公共動物園被引入臺灣的歷史才僅一世紀之久，但在這短短的百年之間，它的樣貌已歷經多重改變。1910年代起臺北動物園本是總督府博物館下的一支，後移入圓山成為都市公園的一角，再後是遊樂園與動物表演的娛樂場，到1980年代下半加入學校校外教學輔助場域的功能，並利用物種的保存基地（「方舟」）口號建構自我的存在意義。而在經營主體上，臺灣的公共動物園多以市級公立機構的形式經營， 20世紀初是作為帝國（國家）或地區城市的文明設施，園中動物成為市民的共同寵物；而在1970年代起受全球環境政治影響，動物園組織集團化，知識交流頻繁，動物的飼養、登錄、繁殖、交換等各項管理更具有國際視野，園內動物在全球生態系中的自然資產價值也被強調。 在探究動物園急欲與過去的娛樂歷史劃清界限的原因的同時，本文擬在探討國家、社會對圈養野生動物的利用面向之外，也思考被圈養的野生動物在不同時期的處境，牠們（或牠們的血統來源者）如何從棲地被帶到城市？在動物園這個空間如何被安排融入人類社會，成為人類社會生活的一部分？因此本文的書寫方式並不是一部單純的動物園園史或動物園經營史，而是期望從動物文化史的角度談動物園的歷史。 無論是前述各種對動物的資源化運用，或基於環境主義對瀕臨絕種動物的保育以及環境教育的新目標，動物園內的動物作為生命個體的意義在何時開始被注意到、甚至受到重視，都是值得關切的動物園歷史問題。動物園中的動物在人們眼中並不等值，受重視者生前、死後在園中都經過特意的文化儀式處理，包括命名、婚配、標本化與在展示中意欲喚起人們對該動物在人類社會扮演的角色的記憶。本文除思考圓山動物園自開園以還，園內動物被施行肉體虐待的問題，並提及戰爭結束前，幾位名人遊客描寫圓山動物園內人氣動物在圈養中身心困頓的處境，也探討動物園經營者自1970年代開始承認空間規劃等管理與動物福祉的直接關聯。雖然戰後1950年代臺北動物園的職員已創組愛護動物協會，但是其對愛護的觀念，是侷限在購買更多的珍奇動物、訓練動物表演、作動物展覽等娛樂人們的活動，與考量動物本身需求的關愛仍有相當的距離。更多探索動物與人類社會相遇的歷史，必有助於吾人思考真正的人與自然關係和諧之道，這也是本文撰寫的主要動機。 / The concept of public zoo was first introduced into Taiwan about one hundred years ago in 1910s. Although the zoo history in Taiwan was short, its role and function was still vital and changed many times. The Taipei Zoo was originally established as an adjunct to the Taiwan Governor Museum; however, it was later made accessible to the public as a park in Yuan-shan and transformed to be a playground and a place for animal performances as well. In the late 1980s, zoos in Taiwan, taking the responsibility for educating visitors especially young students, became a spot for field trip and started to be aware of the need to engage in species conservation (like the ark) so as to construct its meaning and importance. Most of public zoos in Taiwan were governmental institutions. At the beginning of 20th century, a zoo was a facility which represented civilization of a progressive empire, country or city. Animals in zoos were like “pets” for all citizens. In the 1970s, global environmental and political situations influenced ways to manage zoos. The collectivization of zoos became popular. Many of them cooperated and shared zoological researches with others more frequently. Besides, there showed a more international vision in nursing, registering, breeding or exchanging animals in zoos. Their values and positions in the global ecosystem were eventually emphasized. In addition to exploring the reason why zoos strived to make a clean break from their past, this thesis intends to discuss how the country or the society utilized captive wild animals and to examine situations of captive wild animals in different periods as well. How were they (or their ancestors) brought from their habitats in the wild to cities? How were they arranged to integrate into human society and became a part of people’s social life? Therefore, this study is not a history of a particular zoo or about zoo management. Instead, this thesis attempts to demonstrate the zoo history from a viewpoint of a cultural history of animals. In the field of the zoo history, it is worth considering when animals in zoos were treated or respected as individual subjects since they were often used as resources to meet people’s needs. The development of environmentalism strengthened the idea of conserving and breeding endangered species and also evolved new thinking for environmental education. In fact, there still existed a hierarchy to classify animals in zoos. Those who were carefully chosen and raised would experience specific cultural rituals such as naming or pairing during their lifetime. After they died, they would be preserved as biological specimen and displayed to the public to intentionally recall people’s memory of their roles in human society. This thesis not only examines issues like animal abuse from the opening of Taipei Zoo in Yuan-shan but also refers to some celebrities’ descriptions of popular animal stars’ physical and mental illness due to being confined within enclosures before the end of World War II. Moreover, it reveals that from the 1970s managers of zoos began to pay attention to animal welfare when making spatial planning or managing the zoo. Even though in the 1950s staff in Taipei Zoo founded a society for animals’ care and protection, they still strictly focused on buying precious animals, training them to perform tricks for visitors or exhibiting them in order to entertain human beings. These behaviors could be scarcely comparable to those caring actions designed to meet animals’ real needs. To explore history of human-animal interaction more fully can surely help us to think about how to live more harmoniously with nature. This is indeed the main goal for this thesis.

行銷在過去只運用於企業部門，作為滿足顧客需求，提高利潤的手段。但現在即使是非營利組織都處於高度競爭的環境之中，甚至公部門也必須透過行銷來說服民眾相信他們的政策與服務，因此行銷的概念就漸漸的擴張到此類機構。台北市立動物園為台北市政府教育局所屬之社會教育機構，也是一非營利組織，其功能已從過去單純的休閒娛樂場所轉型為遊憩、教育、保育、研究四大功能並重的機構，因此如何運用行銷策略使動物園成為使遊客滿意的「遊憩」場所；如何運用行銷策略來達到「教育」大眾愛護動物、珍惜生命的目標；如何運用行銷策略來「保育」動物，為生物多樣性做出貢獻；以及如何運用行銷策略來展示其在動物「研究」上的努力，就變成一個重要的課題。本論文將從此四大功能出發，探討台北市立動物園運用什麼樣的行銷組合策略來達成這些功能，並做出建議以期對台北市立動物園有所貢獻。

環境教育隨全球化趨勢已成各國教育目標，動物園具可執行教育課程的自然場域及專業設施，應可善盡環境教育設施角色，呈現人與自然生態的關係，。就學校教學而言，動物園如能發揮環境教育功能，將成為戶外環境教育有效的教學資源，使參訪者能提升環境知識或環境態度。本研究目的在探討國小學童使用動物園昆蟲館設施時的使用狀況，及在環境知識與環境態度上的學習成效，進而探討學童背景變項及使用狀況不同時，是否造成其環境教育學習成效的差異；最後提出對動物園設施規劃及環境教育方案的建議，俾提供園方未來參考。 本研究方法分為二部份：一、以班級為單位，隨機抽樣參加臺北市立動物園校外教學之國小四年級學生共1200位為研究對象，施以問卷調查，以瞭解其在昆蟲館的使用成效率、使用滿意度、環境知識成效、環境態度成效及個人背景資料。二、立意取樣三位隨行志工進行半結構訪談，以了解其對昆蟲館設施的意見及建議。在資料分析上，主要採用了描述性分析、次數百分比統計、t檢定、Cochran Q考驗及ANOVA變異數分析等方法。 研究發現，臺北市立動物園之參訪遊客普及度高及具重複參訪之特質；且昆蟲館使用成效率高的環境教育設施具有內容生活化、展示媒體多元化、展示媒體功能與活體互補、設立位置明顯及展示手法具互動性之特質。而使用成效率低的設施則導因於展示媒體變化少、展示手法缺乏互動性、輔助說明不足、位置不佳的狀況。 此外，位於昆蟲館遊客動線前端展示區設施較後端設施有較高使 用成效率，顯示遊客閱聽量有限。使用狀況部分，昆蟲館內60.83％ 的環境教育設施具使用成效，居住地區造成使用成效率差異，且使用 成效率隨來園次數遞增。學童之使用滿意度為正向的「滿意」，隨來園次數遞增，惟使用滿意度因環境教育構面不足呈現邊際效應。學習成效部分，設施的使用成效率越高，學童對該設施欲傳遞的環境教育知識學習成效越佳。另學童環境知識答題正確率高，居住地區造成環境知識學習成效差異，來園次數越多的學童，其環境知識的學習成效亦越佳。學童環境態度為正向的「同意」，且學童來園次數與環境態度得分成正比，然因環境教育構面不足有造成環境態度得分呈現邊際效應。另使用狀況與學習成效關連部分，使用成效率及滿意度越高的學童，在環境知識及環境態度上有較佳的學習效果。 研究者針對前揭研究結論，提出下列建議：環境教育設施首 應提升使用成效率，以促進學習成效，進而發展完整環境教育構 面，避免使用滿意度及學習成效的邊際效應；且臺北市立動物園 具發展環境教育之利基，建議以昆蟲館為全園啟動點，策略地持 續發展其他適合館區。 此外，昆蟲館環境教育設施應朝向內容生活化、展示媒體多元、展示媒體功能與活體互補及展示手法互動化的方向設計；並應避免大量平面輸出、過多文字內容，並加強輔助說明並注意損壞率及置放地點。另因遊客閱聽量有限，建議先行估算期待的使用成效率，俾有效規劃環境教育設施空間用途，並建議延伸設施內容的環境教育構面及指標，以提升遊客使用成效率、使用滿意度及環境態度成效，並可避免邊際效應。 就參訪者部分，學童居住地區影響其使用成效率及學習成效，建議園方應考量較不利學習的地區的學童，輔以行前說明或補充資料。另因遊客重複來園特性，建議可縮短昆蟲館展示更換期至半年或每季，並擴增短期展示空間。未來並可將館內設施納入學習單內容或作為志工導覽時的駐站教具，以增進遊客使用動機及次數，進而增加環境教育學習成效。

田納西‧威廉斯的劇本中經常描述家庭隱涵的不安與緊張關係，以及新興文明對美國南方傳統文化的衝擊，憑藉威廉斯的許多劇本和訪談錄可以看出作者對傳統與現代文化態度的改變。本論文旨在探討作者的早期寫作生涯（約在 1960 年以前，評家稱此時期為田納西‧威廉斯的劇本創作黃金時期）中三部重要劇本裡面對家庭和社會的看法，此論文希望能找出作者人生態度改變的原因和方式。《玻璃動物園》、《慾望街車》、《朱門巧婦》這三部劇本本身不但具備不可磨滅的藝術價值，主題也前後鉤連，劇本內在關係環環相扣，前後緊密一致。本論文將分成五個部分，除了導論和結論其中的三章討論三個劇本的情節。各章皆針對風景、對話風格、角色的個性、象徵意涵、社會地位與扮演的角色細緻探索檢視，藉此暴露社會的現象和文化的激盪；除了文本的詮釋剖析，論文將佐以部分的威廉斯生平資料，藉此探討作者在劇本中如何揭露他對社會的看法和藝術創作的蛻變過程。 / Praised as one of the greatest American dramatists, Tennessee Williams is obsessed with delineating conflicts among family members and cultural clashes in the American South. However, the artist's attitude towards modern society seems to change in his separate plays. The purpose of this thesis is to trace Tennessee Williams's three plays, that is, The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof, to find out why and how his attitide or view of life changes. These plays are the most popular and frequently discussed ones that stress impossible relationships among family members. Enormous in their aesthetic values, these three plays are thematically related. This thesis will be divided into five parts: Introduction, three chapters dealing with these three plays respectively, and Conclusion. Each chapter includes a discussion of major characters, probing into separate symbolic meanings and social status and roles in different circumstances, and linguistic styles; setting of the play, the interactions of the environment and characters; male-female interrelationship; shades of difference of the author's ideological concepts and author's attitude toward the wider contextual values. By searching for autobiographical elements and the social background, I hope this thesis can restore historciacl as well as textual meanings as represented in these three plays, thereby reexamining the playwright's views toward the external world and the evolution of man's mental processes.