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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
11

《Disappearing White》數位創作與論述 / 《Disappearing White》Digital Creation and Exploration

廖國成 Unknown Date (has links)
一隻、兩隻、十隻、百隻、千隻…… 千隻、百隻、十隻、兩隻、一隻。 百萬年來,雪地裡、冰山上、海洋中,披著白色毛皮的北極熊一直站在食物鏈的最頂端,牠們奔跑、牠們捕食、牠們游泳,整個北極圈就是牠們的遊樂園。 然後,一道蒸氣噴出,人來了。冰融了。熊走了。 如果百年後還有北極熊,牠們會不會得到博物館,才知道自己居住的世界原來是一片白皚皚? 地球暖化造成氣候異常、衝擊物種生存,是這時代不得不面對的問題,此系列創作以體型巨大的北極熊為題,運用療癒可愛的風格筆觸來創作,並希望透過在奇美博物館的展覽幫助大自然與動物們發聲,喚醒觀眾對於環境萬物的記憶與感動,進而重視物種滅絕的議題。
12

著作重製權侵害之理論與實務 / Theories and Practice of Reproduction Right infringement

朱家毅 Unknown Date (has links)
我國司法實務上著作權侵害的類型中,以「重製權」之侵害為最大宗;而就著作財產權侵害之基本類型-「抄襲」,應區分其概念與訴訟上之證明。就概念而言,「抄襲」係指「被告有合理之機會閱讀或聽聞原告作品中受保護之成分,且被告作品與原告作品中受保護之成分實質相似」。至就訴訟上之證明,則應分就原告與被告說明:首先原告須依序舉證證明:一、創作事實;二、被告有合理之機會閱讀或聽聞原告之作品(即「接觸」);三、被告作品中存有與原告作品中受保護之成分實質相似之部分(即「實質相似」)。而待原告就上開事實盡其舉證責任後,被告方有為舉證之必要,即被告可就推認其「未有合理之機會閱讀或聽聞原告作品中受保護之成分」此一事實之間接事實負舉證責任,然其僅須動搖法院已形成之「有合理之機會閱讀或聽聞原告作品中受保護之成分」之心證,即為已足。而上開說明即為本文所採之「抄襲」認定流程,本文即係以上開見解為骨幹,說明「侵害重製權」之過程中所涉及之基礎理論、司法實務見解以及本文之看法。
13

《枋寮100番地誌》:地方志的數位實驗創作 / In No. 100, Fang-Liau : An Experiment of Digital Chorography

呂 凌慧, Lu, Ling Huei Unknown Date (has links)
數位地方志—《枋寮100番地誌》是創作者對於家與土地的追尋與紀錄。透過新媒體iPad為敘事平台,運用新媒體敘事的互動性、行動與多媒體特色,將文學的創作結合空間系統,賦予地方志閱讀立體的空間感知。 本創作蒐集了中和枋寮在地歷史、人物與故事,並以地方的片段影像、聲音勾勒枋寮的輪廓與地方感。在敘事上,轉化原來以時間作為陳述順序的地方志結構,提出「空間」概念作為敘事主題。內容安置在地圖的經緯度間,由讀者透過街道的介面設計,展開地方內容的探索與漫遊。作品進一步結合定位與主動推播,創造在地閱讀的互動情境,內容對應著讀者所佇立的當下,空間的今昔對比形成「此在」、「此曾在」的跨時經驗。 數位地方志的互動閱讀體驗,賦予地方閱讀空間與探索的趣味,使地方志文本不再只是單向、平面的陳述。對於中和在地人而言,閱讀的過程是一場地方記憶的召喚;對於外地讀者,作品賦予漫遊者一種穿梭時空的地方體驗,提供不同觀看地方的角度與視野,文本意義皆內涵著觀者獨特的地方經驗、感受與記憶。 / "No. 100, Fang-Liau" is a chorography that displays the history of streets in Fang-Liau, Zhong-he District (中和枋寮) through an application on iPad/iPad mini. Using the iPad device as a communication platform, the project was carried out by the interactive design components, mobility, and features of “digital narrative,” in contrast to the traditional context of history. Contents of digital chorography are built base on “space” rather than the timeline structure; the design then brings user an interactive experience in reading: This project gathered local history, culture and stories of Fang-Liau; with the input of local images, video clips, audio track, and old photos of the residence, the literature is combined with space, creating a 3D perception of reading/experiencing the chorography. To enhance the sense of space, the stories are stored in a location database for user to retrieve. The “street view” interface of UI/UX design provides user the function of exploring in the context and finding stories they may be interested in, as if they’re wondering in physical space. In addition, the function of Global Positional System (GPS) and Location-based Service allows the system to notify user where they are, telling them historical stories of the place and showing them what the surrounding was like in the past. Integrating the function of visual and sound, users are immersed in the atmosphere of “space” and can further get a glance of what daily lives were like in the past. For local residents, the application can actually recalled their emotions and memories according to their own life experiences; for visitors or travelers, on the other hand, the application provides an innovation way of accessing Fang-Liau.
14

風格形塑的歷程初探─ 以流行音樂創作者伍佰為例 / The Stylization of Pop Music Singer-Songwriter, A Preliminary Study

李勇達 Unknown Date (has links)
本論文企圖探討流行音樂創作者的風格形塑歷程。以伍佰為例,針對他自1990年到台北流行音樂圈開始發展後,一路至今(2014)的歷程進行深度的觀察與分析。試圖建立對於創作風格的形塑與轉變,提供一個理論的觀點。討論:1. 流行音樂創作者的個人風格如何形成? 2. 流行文化和個人風格的互動關係為何?3. 隨著社會或自身的改變,創作者的如何回應,不斷開創自身風格? 流行音樂產業當中唱片業因為科技的改變而衰退,當今現場表演才是創作者和表演者的能展現風格的和售票獲利的真實場域。但創作者要怎麼樣才能擁有自己的「風格」?而在風格一詞的多義性,已經在各個領域展開,從描述人格、作品、髮型、聲音,甚至life style都翻譯成「生活風格」的時刻,風格到底是什麼?本研究試圖以生命故事的角度,以及現場的觀察,來深度描寫創作者的故事。並從故事中,探索伍佰何以風格獨俱,以及他在市場上屹立不搖二十多年的原因。 簡述個案分析結論如下。對流行音樂創作者而言,「個人風格」是生命(life)內容找到合適的美學形式(Form)後,所進行展演的一種身體能力。風格形成的歷程,就是「生命」與「形式」校準的過程。流行音樂創作者獨特的個人風格來自於真實的生命經驗,且需要透過個人在社會與流行文化中習得的美學形式才能進行展演。 而「模仿」是生命尋找形式的最初起點。當自主表達的慾望大過講求普遍性的社會壓力時,一個流行文化的模仿者,才能成為創作者,開始尋找個人風格。經由不斷「感知」流行文化中不符合「自我」的部分,而使「自我形象」浮現,進而拒絕某些創作元素,並且建立符合「自我形象」的品味和創作路線。透過多元的實驗,去感受各種創作元素更動所造成的差異,厚積「美學展演的實作能力」,才能創造性地實踐與流行文化有所區別的個人風格,進而取回對自己生命內容的詮釋權。而「個人風格的出現」與否,則可由流行音樂創作者對於同一作品的不同詮釋與演繹是否具有辨識度來進一步觀察。反之也能從創作者受他人模仿的呈現中,觀察其個人風格明顯之處。 隨著社會或自身的改變,作品必須要能夠真實反映創作者的生命,因此持續更新個人風格的要領,就在於能夠不斷「破壞自己原有的樣子」,避免「自我複製」,但同時仍以真實的生命經驗和敏銳觀察進行創作,才不會落入為破壞而破壞的陷阱,迷失自我。 / This paper attempts to explore the stylization of pop music singer-songwriter. Wu Bai is the case we study. By looking through his music journey since 1989, we try to discover the story behind his stylization. The research questions are (1) As a Pop Music Singer-Songwriter, how to have one’s own style.(2) What is the interaction between popular culture and personal style?(3)As time goes by, how does a creator change or renew his/her own style to respond to oneself and the market? Summarized as follows: To have “personal style” means a pop music singer-songwriter is capable to find the suitable “form” for his own “life” in his performance. Therefore, we believe that personal style is a kind of physical ability. Stylization is the interaction of life and form. A unique personal style comes from one’s real life experiences, and the aesthetic form have to be learned from society and popular culture. It takes a lot of practice to build one’s way to present. “Imitation” is the starting point of stylization. When the desire for self-expression is greater than the universality from social pressure, imitators could become creators, embark on the journey to pursue personal style. To reject the part in popular culture which does not fit, so that self-image emerges. Once a creator get familiar with oneself, who can establish creative style which fit whose self-image. By feeling the difference between every creative element through practice, one can learn the practical skills of aesthetic performances. After this, one could have personal style that differ from popular culture, and retrieve the right to interpret one’s own life. Everything in life changes, the work must be able to reflect the real life of the creator. Therefore, the essentials of renewing one’s personal style are "destroy one’s original appearance," "avoid self-replicating", and” always remember who you are”, so one will not be lost in the forest of stylization.
15

文學家運用社群網站創作以及與讀者互動之研究--以經營部落格與Facebook為例 / Study on Literature Creators’ Writing and Reader Interaction with Social Networking:Case Studies of Blogs and Facebook

蕭任婷, Hsiao, Jen Ting Unknown Date (has links)
社群媒體創造了人們生活的新支點,也為文學發展注入新的元素,除了網路作家之外,對於傳統作家也悄悄帶來了影響。本研究目的有六:1.探討文學家經營社群網站的現況與動機。2.探討部落格與文學家的創作是否有關係及有何影響。3.探討Facebook與文學家的創作是否有關係及有何影響。4.探討文學家如何運用部落格、Facebook與讀者互動。5.探討文學家對於運用社群網站創作以及與讀者互動的看法。6.比較文學家部落格與Facebook之異同。 為瞭解資訊時代中部落格、Facebook等傳播媒體的變革是否為臺灣的文學家帶來創作上以及與讀者間互動的質變,本研究於經營部落格與Facebook的作家中各選取十位進行觀察並紀錄,紀錄表之項目主要由更新頻率、文章類型、文章內容題材、與讀者的互動、與文學社群的互動等五個面向延伸而來。 進行觀察後擬定訪談大綱,於部落格與Facebook中各邀請五名作家進行深度訪談,以獲取第一手資料。最後以觀察記錄與訪談資料進行分析。根據研究結果,可獲得以下結論: 一、 文學家經營部落格的原因與動機與其作品有明顯關聯;經營Facebook的原因與動機與其作品則無關聯。 二、 文學家經營Facebook的現況明顯較部落格熱烈與積極。 三、 部落格與Facebook皆與文學家之作品有顯著關聯。 四、 Facebook對文學家創作的影響力明顯大於部落格。 五、 文學家的部落格文章與其出版作品之風格基本上一致;而Facebook的文章風格則與其出版作品之風格有一致也有分歧。 六、 文學家運用Facebook與讀者的互動明顯優於部落格。 七、 文學家對於Facebook上創作文字的出版多抱持正面態度。 八、 文學家認為在網路上與讀者互動利多於弊,且多樂在其中。 九、 文學家認為Facebook相對於部落格在文學上具備更多新的可能。 / Social media had made the new point of human life; meanwhile, they inject new elements into the development of literature. Social media impact not only Internet writers but also traditional writers. There are six objectives of the research: 1. To investigate the current situations and the motivations of literature creators operating the social network sites. 2. To investigate the relations and the influences between blogs and literature creators’ writing. 3. To investigate the relations and the influences between Facebook and literature creators’ writing. 4. To investigate how literature creators interact with readers on blogs and Facebook. 5. To investigate literature creators’ opinions of writing on social network sites and the interaction with readers. 6. To compare the similarities and dissimilarities of literature creators’ blogs to Facebook. In order to realize whether blogs and Facebook changed literature creators’ way of writing and the interactions with the readers, the researcher selected ten writers each from blogs and Facebook to observe and record. Out of the 20 writers, there were five writers of blogs and five of Facebook interviewed under the qualitative research methods. The data were analyzed, and the results are as follows: 1. Literature creators’ motivations and reasons of managing blogs are significantly related to the works, whereas the motivations and reasons of managing Facebook are unrelated to the works. 2. The current situations of literature creators’ operation to Facebook are more active than blogs. 3. Both of blogs and Facebook are related to literature creators’ works. 4. Facebook’s influences on the literary creations are significantly greater than blogs. 5. The styles of literature creators’ posts on the blog are essentially consistent with the published works; however, the styles of literature creators’ posts on Facebook are partly consistent and partly divergent. 6. The interactions with readers through Facebook are much better than blogs. 7. Literature creators hold positive attitudes toward publishing their works post on Facebook. 8. Literature creators think that the advantages of interacting with the readers on the Internet outweigh the shortcomings, and most of them enjoy doing so. 9. Literature creators think that Facebook provides more literary possibilities than blogs.
16

社群網站對個人創作的影響之研究 / The influence of social networking websites on creative writing

何靜婷, Ho, Ching Ting Unknown Date (has links)
在WEB 2.0時代的帶動下,社群網站已然成為時下流行文化,個人創作者紛紛投入社群網站的經營,觀察近年來幾個事件,社群網站對於創作者的發展確有推波助瀾之效,為有助於創作者對社群網站的運用,本研究針對個人創作者與社群網站兩者之間的關係與影響,進行分析、研究。 因此,本研究採取質性研究,以多重個案分析,一個創作者即為一個個案。以貼近一般大眾閱讀口味的類型為主,選取文學小說、兩性家庭、生活風格三大類。從近三千位華文創作者中,首先挑選上百位創作者公開的社群網站,再從個人創作到作品出版的五大步驟與歷程:(一)創意的產生與發展;(二)作品的呈現方式;(三)作品的傳遞與管道;(四)作品的行銷與推廣;(五)創作者個人品牌的建立與累積,觀察、分析三種不同類型創作者的社群網站在這五大面向的內容與作為,比較各個創作者社群網站經營的異同,以期找出社群網站經營之道與影響力。 經過分析與研究,歸納出以下結果:(一)個人創作運用社群網站有助於創意的產生與發展,意見的回饋對於創作的方向更能掌握,呈現的方式越趨多樣化,朝多媒體發展,也能藉社群網站累積人氣、增加知名度、建立個人品牌。(二)社群網站提供創作者固定的據點,使他們易於被看見與聯繫;不同類型的創作者以各自擅長的方式在此展現自我,營造自我特性。創作者活用社群網站此項工具,並著重回歸到創作的核心能力。 本研究提供後進創作者經營社群網站的策略擬定與具體建議,並給予和創作者息息相關的出版產業一些意見,以及對於社群網站研究有興趣者參考,可擴及將創作者延伸至文創產業或相關產業的應用研究。 / Driven by web 2.0, social networking websites have become part of the pop culture. Creative writers have been jumping on the bandwagon running their own social networking websites. From the observation of recent events, it has confirmed that social networking websites did have helped promote the creative writers. In order to improve the use of social networking websites for the creative writers, this research analyzed and studied the relationship and influence between the creative writers and social networking websites. This research comprised of multiple qualitative case studies – one creative writer forming a single case – and focused on three popular genres, literature and fiction, relationships as well as lifestyle. First of all, hundreds of Chinese creative writers’ public social networking websites out of approximately 3,000 were selected. The next step was observing and analyzing the content and behaviors of the creative writers of these three genres on social networking websites during the five primary activities in the publishing process: the development of ideas; the presentation; the delivery channels; marketing and promotion; the branding and reputation of the author. This research was to find out the key success factors and influence of social networking websites through the comparison between those creative writers’ websites. Following the analysis and studies, the conclusion was drawn as follows: 1.Social networking websites are beneficial for the development of ideas. Online feedback provides the directions for writing. It diversifies the presentation especially the use of multi-media. Meanwhile social networking websites also help boost the awareness and popularity of the writers and ultimately build the personal branding up. 2.Social networking websites provide a stable platform for writing where the writers can be easily seen and contacted. Creative writers of various genres express themselves in their own specialist ways, shape their own USPs (unique selling propositions) and re-focus on the pivotal skills – writing – through the wise use of social networking websites as a tool. This research provides the subsequent creative writers with the strategies and advice on how to operate social networking websites. It also provides suggestions to the publishing industry that is closely linked with the creative writers. For researchers who are interested in social networking websites, this research may be applied to cultural and creative industry or other related industries.
17

尾崎翠研究――〈読むこと〉と〈書くこと〉、後期連作を中心に――

山根, 直子 23 March 2021 (has links)
京都大学 / 新制・課程博士 / 博士(人間・環境学) / 甲第23283号 / 人博第998号 / 新制||人||235(附属図書館) / 2020||人博||998(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生文明学専攻 / (主査)教授 須田 千里, 教授 佐野 宏, 准教授 長谷川 千尋 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM
18

翻訳論から見た英国17世紀の翻訳者たち 古典を訳した人間とその環境

大久保, 友博 24 September 2015 (has links)
京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第19332号 / 人博第751号 / 新制||人||181(附属図書館) / 27||人博||751(吉田南総合図書館) / 32334 / 京都大学大学院人間・環境学研究科共生文明学専攻 / (主査)教授 髙谷 修, 教授 水野 眞理, 准教授 桒山 智成, 教授 鈴木 雅之, / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM
19

明清才子佳人小說「好逑傳」研究

姜鳳求, JIANG,FENG-QIU Unknown Date (has links)
本論文以明清才子佳人小說「好逑傳」一書為研究對象,探討其主題情節、人物性格及創作技巧等相關內容。經本論文的析論,其能對「好逑傳」在總體明清才子佳人小說中作一評價并試著為其尋找出合適之定位。 全文凡六章。 第一章緒言,述本文撰述本論文的研究動機、研究方法、研究範圍及「好逑傳」的作者、版本、譯本及其背景研究。 第二章為「好逑傳」的情節分析,本章介紹結構的一般定義及「好逑傳」十八回的情節。 第三章為「好逑傳」的主題意識,本章探討「好逑傳」的主題及其作者要表達的實事求是觀念,倫理的觀念(忠、俠義、名教)等主題思想,并陳述作者主題思想的優、缺點。 第四章為「好逑傳」的人物塑造。第一節陳述「好逑傳」的正面人物,如鐵公子、水冰心。第二節陳述「好逑傳」的反面人物,如水運、過公子。分析上述人物在作品中所擔當的角色性格與生命氣質。 第五章為「好逑傳」的寫作技巧。第一節分析「好逑傳」所用的口語、成語、歇后語、諺語及其非情節因素詩詞等韻語。第二節主要探究「好逑傳」中「伏筆」手法運用。第三節主要考察「好逑傳」中「對比」等寫作技巧之表現。 第六章為結論,探討「好逑傳」寫作表現之缺點及在中國小說史上的地位。
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性別與認同——李清照其人其詞的創作與接受研究

葉祝滿 Unknown Date (has links)
在中國文學史上,李清照非但是一個能完整為自己發聲的女作家,也是文學史上少數未曾缺席的女性創作者,通過詞作,她向世人呈現出屬於自己的姿態,也經由詞作在歷代的傳播、接受,她獲得「婉約詞宗」的地位,更成為文學史上「女性經典」的重要代表人物。若從女性主義及接受美學的觀點來看,李清照女性經典地位的確定,有三個主要可以探討的重點:首先是「李清照女性性別與其創作關係」,二則為「李清照女性性別與詞書寫的關係」,三則為「李清照女性性別在接受與認同上的影響」。 因此本論文從「性別」角度切入,先探討李清照女性身分與創作主體的關係,從李清照家庭教育與婚姻,思考李清照女性主體性之所以型塑、建立的原因,並以其創作中最能抒發個人情感的詞作為主,輔以其他相關詩、文,作為解讀其女性意識的載體,試著重構出李清照在不同階段的女性創作意識,及自我形象刻畫的獨特性。接著以詞體為主,追溯詞學上「男子而作閨音」的特殊現象;再由男女性別認同的差異,分析男、女在不同文化的期待影響下,性別意識對詞作書寫的影響,並以「愛情、離亂」兩大主題,比較李清照與宋代重要男性詞家在書寫方式上的異同,更深入的探析性別意識在詞書寫上的影響。 最後再從「性別與認同」的角度,從文學接受史中文化規範和預期形塑對李清照「敘述認同」(ipse identity)所產生種種現象作分析,先依歷代詩話品評、筆記摘要、或是序跋評點的紀錄,分析文學接受史中「易安詞的經典化歷程」,再依李清照個人所形成的「召喚主題」,來分析李清照個人接受史上主要被關注的是哪些面向,又是以何種女性形象被接受、塑造。最後再將評論者在敘述上所採取的敘述主題、策略作分析,從評論中關於「再嫁、才女認同、詞之評價」等接受狀況,探討「性別」議題在李清照接受史上的影響為何?

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