本研究之目的在協助廣告人對中外廣告的語境表徵及文化差異有更進一步的了解，供其在製作廣告上細部的思考，進而能讓廣告適切扮演推動社會進步的角色。台灣與西方國家在廣告的訊息內容及文化呈現上是否有所差異，影響因素為何，為研究問題所在。 本研究採內容分析法，以2000年到2002年時報廣告金像獎及倫敦國際廣告獎之得獎影片為研究對象，進行跨文化之比較分析。研究主要發現有四：第一，兩者多以塑造形象、軟性銷售及幽默訴求為主，此類作品的表現手法較易奪得評審的青睞。第二，後者使用反面陳述的比例較高，主要原因為西方文化中的個人與社會承擔風險的反應程度較高所致。第三，前者以背景音樂為主，後者則以主題歌曲為多，究其原因為前者評選著重內容情節，而後者則在創意、設計、技術等方面齊頭並重。第四，在文化呈現方面，權力距離、不確定性規避、群體主義、柔性作風四類目，前者均高於後者且呈現顯著差異，反應出東西方文化本質上的不同；而個人主義和剛性作風並無顯著差異，可能原因為近年西風東漸，台灣文化亦逐漸走向個人主義抬頭，重視成就與效率等面向（特別是在個人主義類目，前者尚呈現逐年上升的趨勢）；後者在不同年代文化呈現的類目均無顯著差異，說明了西方文化處於一種較為穩定的狀態。

本研究旨在探討圖像輔助呈現時機對台灣國中生聽力的影響，而圖像輔助呈現時機則分為在聽力活動前與在聽力活動進行中。同時為了深入探究其效益，本研究更著重於其對高、中、低三個不同能力組別學生的影響。除此之外，並對於二份學生問卷的回答加以探討： （1）問卷一有關學生們先前學習英語的背景資料。 （2）問卷一有關學生們在聽力過程中主要遭遇的問題，涵蓋聽力內容、聽者本身與外在因素等。 （3）問卷二有關學生們對圖像式聽力測驗的反應與他們對實施聽力測驗時，圖片展示時間的看法。 本研究以台中縣光正國中一個國三班級42位同學為對象，經過英語聽力能力測驗後，他們被分為高中低三組。實驗前，學生們先填寫第一份問卷。隨後，三組學生一起接受兩種實驗: (1)邊聽邊看圖片; (2)先展示圖片再聽。在完成所有實驗後，隨即填寫第二份問卷。本研究主要結果如下： （1）大多數的受試者已學習英語3年以上，卻對自己的聽力缺乏信心。此現象乃肇因於學生們有限的練習時間。也因此，他們大多不贊成將來升高中大考有聽力測驗的項目。另外，眾多的學生表達了希望獲得老師在聽力方面指導的強烈需求。 （2）聽力能力愈差的學生，遇到更多的聽力問題，尤其在聽力內容與聽者本身方面問題為最。 （3）以整體學生的聽力表現而言，聽前呈現圖片對學生的幫助比邊聽邊呈現圖片的效果來的顯著。 （4）以各個組別學生的聽力表現而言，聽前呈現圖片最能彌補中低程度學生聽力的不足。 （5）超過半數以上的學生表達較喜愛圖像式的英語聽力測驗，尤其是圖像呈現在正式的聽力活動之前為最。 根據研究的結果，聽前呈現圖像輔助對不同程度的學生均有助益，尤其對中低程度者聽力理解的幫助更為顯著。因此，本論文呼籲，國中英語老師可在實施英語聽力測驗時，多善用圖像輔助以引發學生的學習動機並藉由聽前呈現圖片技巧來提昇學生們的英語聽力理解。 / The purpose of the present study is to explore the effects of pictures as cues supplied at different time periods, the picture before listening comprehension test (BLCT) and during listening comprehension test (DLCT). More specific, it is focused on the comparisons of the effects of BLCT and DLCT on the high, middle and low proficiency groups. Also probed are students’responses to two questionnaires on the following issues. (1) The subjects’ previous English learning background as shown in Questionnaire One; (2) The main listening problems the subjects encounter in the process of listening, including the oral text, the listener and external aspects; (3) The subjects reactions to the listening comprehension with the picture format and their preference for the timing of picture-giving. The subjects of this study are 42 students of nine-grade junior high school students in Kuang-cheng Junior High School in Taichung County. They are divided into three proficiency groups—the high proficiency group (HPG), the intermediate proficiency group (MPG) and the low proficiency group (LPG) according to the scores of the listening comprehension test in the subjects’ second mid-term examination. At the beginning of the overall experiment, they are demanded to finish Questionnaire One. After that, they are assigned to take two listening comprehension tests: a listening comprehension test with a picture before listening and during listening. After receiving the two treatments, the subjects are asked to complete Questionnaire Two to reveal their attitudes toward the listening comprehension tests with visual cues. The major findings of the present study are summarized as follows: (1) Although most of the subjects have learned English for more than three years, they do not establish much confidence in their own listening ability due to the limited time of practice in listening. Many of them do not support the idea of incorporating the listening comprehension test into the future high school entrance exam. However, they express their eagerness for obtaining the teacher’s guidance in listening. (2) The worse the listeners achieve, the more listening difficulties they would come across, especially in the oral text and the listener himself/herself. (3) BLCT is more effective than DLCT. This can be proved by the mean scores and standard deviation of BLCT and DLCT respectively. (4) As the three different proficiency groups are taken into consideration, BLCT lends itself to the low proficiency groups (LPG) and the intermediate proficiency groups (MPG). (5) Most of the subjects prefer the listening comprehension test with the picture format, particularly the visual cue before the listening activity. Based on the results of the study, the picture before listening benefits all of the three proficiency groups, especially the lower achievers. The researcher suggests that English teachers in junior high school try to make good use of visual cues in constructing listening comprehension tests to arouse students’ motivation and thus improve students’ listening comprehension.

以機率或頻率方式呈現訊息對風險知覺評估的影響，過去的研究有不一致的結果，原因可能來自於判斷事件與受試者的自我相關程度不同，而引發捷思或系統性的訊息處理歷程。實驗一發現當事件的自我相關程度高，受試者會採用系統性的認知處理，而事件的自我相關程度低時，受試者會採用捷思性的認知處理。實驗二詢問受試者認為以機率或頻率方式呈現訊息何者較清楚明確，結果發現有77.5％的受試者認為以頻率方式呈現訊息較以機率方式呈現訊息清楚明確。實驗三操弄「事件自我相關程度」與「機率或頻率方式呈現訊息」，結果發現當事件為高自我相關時，機率或頻率方式呈現訊息在風險知覺的判斷上沒有差異；而當事件為低自我相關時，則頻率方式呈現訊息的「風險知覺」與「事件聯想負向詞數量」均大於機率方式呈現訊息。另外，當事件為低自我相關時，訊息明確度與事件聯想負向詞數量對風險知覺有顯著的預測力。以上的結果支持不同事件自我相關程度會引發捷思或系統性訊息處理，而頻率方式呈現訊息較機率方式呈現訊息清楚明確的原因，與Slovic等人(2000)提出頻率較具體，容易想像的推論符合，但不支持Gigerenzer和Edwards (2003)認為機率的參照類別不清楚的假設。此外，自我相關程度與可得性捷思為影響頻率或機率方式呈現訊息對風險知覺判斷結果不一致的重要變項。

近幾年來，社群網路因為使用者的參與已逐漸熱門熱門，成為我們生活中不可或缺的一部分。例如Facebook、Youtube以及Flicker都是目前使用者經常使用的社群媒體平台，我們可以在平台上發表任何任何想法，並且透過平台與其他使用者溝通。社群網路已經逐漸改變傳統人們的溝通方式，許多使用者再平台上發表內容以及訊息，當訊息被許多使用者廣為討論以及分享，因此在平台上有著所謂口碑的出現，也就是所謂的共鳴效應。本篇研究想了解使用者使用社群媒體並是如何透過社群網路達到共鳴效應。 本研究目的在於調查再社群網路上，何種因素會導致消費者去討論以及分享訊息，也就是使用者間的共鳴，之後更進一步探討，當使用者間的共鳴發生時，是否會影響到使用者的購買意願。本研究共蒐集了410份樣本並使用結構方程模型分析其樣本顯著與否。本研究結果發現其內容滿足、社會關係滿足與自我形象滿足都對共鳴有顯著影響，且共鳴對購買意願也有顯著影響。此外，本研究也執行分群分析將共鳴結果分為高共鳴與低共鳴兩族，分別探討其顯著指標與背後意義。 / In recent years, social network have become incredibly popular. Online communication platform such as Facebook, YouTube, and Flicker offer freely available user-generated content that enabled individuals to express their ideas and communicate their opinions to many people. People can create, modify, discuss, and share on social networks. Therefore, social networks have gradually become interpersonal communication platforms. Message resonated when information is shared among individuals. We want to have a better understanding of the use and gratification that users obtain from social networks when topic resonated among them. We collected the 410 sample and used the structural equation model analyzed our proposed model by using SPSS 21.0 and SmartPLS. Besides, we also used K-means to partition our sample into two clustering and obtained the managerial implications. In our research, we observed that content gratification, social relation gratification and self-presentation gratification have impact on resonance and resonance also has influence on purchase intention.

全球極端氣候、天災頻仍，氣象訊息與民眾生活息息相關，根據中央氣象局104年調查，民眾獲得氣象資訊的管道仍以「電視」占最多數，氣象傳播是科學傳播的一環，本研究以一個颱風從生到死為範圍，對四位電視氣象主播晚間新聞時段氣象預報，分訊息呈現、媒體設計、播報展演等三個層面進行內容分析，並輔之以四位主播的深度訪談，探討國內電視氣象主播在颱風警報發佈前、警報發佈期間與警報解除後，如何對閱聽大眾進行傳播。 近年來由於媒體競爭激烈，使得電視氣象預報從颱風還在一兩千公里外就開始眾聲喧嘩。本研究發現，氣象主播的科學背景會影響其颱風播報敘事結構，對於尚處遙遠的颱風，任立渝、林嘉愷用語比較保守，戴立綱語多暗示，王淑麗暗示性最強、使用篇幅也最多。在警報發佈期間，任立渝偏重颱風分析，林嘉愷擅長運用圖表解析即時風雨狀況，戴立綱敘事強調生活化提醒閱聽人防颱防淹水，王淑麗用語相對生動活潑、善用周遭事物比擬陳述颱風。在颱風警報解除後，任立渝、林嘉愷和戴立綱立即恢復平日氣象播報格式，惟王淑麗仍停留颱風訊息的陳述。在媒體設計上，林嘉愷使用的虛擬棚、鏡面和圖表，在視覺化的設計和呈現都較其他三人為佳。在播報展演上，四位主播各有風格，任立渝誠懇嚴肅、林嘉愷草根親和、戴立綱急切亢奮、王淑麗則走輕鬆活潑路線。手勢和觸控筆是氣象主播很重要的展演，手勢是一種肢體表演，觸控筆則是展現專業分析的工具，視覺性的動態展演是聚焦觀眾注意力的方式。 綜觀分析結果，本研究也提出颱風氣象播報準則，氣象主播的長期專業形象是其一，訊息呈現的敘事結構必須隨著颱風逼近而機動調整，當颱風地處遙遠時，對於颱風的敘事以「教育」觀眾大氣環境變化為主；當颱風逐漸靠近時，颱風動態路徑的解析說明展演能力，是氣象播報的決勝關鍵；當颱風警報發佈後，對台灣陸地影響的預估解釋能力則是觀眾收視關切的重點。至於搭配的氣象鏡面宜以視覺化為原則，追求圖表色調文字簡單明瞭且可視性高，並且讓觀眾熟悉且習慣這些圖表規格的呈現，惟須避免造成視覺疲勞。而展演方式則視個人風格特色而定，有些人適合沈穩嚴肅，有些人適合親切活潑，但考量電視是視覺展演的平台，動的畫面會比靜的畫面吸引觀眾，不論是眼神、表情、手勢、觸控筆、左右走動都是牽動觀眾視覺的重要元素，讓主播的講解、動作與鏡面三者在視聽感官上的互動，達到人機一體展演的效果。 氣象主播的個性發揮與風格確立，關係品牌形象與信賴感。專業氣象人有過實務或學術訓練，如果加上好的展演訓練及觀眾緣，或者是非氣象專業的新聞人，經由豐富的新聞訓練及額外自修，都能獲得觀眾的喜愛與信賴。本研究經由對四位氣象主播播報的分析與歸納，最後提出一套颱風氣象播報準則，俾以提供有志從事電視（影音）氣象播報工作者之參考。 / Since the world has experienced extreme weather and natural disasters constantly, weather information has been closely related to the lives of human being. According to the survey conducted by the Central Meteorological Bureau in 2015, TV is still the main channel for the public to access to meteorological information and meteorological communication is a part of science communication. Based on a typhoon from the birth to death, this study explores 4 weather presenters during prime time broadcasting by the use of content analysis which includes 3 aspects: message presentation, media design and performace. Also, by conducting in-depth interviews with the 4 presenters, this study examines how the domestic weather presenters communicates with the public before and during the authorities announces the typhoon alert, and after the alert is lifted. News media face fierce competition in recent years which leads to the rise of infotainment. For example, TV weather presenter starts to dramatize the strength of typhoon when it's just 1000km or 2000km away. This study found that presenter’s academic background in science does affect the structure of narration. When typhoon is still far away and the impact is variable, Ren Li-yu and Lin Jia-kai are more likely to present with a conservative tone while Dai Li-kang is more suggestive. Wang Shu-li has the strongest suggestive tone. During the alert, Ren Li-yu focuses on the typhoon analysis, Lin Jia-kai is fond of using charts and graphics to analyze the current wind speed and rainfall. Dai Li-gang puts more emphasis on reminding audience to be cautious and to do as much as one can to prevent the typhoon. Wang Shu-li’s style is relatively lively and she tends to make an analogy with surrounding things to describe the typhoon. After the typhoon alert is lifted, Ren Li-yu, Lin Jia-kai and Dai Li-gang resumes to the usual weather broadcasting style immediately. However, Wang Shu-li’s way of presenting stays the same. From the aspect of media design, Lin Jia-kai presents in a virtual studio with particular TV screen layout, charts and graphics which is clearer and better than the other three. When it comes to performace style, the 4 presenters have their own style, Ren Li-yu is sincere and serious. On the other hand, Lin Jia-kai is more approachable and affinitive. Dai Li-gang seemed to be more aggressive and provocative. Lastly, Wang Shu-li tends to present the program with a lively style. Gestures and stylus could be important tools while presenting. Gesture weighs during broadcasting while the stylus could be used to show their professionalism, attracting more viewers. From the results of the analysis, the study also proposed typhoon forecasting criteria, first of all, the weather presenter’s long-term professional image. The narrative structure of the message must be adjusted as the typhoon approaches. When the typhoon is far away, the narration should be focused on “educating” the audience the knowledge of the atmospheric environment. While the typhoon is gradually close, the capacity to analyze the typhoon is the key to prevail against others. When the typhoon alert is announced, the ability to explain how the typhoon would impact Taiwan is the concern of audience. The key principle for weather forecast's animated background is visualization. The graphics and texts should be simple and easily digestible. Also, the program should let viewers absorb and familiarize with these presented charts. One thing that needs be avoided is visual fatigue. In terms of performace, some presenters are calm and serious, some are cordial and lively. Since television relies heavily on visualization, moving pictures are more eye-catching than still images. Otherwise, both eye contact and facial expressions, gestures, the use of touch pen, or even the body movement all play a dispensable role. Combining weather presenter’s narrative, gesture and chart, can deliver the best weather forecasting performance. TV weather presenter’s personality and personal style establishment is helpful to build brand image and earn the trust of the audience. Professional weather presenter with practical and academic training, plus good performance training; or for journalist without meteorological background, through abundant professional news training and self-study, they can win audience’s heart and trust.

為了讓求職者對工作或公司產生好印象，招募廣告中往往只呈現正向訊息，過去有關真實工作預告 (Realistic Job Preview) 的研究顯示，在廣告中呈現負向訊息其實可讓求職者對工作產生正確的期望，進而降低離職率。先前探討負向訊息的研究大多只探討其與離職率等的關連，因此本研究希望瞭解，在企業網站的招募廣告中呈現負向訊息對求職者的組織吸引力的影響。另外，國內求才網頁多以「官方說法」的形式呈現招募廣告，只有少數網頁會以「在職同仁經驗分享」的形式呈現，本研究亦欲驗證招募廣告呈現形式是否對組織吸引力有所影響。 　　簡而言之，本研究採實驗法，採2×2雙因子受試者間實驗設計，所操弄的獨變項為「負向訊息呈現與否」及「招募訊息呈現形式」，依變項為組織吸引力，「知覺工作挑戰性」及「知覺訊息來源相似性」則分別為上述兩獨變項對依變項之中介變項，此外，本研究也希望探討性格在其中扮演的調節角色。透過模擬網路求職的情境，研究者在虛擬的企業求才網頁上操弄兩個獨變項，受試者共825人，其中男性346人，女性479人，受試來源主要為學生（佔59.8%），在職者則佔28.4%，本研究以共變數分析和迴歸分析檢定兩獨變項之主要效果及交互作用。研究結果顯示，「負向訊息呈現與否」及「訊息呈現形式」對組織吸引力之影響在全體受試未達顯著，但在女性受試則有顯著影響，兩者之交互作用則皆未達顯著，本研究預期之「知覺工作挑戰性」及「知覺訊息來源相似性」並無顯著中介效果。性格部分，成就動機對「知覺工作挑戰性」和組織吸引力間有顯著調節效果。