許多讀者時常透過閱讀旅遊敘事來認識異地，無論是敘事中的文字或圖片，皆能為讀者建構異地風貌並藉此延伸出許多關於該地的認知與想像。據此，本研究旨在探究讀者在閱讀旅行敘事過程中，對於旅行圖文敘事因何產生想像，是否有特定因素會勾起讀者的想像開關，圖文敘事因何使讀者產生想像。 研究發現，讀者閱讀旅行敘事時，對於具有當地特殊文化背景的物品、人物的故事、動作與對話、歷史背景等特別能夠勾起讀者的想像。文字敘事可利用關於細節的描述、感官、形容詞、生命經驗、故事等喚起想像。此外，非本國文字的使用也可使讀者延伸想像。圖片在旅行敘事中的功能多在印證與具體化，且可能限制讀者想像。 讀者所生成的想像內涵中可發現，閱讀旅行圖文敘事能夠使讀者產生關於空間、修補外在客觀形式、情感、聯想、生命經驗、記憶以及五感聯想中的視覺聯想等。而其他時間、因果、對比、創造新形象以及五感聯想中的聽覺與嗅覺皆少有想像。 / Many readers access to foreign place by reading travel narratives and pictures. While reading travel narratives, many imaginations and affection come out from their mind. This study aims to explore the imagination of reader on travel narratives and pictures. If there is any element in narratives and pictures can arouse reader’s imagination, and what those elements are. The study shows that when reader found something is unfamiliar with, people’s conversation and story, and the history can arose imaginations. The descriptions, adjectives, life story and experience in narratives do help to arose imagination. In addition, foreign characters also make readers think further. However, pictures in travel narratives limit the imaginations, it makes readers stop imagining. Most of imaginations are about the space, fix objective forms, affection, life story, experience, and visual association. Less do people think of time, causality, contrast, making new image, hearing association and olfactory association.

有關報刊史的研究，過去多以分析文字報刊為主，畫報的論析較被忽略。若能從畫報的角度探討，將會發現與文字報刊不盡相同的圖景。 就畫報的發展而言，上海發生過兩次畫報潮，第一次由1884年創辦之《點石齋畫報》引起，第二次則由1926年之《良友畫報》所帶動，並且在三十年形成風潮。《點石齋畫報》為石印畫報，聘請畫師手繪印製而成。在網目照相版技術引進中國之後，攝影圖片取代繪畫圖片，《良友畫報》即採用攝影技術，以大量的照片呈現內容。由於攝影無法拍攝詭譎神怪的情景，因此雖然仍以獵奇作為編輯的基本主軸，但在相當程度上轉變了畫報的內涵。攝影類畫報除了沿襲清末以來石印畫報報導新奇事物的特色之外，還有承襲報刊的哪些面向呢？承襲之後又有哪些轉化性的創新呢？這些創新對於當時讀者來說，具有何種意義呢？換句話說，對讀者而言，和文字報相較，畫報到底被定位為何種類型的讀物？而以「獵奇」為主軸的編輯方式，對讀者產生什麼樣的閱讀感受？這類屬於閱讀史（History of Reading）範圍的問題，是為本論文撰寫的初衷。 本論文除第一章前言與第五章結論之外，共分為三章。《良友畫報》是否造成「閱讀習慣」的轉變，是本論文的問題意識所在。第二章主要從《良友畫報》引發的第二次畫報潮中，所出現之畫報史回顧作品著手，從後設的角度進行分析，闡述這些畫報史作品的寫作手法，以及其所蘊涵之預設，進而深掘在此預設背後，對「畫報」這個型式的界定。當代學者多據這些畫報回顧史作品，討論中國第一份畫報畫報為何，或按照其分類方式進行討論，本章的目的即在於對此種研究取徑做一反思，希望藉由後設的角度，進一步論析上述畫報史文章，從而避免跟隨其後見之明的論旨，進而為其所牽制，並且藉此深掘當時讀者對於「畫報」的觀感與定位，更為確切地掌握彼時讀者的心態。 第三章主要討論《良友畫報》的出版機構——良友圖書印刷公司，藉由分析良友圖書公司的整體風格，作為理解《良友畫報》的背景，避免僅就報刊文本探討所導致的平面分析之弊。本章的研究手法，亦非僅僅描述良友圖書公司的建置而已，而是將上海書業龍頭商務印書館與良友圖書印刷公司作一比較，討論該公司如何自民初以來唯有出版教科書才能生存的上海書業中，突破既有的窠臼，開創以出版畫報為專業方向之全新出版風格，深化第二章關於三十年代對「畫報」體裁所抱持的看法，揭示良友圖書印刷公司對於消閑閱讀習慣的建立，實具有不可忽視的影響力。 順此而下，第四章則將焦點放置在良友圖書印刷公司旗下銷量最佳的《良友畫報》，析論《良友畫報》如何運用「畫報」特具的圖像特質，呈現與文字報刊不甚相同的閱讀圖景，在強化第一章對「畫報」獨特性討論之際，亦試圖梳理出迥異於李歐梵等學者所呈現的摩登時尚之另一種現代性面貌。結論除綜述內文論旨之外，另援用哈伯瑪斯之「公共領域」（public sphere）的概念，討論自晚清李伯元《遊戲報》以來所帶動的消閑閱讀習慣，被 1910 至1920 年代盛行的小報潮負面化以來，《良友畫報》如何扭轉當時人對消閑閱讀的惡評，確立消閑閱讀習慣的正當性，進而去除《遊戲報》以來的諷刺時事之「公共領域」特質，轉變為一個純淨的消閑空間，並且在失去批評時政的特色下，從而被政治當局挪用，成為官方意識型態的傳聲筒。

《臺灣婦人界》是日治時期唯一在臺灣發行的女性雜誌，其創刊宗旨為「協助提升發展臺灣婦人文化」。雜誌中所呈現的女性形象反映了當時臺灣部分女性，特別是中上階級女性的樣貌。本研究以《臺灣婦人界》的廣告為文本，運用法國符號學者羅蘭‧巴特提出的圖像符號學分析觀點，探討雜誌圖像中呈現的女性形象，及其背後所代表的文化意涵。 本研究發現，《臺灣婦人界》中呈現的女性形象與日治時期臺灣女子教育中的「高女文化」相符，這種「高女文化」所體現的「和洋折衷」符號現象，具體而微地代表日治時期臺灣邁向現代化的過程。臺灣的現代化過程，係受到殖民母國影響，掺雜了日本經驗與經過日本篩選的西方經驗。此外，根據文本分析的結果，《臺灣婦人界》有一種女性形象為「賢妻良母」，代表的是日治時期臺灣女性婚後的典範，女性必須透過婚姻與婚後的家庭場域，才能實踐她所扮演的理想角色。《臺灣婦人界》發行後期受到中日戰爭影響，呈現的女性形象與戰前截然不同，此時期圖像反映出戰爭期間，日本殖民政府利用媒體意圖塑造的各種表象，如幸福的皇民化家庭、女性進行的奉仕活動等。 / Taiwan Women's Sphere is the only women's magazine published in Taiwan during the period of Japanese occupation. Its object was to assist in developing women’s culture in Taiwan. Taiwan Women's Sphere can be viewed as an important medium representing images of upper-class females during Japanese Occupation of Taiwan. Using the analytic principles of pictorial semiotics proposed by French semiotician Roland Barth, the present research analyzes advertising and pictorial texts containing female images and provides an in-depth discussion of the cultural and societal factors influencing such representation. Our research results indicate that the female images represented in Taiwan Women's Sphere fit into "the culture of girl’s high schools" during Japanese occupation. "The culture of girl’s high schools" connotes both the influences of Japan and the West, which play significant roles in the modernization process of Taiwan. A modernized Taiwan was not only influenced by Japanese colonizer but also by the western cultural elements selected by Japan. . In addition, another significant female role portrayed by Taiwan Women's Sphere was "a dutiful wife and also a loving mother." Such an image implies that females were “ideal women” only when they were married and practice their dual roles as wife and mother in the familial space... After 1937 when Sino-Japanese War broke out, contents of Taiwan Women's Sphere were censored closely by the colonial governments. A certain number of the pictures printed on this magazine are related to the Kouminka Movement such as the portrayal of the kouminka family and war-supporting women engaging in various activities.

本研究嘗試從「家的外部圖像與內部邊界」、「家庭成員與家人關係」與「親職角色」三部份進行提問。研究者藉由回顧相關法律制定與修訂記錄、官方統計資料、政府出版品、當時報章雜誌、學術研究期刊論文的文獻討論等，對照政治、法律、經濟、教育與社會政策制定與家庭型態的變遷，並以內容分析法依據10次修改課程編修內容長時段地考察國小一年級國語教科書。一方面藉此瞭解不同社會時期，勾勒出教科書中家庭圖像的動態變遷；另一方面，預期可作為未來教師教學與國小教科書編輯的參考。 本研究發現國小一年級國語教科書理想家庭圖像在戰後重建的1950年代、加強民族教育並強調「反共復國」的1960年代、經濟起飛的1970-1980年代、社會改革百花齊放的1990年代，以及2000年以後多元價值並存等五個階段有所不同。隨著政治、經濟、教育與社會變遷、人口轉型、性別平權意識抬頭、個體化發展，以及後現代、多元、異質家庭變遷，突顯出教科書理想家庭圖像更新速度並非完全反映台灣婚姻與家庭變遷，而是執政者政策制定與知識生產的機制在不同時期國家階段性任務。即從農村到都市，從家族集體經驗到個體化，從單一到多元，呈現出有所「變」、有所「不變」的變遷基調。最後研究者進一步對於教科書編輯、家庭教育與後續研究提出幾點建議 / This study explored the elementary textbooks from the following three aspects, “the outer portraits and the inner boundary of family”, “the relationships between family members”, and “parenting role”. By means of reviewing the records and processes of law making; officially statistics data, government publications, newspapers and magazines; and academic journals, researches and literatures, researchers compared different aspects of politics, law, economy, education, social policies and family changes. The content analysis, based on the previous process of compilation, was adopted to analyze the first-grade textbooks in the elementary school. By doing so, I illustrated different changes of ideal family portraits during different social periods of time; on the other hand, I aimed to present the analytical result as a reference for the compilation of the elementary school textbooks in the future. This research found that ideal family portraits shift over time. In different periods of time, government has different foci: during 1950s, after World War II, it focused on reconstruction; in 1960s, it emphasized national education and Anti-China Policy; from 1970s to 1980s, it focused on the acceleration of economy; in 1990s, it reflected the springing up of social evolution; and in 2000s, it revealed the existence of multi-values. Owing to the social changes of politics, economy, and education systems, concerning the demographic transition and the awareness of gender equity, reflecting the characteristics of post-modernization: individualization, multi-values and heterogeneous of family structure, the ideal family portraits from textbooks failed to represent the current family and marriage situations in Taiwan. They are compiled with neither the reality of Taiwan’s marriage nor family. They are compiled with the mechanism which the ruling authority legitimatized their periodical policies. In other words, from rural to urban, from family collective experience to individualization, and from singularity to pluralism, the base between changing and unchanging was indicated. Then, the researcher further offered some suggestions for textbook compilation, family education, and future studies.

本研究係透過對全球暖化科普出版品的圖像再現分析，研究圖像與公眾溝通暖化議題時的角色、功能與意義，進而討論圖像設計與公眾參與間的關係發展。圖像分析的來源主要以2007年IPCC發表第四次報告後，全球暖化科學知識的發展成熟、確定人為造成暖化及國際社會採取行動等社會氛圍為觀察點，以臺灣出版市場為選材來源，蒐集13本以圖文共構為主的科普文本，取徑符號學並應用家族相似性觀點於圖像再現的分析主軸。 研究者立論與分析思維的處理方式，是以宏觀的知識社會學理論視角，先行探索全球暖化知識的認識論及其在臺灣產製的研究議題，以及科學哲學、風險社會對此知識觀點的探討，再以社會建構論的角色切入，梳理社會建構論者如何分別從規範建構與權力建構的詮釋，分析全球暖化議題與社會間的互動發展關係，並與先前闡述理論形成辯證過程。研究者接著再從媒體再現全球暖化議題的相關研究，進行資料蒐集與分析，討論過去在風險議題下圖像被賦予的角色與功能。最後，研究者據成因面、影響面與解決面為圖像所依附的敘事架構，整理分析出各面向下圖像家族再現的論述主題、議題與意義，將其結果分析與處理後，再與先前的學理對話，形成本研究的發現與結論。 本研究發現成因面圖像多再現科學共識，影響面圖像側重全球暖化帶來的災難事件及不確定性，解決面圖像則再現技術與行為規範的論述。在圖像輔助文本論述的角色界定下，各方面有以下特徵與意義： 首先，文本在描述科學事實與因果關係時，圖像再現會顯示科學文化圈的慣用符碼，如模型、數字、圖表、科學家研究的歷史相片等融入圖像再現，形塑能摒除懷疑、建構嚴謹可信的知識論述。 其次，解釋全球暖化影響時，圖像再現則傾向表現災難正在發生，在各地不斷游移與變動的不確性，來表徵全球暖化風險的系統性與連鎖效應。圖像再現會善用人們認知習慣上的比較手法、恐懼符碼來建構意義：直接影響面上，會以比較法配合描述改變中的自然景觀（融冰、海平面上升），或是各地災難事件的受創場景，以輔助闡述暖化持續進行的現象，並構連宗教文化的神話系統，象徵人類的罪與罰，以激起行動與重生的意念；衍生影響面上，圖像再現則以恐懼相反的修辭策略，如美麗、平和與可愛的動植物圖像及依賴自然生活與生存的人們、文化古都等景觀，搭配控訴暖化破壞的書寫，以建構等待救援受難的他者，圖像在散發出美感外隱藏生命共同體的道德訊息。 最後，文本在議論如何解決風險社會中複雜的系統性利益與需求問題時，再生能源的技術就在其中扮演著關鍵性的工具角色，其中又以太陽能、風能等圖像較常被引用。圖像再現則以車、房為載體，將回收技術、再生能源科技、生態技術的想像與論述置入其中，提供接受科技治理而無須改變現有生活的價值與態度。但是，風車圖像所再現的風場與發電廠，隱藏高技術門檻及科技專家治理的形態，隱藏由政府、產業與科技專家共治的大治理論述；而方舟圖像再現意指科學或科技行動須集思廣益才能事竟其功。在行為規範面，圖像再現節能減碳、綠化環境的行為圖標，輔助個人參與適應暖化行動論述，抗爭與遊行圖像的再現則指涉公眾參與科技民主的一種形式，卻忽略其他多元參與論述的圖像。上述研究發現與學理概念對照與分析後，本研究從公眾參與角度提出以下科普圖像設計的實務建議與創新見解： （一）圖像設計可減少註解式的圖文關係，以故事發揮圖像敘事潛能。 （二）公眾涉入感為理念，設計與公眾生活脈絡相關的圖像與論述。 （三）公眾能動性為理念，邀非專家設計圖像，建立情感與認知連接點。 （四）圖像用以轉化公眾的願景，專家與公眾共構小治理規劃的實踐。 公眾解讀科普與參與傳播，則能豐富媒體素養教育的理論的實踐範疇，圖像則發揮圖像激勵公眾參與的潛能。 / This study examines the roles, the functions, and the significance of images for communication with the public on global warming issues by analyzing image representations of popular science publications on global warming. The study also discusses the relationship development between image design and public participation. According to the study’s findings of popular science images, "cause images" represent scientific consensus, "effect images" correspond to catastrophic events and uncertainties resulting from global warming, and "resolution images" signify the descriptions of technologies and the norms of behaviors. Under the current defined role of images for the supporting text, we observe the following characteristics. First, when describing scientific facts and the cause-and-effect relationships in the content, the representing images of the symbols commonly used by the science culture circle, which include models, numbers, figures/tables, and historical photos, eliminate doubt and allow for the construction of significant and credible knowledgeable narratives. Second, when explaining the impact of global warming, the representing images often lean towards showing the shifting and changing uncertainties caused by disasters that are occurring in order to signify the systems and the chain reactions produced by the risks of global warming. Third and lastly, the study also explores the key roles of sustainable energy technologies for solving the problems of complex systems and the needs of society. The most common images cited are those of solar energy and wind energy. After the comparison and analysis of the abovementioned findings and the concepts of various theories, we provide practical suggestions and innovative insights for a scientific image design from the public participation perspective as follows. (1) Image design can reduce the needs for image annotation, and story-centered images retain great potential for illustration. (2) Public participation shall be considered as the basis for designing public life-correlated images and narratives. (3) Experts should design images based on the concept of public dynamics so as to establish a connection between emotion and recognition. (4) For the transformation of public thought using images, experts and the public should carry out the construction of a small plan together. The public perception of science and public participation in communication can enrich the practical areas of the theories of media literacy education. Images can additionally generate potential benefits through design of public participation.

中國宣傳畫作為中國政治社會變遷的記錄儀，擁有著深遠的史料價值和時代特徵。本研究運用Roland Barthes的圖像符號學理論作為分析工具，探討1949至2008年期間中國宣傳畫中圖文符號的意義指涉和運作規則。本研究將中國宣傳畫分為「中共建國時期」、「大躍進時期」、「文化大革命時期」與「改革開放時期」四個歷史階段；在每一個時期的宣傳畫中，則重點分析偉人領袖、工農兵、女性以及兒童這四類人物符號；歸納出這些人物符號在時代中的變遷以及他們所體現的意識形態與社會政治文化脈絡。 本研究發現，中國宣傳畫呈現出了領袖崇拜、敵我矛盾與階級身份的圖像符號運作原則；文字與圖像意義的連結較為緊密，圖文能產生強烈的對應關係。中國宣傳畫的意符與意指穩固了民眾的服從，它們來自傳統的文化，蘊含無數的集體記憶，也反映出群眾值得追求和嚮往的「目標」；這些「目標」均為國家的重要施政方針，例如：熱烈從事生產建設與追隨領導人等。雖然中國宣傳畫運用寫實主義的手法來勾勒出人民生活的圖景，但並非完全真實的反映，這種「真實」是經過政治考量之後被選擇與建構的「真實」。中國共產黨官方意識型態與社會主義價值觀支配著中國宣傳畫所傳遞的訊息，宣傳畫「再現」意識形態的同時，也展現出「去菁英化」的無產階級文化。然而改革開放之後，由於社會轉型和市場化進程，宣傳畫也反映出中國的中產階級與小資產階級文化的逐步發展。 / As the recorder of the changes of Chinese political society, Chinese propaganda posters showed remarkable historical values and characteristics of the times. Using Roland Barthes’ pictorial semiotics, we studied in this review the implications and rules of the images and texts signs of Chinese propaganda posters between 1949 and 2008. The review was divided into four parts: Building the People's Republic, The great leap forward and back, Cultural revolution and China opens up. In each part, four types of character signs were analyzed: great leaders, workers/farmers/soldiers, women and children. The changes of the character signs in different times and the development of ideology and social political cultures indicated by the changes were generalized. The research results indicate that Chinese propaganda posters illustrate the semiotic rules of worship to leaders, the contradiction and the classes. The close connection between images and texts generate strong correspondence. The signifier and signified in Chinese propaganda posters, which strengthened the obedience of people, came from Chinese traditional culture and involved numerous collective memories. They also reflected the targets people pursued, which were the government’s major policies, such as great emphasis on manufacturing and construction industry, or adherence to the leaders. Although the vision of people’s life was depicted in the posters in a realistic way, it was not purely real, but a politically tailored ‘reality’. The official ideology of Chinese Communist Party and socialism values dominated the information conveyed by the posters. The posters showed proletarian culture, which involved populism, as well as representing the official ideology. However, after the beginning of reform and opening, the propaganda posters started to show the development of the culture of the middle class and petty-bourgeois in China brought by the transition and the marketization of the society.

本研究嘗試從現代民主政治與教育兩百多年的發展歷程中，考察三種不同類型的教育命題或觀點，分別是：涂爾幹的「教育是一種社會化的過程」、弗雷勒的「教育即是自由的實踐」，以及傅柯的「關懷自身的倫理作為自由的實踐」。三種政治─教育立場分別著重於不同的人類圖像：教師、學生、知識分子。為考察上述三種不同類型的命題，從「社會環境與人類圖像」這樣的視角，我們將命題置於具代表性的政治社會化時代脈絡中，亦即：「民主社會─道德人」、「解放社會─人性化」與「規訓社會─生存美學」，在各自不同且具代表性的現代教育類型（道德教育、提問式教育、關懷自身的倫理作為自由的實踐）中進行研究。 基本上，本文所探討的三種教育類型是在與盧梭《愛彌兒》所揭示的教育問題對話過程中依序進行的。首先，愛彌兒這個理想的教育人類圖像對現代教育而言具有某種類似原型的影響力。原因在於，盧梭所虛構創造的愛彌兒是擺脫一切人類不平等，對自由有著深刻體認的道德人。由於日後在民主化的浪潮下，人們所欲培育的道德公民標示出封建君主教育與現代民主教育的根本差異，且是現代民主社會教育的主要特點之一，因此愛彌兒有其奠基性的重要作用。不同於盧梭以愛彌兒作為建構道德社會的起點，弗雷勒依循馬克思主義的思路，強調社會階級的差異，並以資本主義所具有的壓迫剝削性質的理解，提出受壓迫者教育學，凸顯出人類圖像與世界觀的相關性，在教學形式上主張人性化的提問式教育，由此一來也顯現出民主與教育的融合和開展。有別於傳統道德教育思想以及追求人性解放的革命理想，傅柯指出，由於現代國家知識─權力的流動與滲透形成了規訓社會，在這樣的情況下也就益發地凸顯出關懷自身（生存美學）的重要，亦即關注自身的學習成長挑戰了長期以來以國家為教育目的的正規性框架，由此一來便為現代教育研究帶來了深刻的思想衝擊。 在研究發現中，研究者回顧現代人類圖像變遷及其可能的相關發展，嘗試指出人類圖像的議題置入教育學三種不同政治─教育取向典範時，彼此之間在知識上形成一種既同又異的張力關係，從而呈現出對理解現代教育樣貌的不同詮釋角度，希望能作為教育學知識探討的背景，使我們對教育有更深度的思考，開拓出更多理論思考的面向。在後續研究建議裡，在以康德的教育疑問為背景下，研究者認為我們應對當下人類遭遇的諸多危機有所認識，以從教育的立場上做出適時的貢獻，故研究者整理當代法國哲學家莫翰於西元1999年為聯合國教育、科學及文化組織撰寫的教育改革建議書中的討論，考察教育對人類的重要意義，作為本文的研究結語。 / This research attempts to investigate three different forms of educatinal propostions or pespectives from the process of developing modern democracy and education over the 200-year period. It contains by examining the Emile Durkheim’s notion of “education is a process of socialization”, the notion of “education as the practice of liberty” which had its roots in Paulo Freire, as well as notion of “the ethics of the concern for self as a practice of freedom” which drew directly from Michael Foucault. From the political-education standpoint of view, they concentrated on particular human picture, including teacher, students and intellectuals. To explore the content of three educatinal propostions, I will put these into the context of typical politicization of society: democracy- moral people which means moral education, empancipating society- humanity which stands for posing education, and disciplinary society- aesthetics of existence which is supported by the idea of the ethics of take care of self as the practice of freedom. In essense, three educational forms of this research are implemented in sequence which is linked to the dialogue process of revealing educational problems by Rousseau, notably in Emile. First of all, the ideal-educated human picture origining from Emile had potentially influenced on modern education because Emile, who was moral person created by Rousseau, got rid of human inequality and acknowledged significantly importance of freedom. In the enlightment of democracy, people wanted to nurture moral citizenship, which was the main charactersitic of modern-democratic education, that represented the essential differences between feudal-monarchy education and modern-democratic education. Therefore, Emile had laid the foundation for modern-democratic education. Unlike the notion of Emile as a beginning to construct moral society, Freire followed the route of Marxism, and stressed the differences of social classes. In addition, he advocated pedagogy of the oppressed to raise the relationships between human picture and worldview based on understanding of nature of oppression and exploitation in the Capitalist context. As a result, he proposed posing education as a form of enhancing humanity in teaching as well as illustrating the inclusion and development between democracy and education. The flow and infiltration of national knowledge had shaped disciplinary society, which was pointed out by Foucault, was distinct from traditional moral education and evoluational provision of pursuiting humanity-emacipating. In this context, Foucault had raised the importance of concerning for self: aesthetics of existence, in other words, by means of concerning learning growth for self, it could challenge the formal frames of educational aims building on the basis of nation so as to bring the conflict on way of thinking for modern educational researches. As the results shown, after reviewing the shift of modern human picture and the possibility of related development, researcher attempts to indicate the tension with the differences and the similarities among the knowledge relationship when human picture are put into three forms of political-educational paradigm of pedagogy. As a result, the findings, which represent different explanation to acknowledge the modern education, are recognized as background of discussing educational knowledge so that we can have profound thinking about education, as well as in the expansion of dimensions of educational theories. In the follow-up research, researcher suggest that we should acknowledge various risks from human encountering at the moment based on the queries from the Kent’s educational problem and make appropriately contribution to education as educational practitioners. In my conclusion, I quote the conclusion that discussed the significances of education on UNESCO’s educational reforms in 1999, which was written by contemporary French philosopher Edgar Morin.

隨著數位影像軟、硬體裝置上進步與普及，普羅大眾對於影像的使用不僅限於日常生活之中，更隨著網路分享概念等Web技術的擴張，這些數量龐大的影像，在使用上更朝向娛樂化、趣味化及個人化的範疇。本論文提出結合影像處理中的人臉特徵分析（Facial Features Analysis）資訊以及影像內容分割（Image Content Segmentation）及影像變形轉換（Image Warping and Morphing）等技術，設計出可以將真實照片中的人臉轉換成為卡通化的肖像，供使用者於各類媒體上使用。卡通化肖像不但具有隱藏影像細節，保留部份隱私的優勢，同時又兼具充份擁有個人化特色的表徵，透過臉部動畫的參數（Facial Animation Parameters）設定，我們提出的卡通化系統更容許使用者依心情，來合成喜、怒、哀、樂等不同表情。另外，運用兩種轉描式（Rotoscoping）及圖像變形（Morphing）法，以不同的合成技巧來解決不同裝置在限定顏色及效果偏好上的各類需求。 / As the acquisition of digital images becomes more convenient, diversified applications of image collections have surfaced at a rapid pace. Not only have we witnessed the popularity of photo-sharing platforms, we have also seen strong demand for novel mechanism that offers personalized and creative entertainment in recent years. In this thesis, we proposed and implemented a personal caricature generator using transformative approaches. By combing facial feature detection, image segmentation and image warping/morphing techniques, the system is able to generate stylized caricature using only one reference image. The system can also produce multiple expressions by controlling the MPEG-4 facial animation parameters (FAP). Specifically, by referencing to various pre-drawn caricature in our database as well as feature points for mesh creation, personalized caricatures are automatically generated from the real photos using either rotoscoping or transformative approaches. The resulting caricature can be further modified to exhibit multiple facial expressions. Important issues regarding color reduction and vectorized representation of the caricature have also been discussed in this thesis.

始於資訊社會論述瀰漫，資訊社會相關口語俯拾可得，信誓旦旦，並觀察到報紙做為一權力爭奪發聲的動態場域而資訊新聞相關版面從有到無漸趨固定之態勢，本論文第一個研究問題即是：資訊社會是何光景？---看報紙建構出如何的資訊社會圖像；接著以批判的傳播政治經濟學取向解讀此圖像是如何被產製出來的。前者（建構圖像）以系統化歸納資訊版新聞的報導主題與隱喻語言的使用為兩條取徑來呈現報紙建構的資訊社會圖像；後者（解讀圖像）則關注傳播活動如何在資源（物質與符號資源）分配不公允的情況下被設定或限制，挖掘資訊社會圖像的產製環境、生產條件與生產關係等文化製造的資訊，以瞭解文化產品（資訊社會圖像）的深層社會意義。 研究結果發現：資訊版新聞以資訊商品為首席主角及幾乎全使用正面情緒的隱喻語言所鋪陳出來之資訊社會圖像，其產製環境實與「台灣資訊社會論述發展之歷史脈絡下，國家機器與資訊產業資本家的共生結構」、及「報業經濟環境產生變化時，資訊業與報業的經濟關係」有關。轉而進入新聞產製過程，探討產製資訊新聞的過程中如何得以與社會既有權力互動，並且歸納出「國家機器」與「資訊產業界」之共生結構消息來源佔資訊版發聲位置將近八成，而資訊社會圖像產製於此等權力架構中。 第一章 緒論 1 第一節 研究動機與研究背景 2 第二節 研究問題與論文架構 5 第三節 章節安排 6 第二章 文獻探討與研究取向 8 第一節 文獻探討 8 1. 資訊社會文獻探討 8 2. 資訊社會定義的探討 12 3. 資訊社會論述的批判觀點 17 4. 資訊新聞與科學新聞相關研究 20 5. 小結 22 第二節 研究取向 23 1. 「建構」資訊社會圖像之研究取向 23 1.1 新聞的報導主題 24 1.2 隱喻 25 2. 「解讀」資訊社會圖像之研究取向 28 2.1 政治經濟學與批判的傳播政經研究 28 2.2新聞產製V.S.權力 31 3. 小結 34 第三章 研究方法 36 1.研究對象與抽樣 36 2.分析單位與研究範圍 37 3.類目的建構 38 3.1 一般資料 38 3.2 報導主題 39 3.3 隱喻語言 54 3.4 消息來源 55 第四章 研究結果 57 第一節 報紙建構的資訊社會圖像 57 一、 資訊版新聞的報導主題歸納 57 1. 資訊版新聞的報導主題歸納統計分析 57 2. 合併類目分析 73 3. 加入「頭條╱非頭條新聞」變項 77 4. 小結 79 二、隱喻語言的分析 80 小結 97 第二節 解讀報紙建構的資訊社會圖像 99 一、資訊社會圖像產製的政經環境 99 1. 全球資訊化浪潮的成形 100 2. 資訊產業在台灣的發展 101 3. 台灣的資訊政策 102 4.資訊社會論述中「國家機器」與「資訊產業資本家」的共生結構 105 5. 大眾化報紙紛設資訊相關版面V.S.市場利潤 108 5.1 固定資訊相關版面紛紛現身 108 5.2資訊相關版面設立背景 110 二、新聞產製V.S.權力 114 1. 新聞組織常規 114 1.1 記者採訪路線與消息來源 115 1.2 時間概念對新聞的影響 117 1.3 客觀的新聞專業意理 118 2. 資訊版是誰的天下？ 119 2.1 消息來源的偏向 119 2.2 在資訊版新聞發聲的消息來源 120 第五章 結論 124 第一節 研究結果 124 第二節 研究限制 127 第三節 對未來研究的建議 128 參考書目 131 附錄一 140 附錄二 148 附錄三 149 附錄四 151 / The first question this thesis want to ask: what is Information Society (hereafter, IS)?---what kind of image of IS newspapers construct; then comprehending how the image is produced in the approach of critical political economy of communication. The former (constructing image) selects two approaches, inducting the themes of news reports and the metaphor language systematically in the page of information news, to present the image of IS newspapers construct; and the latter (comprehending image) concerns how communicative activities are influenced or limited under the situation of unequal distribution of resources (material and symbolic resources). Try to dig out the information of the productive environment, conditions, and relations of the image and so on about culture production to comprehend the deeper social meaning of the image. The research found: In the page of information news (Liberal Times is the research object in this thesis), the image of IS is made of the chief leading role, information commodity, and the metaphor language which almost shows positive emotion. The productive environment of the image is related with the symbiosis structure of Taiwan state apparatuses and the capitalist of information industries in historical context in Taiwan and the economic relations between the press and information industries when the economic situation of the press changed. Also, by entering the process of making news, this article discusses how social existing powers interact in making information news, and the research found the IS image is produced from a powerful structure made of information industries and state apparatuses. These two kinds of sources occupy almost 80% of speaking location in the page of information news.

現代消費社會籠罩在濃厚的符號性消費氛圍之下，「家具」也從純功能性的物件轉變為符號價值高的象徵性消費商品。本研究以Roland Barthes的圖像符號理論為基礎，試圖分析台灣的家具平面廣告，探究這些廣告的符號運作原則，以及隱含於家具消費背後的社會文化價值。從居家設計雜誌《ARCH雅砌》與《室內interior》中選取二十三則家具廣告，並依據廣告的主題與文本特性分為五個類別，進行深入分析。本研究發現，家具平面廣告的圖像訊息常依循「堆疊引申」與「二元對立」兩種意義建構過程，自然化物件的並置，堆砌出各種符號指涉系統；此外，在家具廣告中，文字訊息能同時對圖像訊息產生預設意義與情境意義的功能，但多對圖像進行「預設意義」的作用。本研究進一步發現，多數的家具廣告未建構出一個「家庭」的氛圍，而僅是搭築一個富含指涉意義的家具展示空間，利用這個空間極力強調西方文化的優越性，而西化的氛圍指涉了高級的生活型態。最後，研究結果顯示，在家具消費的領域中，社會階層、品味與文化資本皆影響了消費者行為，驗證了Baudrillard與Bourdieu等學者的符號消費理論。 / Modern society operates behind a shroud of symbolic consumption. Home furniture consumption, as an example, has been altered from purely functional to highly symbolic. Based on Roland Barthes’ pictorial semiotic theory, this paper attempts to analyze the print advertisements of furniture in Taiwan in order to clarify the signifying process of these furniture print ads and the socio-cultural values embedded in the Taiwan’s furniture consumption. Twenty-three print ads selected from popular design magazines, Arch and interior, are categorized into five groups according to their thematic and textual characteristics. The research finds that the iconic messages of these print ads are mostly in the pattern of “refrain” and “binary-opposition” utilizing “naturalization of objects” to construct symbolic meanings. Furthermore, the meaning of iconic message is frequently restrained by the linguistic message in terms of “anchorage,” although both “anchorage” and “relay” may both function in the print ad simultaneously. Most of the furniture advertisements didn’t construct a “home” atmosphere, but only a space to display furniture products and build rich referential meaning. The superiority of western culture is strongly emphasized; westernized ambience signifies the high-class life style. Finally, the research results indicate that in the case of furniture purchase, consumer behavior involves social class, taste, and cultural capital, which confirm Baudrillard’s and Bourdieu’s theories of symbolic consumption.