeated through our society by presenting four manifestations: (1) Docility of bodies, (2) Facilities for disciplining, (3) Panoptic environment, and (4) Care for the self in late Foucault. By analyzing Foucault's theory of discipline, this research surveyed the possible problems of human rights education in school in Taiwan─(1)the lack of discussion on subjectivity/self ,(2)the disregard of multi-values. Furthermore, this research elaborate on its implication for human rights education in school, including: (1) Care for the school subject/self, (2) Putting multi-values into practice in campus.

對宣稱以「報導真相」為職責的新聞專業而言，一旦新聞報導的「真實」被解構，不再有客觀真實做為新聞是否正確的參照依據，一切報導都是符號建構的結果，此時新聞專業「報導真相」的宣稱是否仍然有效？特別是當前新聞媒體打著「真實」的招牌進行與真實無關的活動，「真實」淪為新聞常規的儀式化象徵，新聞專業的正當性倍受質疑，新聞記者究竟該如何安身立命？難道真的沒有人在乎真實嗎？ 本文從新聞記者的實際個案故事裡，探究新聞專業中的「真實」意謂什麼？除了新聞報導所再現的真實之外，從倫理主體的角度來看，記者更在乎的是新聞採訪報導過程中的真實性（truthfulness），關切的是在追求報導真相的過程中，記者是否盡可能真誠地報導他所知的一切？報導內容是否正確地反映他所掌握的現實？此時，真實不再只是報導的對象，真實做為一種價值，它是主體行事判斷的依據，也是主體追求的德行。記者在實際情境下行使專業判斷時，他所感到的良心不安，便是驅使他成為追求真實性的倫理主體之可能所在。 藉由傅柯晚期的倫理系譜學架構探究當代新聞專業的倫理問題，本文所關注的是記者如何運用自我技術將自己形塑為道德的行動者。因為良心不安的焦慮促使記者重新關心自己，透過真理意志的作用使他突破集體規訓對於個體的束縛，經由長期的自我修練促成個體由內而外的轉變，將自己打造成為追求真實性的倫理主體。如此一來，才使得新聞專業追求報導真實的理想，在不完美的現實情境下仍然有落實的可能。