論文摘要 跨入新世紀的台灣，在享受電子業所帶來的MIT國際盛名之餘，也因面對「世界工廠」大陸的威脅、產業外移出走、全球化等等壓力，而開始思考台灣下一波的新興核心產業在哪裡。世界的台灣，與他人競爭的武器仍舊集中於產品製造的功能面與成本面，以及生產物流的運籌能力，這種優勢的確直接而有力，但唯一的罩門就在於「可複製性」與「可取代性」太強。 相對於過去以「有形」的產品來做為競爭武器，下一代的產業則是以「無形」的知識競爭力為主要方向，從有形到無形，兩條截然不同的路途，需要不同的思維方式。因此，企業應脫離傳統單一的功能性迷思，在產品品質之外同時經營自身品牌特殊的風格與形象，這樣不僅能增進不同品牌間的辨識度，更能提升顧客的購買慾與忠誠度。 一個品牌的建立，是一個「養成」的過程，是一個長時間投入資源，並依循著一個固定形象培育的過程。要成功建立並維持一個品牌實屬不易，不論是在縱軸面（企業涉及層面的深度）或是橫軸面（時間線的延續）都需兼顧。國內企業多未具備以下幾項認知：「品牌需自高層的企業策略出發」、「品牌需具備能傳遞意義的個性」與「品牌需具備長久的一致性」。 既然一個品牌所能提供的是產品在意義面上的附加價值，那麼，這個品牌本身所蘊含的精神自然是創建品牌時的第一個重點。原型所具備的心理力量極為強大，因為他是一種亙古不變、人人與生俱來的深層情感連結，而且原型所具現化的類型是擬人式的角色，代表某一種強烈的特質與存在目標。因此，將「原型」作為品牌精神建立的起點，與發展過程中的檢視標竿再適合不過。 本研究的研究動機在於檢驗品牌打造流程中的兩大重點：品牌個性（Brand Character）與品牌一致性（Brand Integrity）。

在世界文學發展過程中，有一種顯而易見、又不容忽視的現象：即某一種典型意象，在不同主題的文學作品中反復出現；某一種表現手法，在不同時代的文學作品中被有意無意的再現。即使在一些經典性的文學作品中，深刻的思想、錯綜複雜的感情，總表現在有跡可循的模式或象徵符號中，成為人類深層的經驗圖式，隱含著超越時空的永恆價值。其實，這些主題早就存在於人類生活中甚至神話傳說，並成為文藝創作特別是文學意象和象徵的一個重要泉源。在中國文學作品中普遍可見的「桃」，就是這種象徵符號。它的花開在文學的莖脈中，它的果結在信仰的枝枒上，它的根更是深深扎進民俗的土壤□。它的繁衍，不僅是初民的食物來源之一，也是人們寄寓美好奇麗想像的對象；它的成長，不僅須經歷四時寒暑風雨，也經受了千年來變動不居的文化風暴。舉凡個人的愛情、婚姻、生子與壽夭，團體的禳災、辟邪、除禍與祝禱，這些眾所熟悉的象徵與作用，都是它一圈又一圈向外擴張、深深烙印在人類文化中的年輪。本研究即試圖從神話古籍以及中國少數民族創世傳說等神話材料著手，抽繹出初民在桃身上所寄託的無意識心理，並參驗相關文學作品為佐證，檢視桃意象在中國文學中的象徵文化意涵，以呈現其跨越時空持續存在的背後力量。 / In the development of world literature, there is one phenomenon that is apparent and cannot be ignored: certain typical imagery repeatedly appears in the literary works among various topics; certain way of expressing ideology has been intentionally or unintentionally re-used in the literary works at different times in the history. Even in some classic literary works, profound thoughts and intertwining and complicate emotions are always embedded in the traceable models or symbolic symbols. This approach has become an empirically mental imagery of humankind and implicitly carried the everlasting value that transcends time and space. In fact, these themes have long been existed in the lives of humankind even in the mythology and fables. They have also become very important sources of literary invention, especially in the literary imagery and symbolization. "Peach", commonly seen in Chinese literary works, is a symbol of this symbolization. It blooms on the stem of literature, is ripe on burgeon of belief, and deeply roots in the soil of folk customs. Its gradual increase in number is not only a source of food for ancient people, but also has become the object which people will relate their wishes and imagination to. Its growth not only needs to go through four seasons, cold, hot, wind and rain, but also it has to withstand the cultural storms that are constantly changing and unstable over thousands of years. These well-known symbolizations and effects such as personal affection, marriage, delivery, birthday and death, group's praying for eliminating catastrophe, driving off evils, avoiding disasters, and benison, are all its continuous extensions and they are deeply imprinted in the growth rings in the culture of humankind. This study attempts to start with studying the literature including mythological classic books and world creation legends among China's minority races to deduce the unconscious mentality associated with the peach that antiquity has put into. We will also use evidences in literary works as a supplemental proof and study the symbolic, cultural implication of peach imagery in Chinese literary works to reveal its continuously existent and sustaining strength behind that transcends time and space. Summaries of each chapter are as follows: Chapter 1, Introduction: Research Motivation, Scope and Methodologies It starts with the motivation and steps of this research. It also defines the research direction to help effectively accomplish the objectives of this research and provide a macroscopic view of this research. The method uses "Psychological Archetype" of Carl Gustav Jung (1875-1961) and "Literary Archetype" of Northrop Frye (1912-1991) as the base vision, and uses the literature as the primary research sources supplementing with the unearthed literature, i.e. a methodology of using multiple sources of evidences. By adopting this approach, we will identify and deduce the metaphorical role of "Peach Imagery" and explicate the profound meaning of "Peach Literature". Chapter 2, Primitive Thought and Plants Worshipping This chapter starts with the investigation of the thinking of antiquity's creation of ancient mythology to understand the principles of creating mythology and explicate the development of primitive thought (or myth thought). This will help capture the characteristics of primitive thought to facilitate the following research in the mythology and archetype. The "peach", the primary role in this research, is a holy tree second to hibiscus tree in China. Therefore, we will also investigate the consciousness of plants worshipping based on the views of ancient people's reliance on plants and the primitive thought of treating every thing to be a living being. At the same time, we zoom in the worshipping of holy trees in China to depict the origins of plant's holy and sacred imagery. Chapter 3, Deification and Mythology of Peach The creation of literary works is absolutely not an invention of any individual. Literary works should be studied in the context of entire scope of literature. The study in the literary history concludes that literature, as an organic entity, is rooted in the primitive culture: the model of initial literature must trace back to the religious ceremony, mythology and legend in ancient society. This chapter will mainly study the "peach" in the mythology. In Chinese mythology, though there is no mythology and legends centered around the peach, yet peach often shows up in activities or events associated with figures in the mythology and in some research as well. In this chapter, the author will base on a different angle of symbolization of symbols – use peach as the primary theme supplementing with figures in mythology or events – and use the method of reviewing mythology and archetype to re-investigate the mythological imagery of peach and to depict the cumulative and settling original imagery of peach in the mythology. Chapter 4, Displacement: Peach Imagery in the Poem and Literature Due to the attraction of Tao Yuanming's "Peach Blossom Shangri-la", the "arcadia" becomes the pronoun of Chinese Utopia and has displayed strong strength of life in Chinese culture. It also deeply influences the consciousness and conducts of Chinese scholars. Though the topic of this chapter is "Peach Imagery in the Poem and Literature", the discussion will focus on the article of "Peach Blossom Shangri-la", supplementing with the literature related to "Peach Blossom Shangri-la", and continue to adopt the method of reviewing mythology and archetype to explore and reveal its implicit, inhibitive, and profound meaning. Chapter 5, Displacement: Peach Imagery in Fable and Drama Based on the angle of archetype review, the clue to induce the law of literary development and evolution is the "displacement" of the archetype. The original mythology and literature will be displaced into a new literary genre along with the progressing of the development in the society. Therefore, after investigating the origins of peach and mythology, and the "arcadia" imagery, this chapter will use more literary works – mainly focusing on novels, dramas (for example, "Journal to the West", "Peach Blossom Fan"), and fables (for example, the story of Emperor Wu of Han China and the story of Liu、Ruan) to reveal peach's model of mythology and its consciousness of archetype in the literary works, as well as how does it stimulate the collective unconsciousness: concern toward life. Chapter 6, Conclusion: Archetype of Life After investigating the symbolic implication of peach from mythology to literature, this chapter will draw conclusions of this research – using the symbolic implication of peach to depict humankind's resisting mentality against death. Even until nowadays, we still can see various cultures of symbolization appearing in the folklore events that use peach imagery. The common mentality behind may be explained as that humankind's strong denial against death over many generations and the unchanging longing for eternal life.

「神話主義」（мифологизм）不僅是一種被二十世紀現代作家廣泛使用的文藝創作手法，也為文學研究提供銓釋方式。神話為何？結構主義與原型理論將記載原始思維的神話視為表現人類心靈深層結構的普遍規則，並深藏於人類與作家的無意識中。從文化觀點而言，神話是在自然語言基礎上發展出來的符號系統，是組成人類文化的基本成份。現代作家透過神話主義創作手法書寫對人、社會、世界的敏銳感受，以及在茫茫世界中為人類尋找出路，而讀者則遨遊於作家建構的現代神話中追索最純真的思維。 二十世紀吉爾吉斯民族作家艾特瑪托夫的文學成就早已蜚聲國際，他擅長將民間文學元素寫入小說，塑造出現實與虛幻相互融合的神話化創作。而評論界多專注於單一作品中的神話表現，甚少進行綜合評述。本研究將以結構主義、原型理論和文化符號學為論述基礎，以艾特瑪托夫七、八○年代發表的小說《白輪船》、《花狗崖》與《一日長於百年》為分析對象，從文學角度切入，探討小說結構藝術與具有神話原型意義的形象，並從文化學角度分析艾特瑪托夫創作中的神話思維，包括神話思維一般特性、神話儀式與神話主題，以此建構出艾特瑪托夫的神話主義詩學。

行動應用程式App開發時相當注重於使用者體驗。利用原型進行測試以收集使用者回饋，根據回饋改善原型再進行原型測試，此過程稱之為Iterative Design Process。本研究從前測與訪談中得知設計師偏好使用線稿式的設計手法做出紙面原型，經過數次上述的循環後再轉換成互動式原型；在反覆設計/重構原型與進行使用者測試的過程中，累積了許多的資料需要被記錄與分析，但目前尚未有服務能支援Iterative Design Process中各個階段的需求。 本研究提出了一套能加快設計流程的線稿式原型設計工具「Xketch」。在原型設計階段，設計師可透過繪製筆畫指令的方式生成元件與設定頁面、元件間的互動行為；當原型設計完成後可以直接發佈給受測者。在原型測試階段時，系統會同步記錄受測者的操作過程與think-aloud口述資料。最後，將收集到資料透過時間軸介面重現以協助團隊分析與討論。本研究認為Xketch能有效幫助行動應用程式App的開發過程，加速Iterative Design Process的循環。 第一版Xketch的開發目的著重於原型設計階段，設計師可利用筆畫指令生成對應的元件與互動行為，並透過Storyboard設定與檢視原型的使用流程。受測者認為Xketch整體的操作簡易、容易學習，也相當認同使用線稿圖案作為筆畫指令的概念，並認為Xketch能有效幫助設計師快速製作出互動式原型。最後，本研究將分析受測者操作記錄並搭配訪談回饋總結Xketch的實驗結果與討論，探討未來Xketch在原型設計的改善方向。 / Iterative Design Process plays a great role for developing mobile applications with great user experience. Designers create prototypes to collect user feedback and use those feedbacks to improve designs and prototypes for further iterations and testings. From our initial studies, we found out designers tend to use sketch based paper prototypes as their initial prototyping method. Designers go through rounds of paper prototyping, testing and iterations, before moving on to create digital interactive prototypes. During this process, there are a lot of information needs to be recorded and analyzed for the iteration loop. However, no integrated service yet can streamlined designers’ process of creating prototypes, recording testing sessions, and analyzing results. We developed “Xketch”, a sketch-based mobile application development tool for iterative designs and testings. First, designers can use the sketching interface on Xketch to rapidly prototype UI modules and interactions. Designers then can distribute the prototypes through Xketch to testers. During testing sessions, Xketch’s testing environment will record user behavior data and think aloud audios. At last, the collected data will be presented on Xketch’s timeline interface for feedback analysis. We envision Xketch to streamline and optimize the iterative design process when designers design mobile applications. The first version of Xketch contains major features for the prototyping phase. Designers can use simple sketching gestures to generate corresponding on-screen UI modules, and configure interactions of those components. Moreover, designers can also create and review interaction flows through storyboard settings. From our testing for Xketch, participants indicate that Xkecth is easy to use and learn. They also found the concept of using sketching gestures to generate on-screen UI module intuitive. Overall, participants think that Xketch can help them create prototype rapidly and intuitively. To improve for Xketch, we recorded participants’ usage behavior and accompanied with user interviews to give us a holistic view on the future iterative direction for Xketch.

二十世紀中葉以降，英俄語接觸愈顯頻繁，俄語除了以音譯和轉寫方式「借用」英語詞彙外，也開始大量以自有材料「仿造」（即直譯）英語成語。因此，本論文欲探討仿造成語（包括半仿造成語）在俄語中同化的情形，借助詞典、電子媒體、語料庫等媒介深入分析原型成語和仿造成語之間的形式差異，以及仿造成語在俄語中的語義發展，判斷其語義相對於原型成語而言是擴大、縮小或不變。接著，本論文分成形式和語義兩大研究主線，探討英語成語進入俄語後的使用情形，以及對俄語語義系統的影響。形式方面，討論仿造成語在各語言層面（語音、詞彙、構詞、詞法和句法）出現的形式變體，並探究各種變體出現的原因。語義方面，分析成語仿造所引發的組成詞語義變化，討論組成詞如何吸收英語語義，而此新語義如何擴散至組成詞的構詞族。本論文預期能豐富外語影響的研究視野，提供相關研究者、俄語教學者和學習者之參考。

本論文主要探討果戈理早期浪漫主義作品《狄康卡近鄉夜話》中的東斯拉夫神話成分與題材，其神話成分屬「下層神話」或謂「魔鬼學」的領域，由於這些神話成分在故事中絕大部分扮演「惡」的載體，因此論文從作家個人對「惡」感受的生成切入，逐步剖析作家與「惡」爭鬥的歷程，進而延伸探討作品所傳達的善惡觀。 本論文共分為五章：第一章為緒論，說明研究動機與目的、研究途徑、方法及限制、文獻評論、研究架構；第二章介紹東斯拉夫神話的緣起、發展、特色及研究情形；第三章則是對果戈理及《狄康卡近鄉夜話》這部作品進行分析、評介；第四章探討果戈理如何在《狄康卡近鄉夜話》中詮釋東斯拉夫神話的成分和題材，如何營造出《狄康卡近鄉夜話》中引人入勝的神話境域，又如何透過這些虛構的神話角色來體現人性中的善惡特質，傳達作者本身甚至擴及整個民族對善惡二元論的看法；第五章則為結論。

近年互動設計、產品設計、設計思考等學門，無不重視原型設計，透過使用者快速的測試回饋，反覆修正，使產品更符合使用者的需求。如今科技產品不斷推陳出新，與無所不在運算的普及，科技產品以及感知互動的服務與日俱增；設計團隊須了解電子電機相關技術，以完成各種測試原型。但對於一般的設計師而言，必須額外費時學習電路設計、焊接與程式設計等專業技術，已成為原型製作的一項門檻。 許多研究學者注意到這樣的需求，針對不同的使用族群發展各種電子電路創作工具，希望降低互動產品的創作門檻，舉凡Arduino、Phidgets與Gadgeteer等，但使用者仍須具備基本電路知識或參與訓練課程；近兩年推出的Littlebits與Atoms選擇捨去電路設計、焊接與程式設計的過程，讓沒有電子電路經驗的使用者也可輕易使用，卻降低了創作時的彈性，侷限了原型製作的變化性。 本研究將針對非電子相關背景的設計師，設計一套電子電路創作工具 「Rapid Prototype」，藉由分析過去電子電路創作工具的使用族群與設計思維，結合電子電路物件與智慧型載具，設計一套圖型化編輯器，透過物件順序的編排，及物件行為的選擇，快速製作出原型產品，降低設計師學習門檻及提昇創作自由度。 本研究原型設計工具，有以下功能： • 增加智慧型載具的支援：智慧型載具提供圖型化的編輯器與電子電路互動模組結合增加製作彈性。 • 降低學習門檻：降低電子電路相關知識需求，且透過圖形化編輯比傳統程式語言更容易學習。 • 擴展創作空間：核心物件與行動載具無線溝通，減少距離限制。 • 分析使用經驗：分析使用者在電子電路互動模組的使用經驗與操作，作為未來電子電路原型製作工具的參考。 / As the demands for interaction design with electronics increase, it is necessary for design groups to understand the technology related to electronic and electrical engineering in order to produce different kinds of prototypes. However, there is a large gap between concept design and prototyping. Designers have to spend a lot of time to learn electrical circuit design, welding, programming, and other professional skills. More researchers have noticed the aforementioned demands and have thus developed various creative tools for use by different groups working in this field in the hopes of lowering the degree of creativity required for interactive products. This has already been seen in Arduino, Phidgets, Gadgeteer products and so on. These toolkits are target on developers that have basic knowledge on electronics and programming. In the last two years, meanwhile, Littlebits and Atoms have decided to abandon the need for designing electrical circuits, welding, programming, and other sophisticated processes. Instead, they have opened the way for young people to be able to use their tools easily, despite the fact that doing so has also limited flexibility in terms of the creativity and variability of prototypes. In this thesis, we present RapidPrototype: a tool for designers without electronic engineering backgrounds and programming skill. By using RapidPrototype, users can transform their creative ideas into a workable prototype easily and quickly. In addition, the study sought to determine how RapidPrototype combines with electronic and electrical circuit objects, visual programming toolkit, and tools that practically meet designers’ demands to enhance the degree of freedom in terms of creativity and lowering the basic skills demanded.

本論文之目的在於探討「在」各種構式的概念、句式的意義以及語意上的各種分布，從語料中觀察母語人士和非母語人士「在」使用上的差異，並將研究結果應用於華語教材的設計中。研究者將先前關於「在」的詞類討論、構式的內容、句式義、相關變式的文獻做一整裡，發現過去「在」的研究多集中於語言現象的討論，在教學上的應用較少，於是運用認知功能學派的理論釐清「在」的概念、構式意義和功能後，調查語料庫「在」的語意和構式的分布，發現「在+處所」的構式無論是臺灣母語人士的語料庫還是中介語語料庫都顯示極高的頻率，占學習者書面語語料中的76.6％，口語語料也占了63.5％，其他語意範疇所占的比例不高，和母語人士相較下，調查結果顯示非母語人士在書面語上對「在」的使用掌握度不夠全面，仍停留在原型的語意，而口語的掌握度較高。因此，本文以構式語法和認知語言學的理論為基礎，一方面使用語料庫研究法考察語意範疇的分布，另一方面採用對比法研究檢視華語學習者的中介語句，並使用變換分析法討論句式變化的合理性，更進一步將構式、隱現、相關變式的考察成果結合認知功能教學法與任務式教學法，設計出符合認知功能主張的教材內容與練習，以幫助學生徹底掌握「在」構式的深刻內涵。 / The purpose of this study is to investigate concepts associated with zài constructions, focusing on their different meanings and semantic distributions. Having observed native speakers’ and non-native speakers’ different performances in corpora, the researcher applies the study results to the design of Taiwan Mandarin teaching materials. After reviewing literature on discussions about part of speeches of zài, zài constructions, meanings of sentences and related transformations, the researcher discovers that previous studies have made more efforts to discuss linguistic phenomena rather than pedagogic applications. As a result, by utilizing the theories of cognitive-functional approaches to clarify the concepts, constructional meanings, and functions of zài, the researcher investigates the semantic and construction distributions of zài and finds out that “zài+ location” displays the highest frequency in both corpora of native and non-native speakers: 76.6％ in interlanguage corpora in form of written language and 63.5％ in interlanguage corpora in form of spoken language. Other semantic categories, however, have lower frequency. In addition, the result of investigation indicates that non-native speakers hardly master all dimensions of zài, and they still remain at the prototypical level in written language, but know spoken language better. Therefore, based on construction grammar and cognitive linguistics, this study on the one hand uses corpus study to inspect the distribution of semantic categories, and on the other hand, adopts contrastive study to inspect Mandarin learners’ interlanguage and employs transformation analysis to debate the rationality of transformation. Furthermore, the researcher, based on the results of studies on constructions, appearance and disappearance of zài , transformations with cognition-functional teaching methods and the task-based approach, designs contents and exercises conforming to cognition-functional approaches in order to help Mandarin learners know zài constructions thoroughly.

過去，感知物件的互動方式大多發展於大型互動桌上，其技術主要是採用影像辨識來進行互動偵測，隨著平板的普及，我們希望能將大型互動桌的實體互動體驗帶到平板世界，然而現今平板使用之電容式觸控技術有別於大型互動桌之影像偵測技術，無法直接應用影像式的物件辨識方法，因此設計出一套結合平板電腦與感知物件的開發工具，目的是要讓互動設計的開發者能夠快速開發感知物件的互動模式。 而電容式實體互動物件設計較為複雜，對於互動設計的開發者而言，要去製作、開發這些互動物件不論是在電路或是實體物件都是有一定的難度，並不是所有的開發者都擁有相關的背景或是資源。而為了讓原型製作更加的簡單在軟體上我們設計了一套SDK，在硬體上結合了樂高積木和導電的膠帶，不僅製作快速、成本低，在組裝上也能擁有一致的規格以減少誤差的發生。藉由其底座組合方式的差異也就代表著不同的感知物件。因此開發者只需套用我們所設計的SDK就可以將原有的作品加上實體互動物件的互動模式。 / The Tangible User Interface (TUI) has been widely adopted on interactive tabletops by using optical sensing techniques and fiducial markers. With the huge growth of smartphone and tablet market, we hope to expand the tangible interaction experience to the off-the-shelf touch devices. However, most touch devices use capacitive sensing techniques that can only detect human fingers. We create a tangible hardware toolkit base on capacitive touch devices so developers can use it to build tangible interactions in a fast way. We put conductive adhesive tape on LEGO blocks to form an identifiable footprint. The footprint could be attached onto a tangible object. And the pattern of the footprint could be easily arranged to represent different identities. We also provide a flash SDK that can be quickly integrated into a developer’s project and then enable tangible interactions. We expect our hardware toolkit and software SDK can benefit more developers to create tangible UI applications on the capacitive touch devices.

京都大学 / 新制・課程博士 / 博士(人間・環境学) / 甲第23966号 / 人博第1018号 / 新制||人||240(附属図書館) / 2022||人博||1018(吉田南総合図書館) / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)教授 藤田 耕司, 教授 谷口 一美, 准教授 守田 貴弘, 教授 池内 正幸 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DFAM