在市場區隔理論的發展中，由早期的地理化區隔、人口統計變數的區隔、到心理與行為方面的區隔，像是:生活型態、人格、與使用時機、使用率⋯等, 但是這些區隔變數只是注重於產品的利益面、功能面或屬性面，並沒有針對消費者的核心價值為出發點。 在信用卡的紅海中，除了銀行發行的聯名卡、認同卡之外， 研究生以女性在人生階段不同功能性角色的消費價值變化，以信用卡延伸服務發展新的信用卡形態，探討以人生角色定的情感黏度發展，是否能減少呆卡率。發卡銀行應該了解消費者核心消費價值，發展有顧客價值的產品或服務，讓她們對發卡銀行提供的產品或服產生強烈的認同與忠誠。本研究採質化分析，研究發現如下： 一、 女性隨著不同生命階段遭遇到不同的人生課題，自我角色轉換時，需求亦會改變，與信用卡的關係知覺也隨之改變，女性在相同的生命課題，不同的生活經驗的互動過程，每一角色代表著女性情感價值的知覺。故女性的需求可以以擔任不同角色如妻子、母親來分類 二、 單身階段因情感價值的關係申辦的第一張卡，在之後的家庭發展過程中，也不會取消該卡片，因為此信用卡連聯個人在離開父母的世界，所代表著邁向獨立自主、自我追尋、自我展現的個人情感關係。 三、 女性在新婚期申辦的信用卡，大多以功能性角色‘太太’、‘母親’在生活上的需求，如超市聯名卡、水電費自動專屬信用卡扣繳，兒童服飾愛的世界聯名卡，可以了解女性在家庭發展階段，女性關注的焦點從個人的需求及家庭需求發展，重視責任、關懷他人，他們在群體中不斷訴諸於共同的感覺與情緒, 她們透過心理認同的相互連結起來，並且獲得情緒價值。 四、 女性持卡人需要的是被尊重、愛護以及同理心的感受，一但發卡銀行給予女性消費者這樣的感覺，她會一輩子記得這樣的窩心的回憶，不會輕易轉換發卡銀行，因此發卡銀行在CRM方面最重要的關鍵在於了解女性重視的是什麼，一但有了針對女性較細膩的行銷策略與服務品質，必可穫取女性的終身價值。

本研究以《中時》「家庭版」為例，從1956年11月25日起至2004年12月31日逐日翻閱歷時五十年的該版面。作者以「形式與內容｣為經緯，檢視「家庭版｣變化，將歷史沿革分為五個時期：始自週刊、繼而日日出刊、刊名的改變—各類軟性題材齊聚、報禁解除：「家庭版」重生、周末報時期版面倍增。筆者歸納影響的因素，發現早期因報禁限張政策，使得非藝文、體育和影藝的其餘軟性題材，全都置於「家庭版」中，報禁解除後，家庭類的版面激增，設立與內容轉而受商業力量左右。 「家庭版」與其他版面最不同之處，就是強調讀者參與。讀者參與空間漸增，從限時限定主題的刊登，到每日至少刊登1~3篇讀者投書。近五十年當中，讀者除踴躍參與「家庭版」徵稿外，從讀者筆戰交鋒中更可發現，其對家庭價值捍衛有時更勝於編輯。 「家庭版」中的女性角色，從主內持家轉為家庭與事業兩者兼顧的形象，女性新角色承擔了雙重壓力。家庭不是封閉體系，亦受到外在政治、經濟與社會影響。歷經1980年代經濟起飛、政治開放，女性從事政治、社會運動與社會志工的社會角色漸漸增多，女性角色更顯得多元且豐富。 / This thesis focuses upon the Family section of the Chinatimes and examines its presentations of female roles during the past fifty years on a daily basis, ranging from November 25, 1956 to December 31, 2004. The author discerns that historical evolvements of the Family section into five periods: it came initially as a weekly, followed by a daily format, with the change of its title, the Family section took in more and more various soft subjects. The latest is the arrival of Taiwan’s newspaper deregulation and consequently the revival of Family section and the multiplication of weekend edition. As a conclusion, we should say that the Family section was deeply conditioned by the government’s newspaper policy of limiting the competition of the media. The press landscape has seen a sea-change since the late 1980s though, when topics used to be covered in the Family section gradually expanded into other pages. Commercial forces has by this time overridden political effect. The reader participation is the most important and distinguished characteristic in Family section. Family section is considered to defend our social value. From the reader’s argument, it is found that readers make more efforts than the editors. The female roles are represented in Family section.The changes from housewife image that helps the husband and teaches the children, to the professional women image that looks after both work and family. However, even when economically independent, women have never been released; instead, they take much more stress than before. After 1980s, raise of economic and openness of politics ,the social roles of women have seemed to be more abundant.

Beside the innumerable male characters in the Chinese classic, The Romance of The Three Kingdoms, there is one female general: Lady Zhurong (祝融夫人). This thesis addresses the research gap in studying the unique case of Lady Zhurong, the only woman in the novel that leads an army in battle. By using a qualitative method, the thesis investigates how Lady Zhurong’s portrayal is influenced by her gender. An intersectional theory is used to contextualize how her ethnicity as Nanman (南蛮) and her social status intersects with her gender. Furthermore, it compares her to how other minor male generals are portrayed. The analysis finds that Lady Zhurong’s character should be understood from the context of her ethnic background and the overall negative portrayal of the Nanman. Nevertheless, as suggested in the story through the description of the Nanman, some gender norms differ between them and the Chinese society of the time. This enables her to have more autonomy than other women which in turn enables her to fight on the battlefield and lead an army. Despite the general negative depiction of the Nanman, Lady Zhurong’s portrayal, performance, and the expectations of her as a general is equivalent to that of the male generals in the story. Compared to other Nanman generals she even outperforms them. However, her character should not be understood as merely an emasculation of the other Nanman-generals. Lady Zhurong has agency, and the findings can contribute to our wider understanding of women’s multifaceted roles in traditional Chinese society. / 经典名著《三国演义》虽然刻画了无数的男性角色，但它却只塑造了唯一一位女性将 领——南蛮女将“祝融夫人”。本论文以这个少见的角色为研究主题，采用质性研究 的方法，以祝融夫人这一独特的女将形象为例，分析研究小说人物形象的塑造如何受 到角色性别的影响。并利用交叉性理论的分析视角，结合祝融夫人的“南蛮”身份， 探究民族背景与社会阶层如何与性别交互影响。此外，本文也分析比较祝融夫人和其 他男性将领角色。所以本文发现因为小说对南蛮的评价负面,因此必须在这个背景当中 理解祝融夫人的角色。尽管南蛮和当时的汉人社会都有性别角色的差异，但祝融夫人， 比较三国演义上的其他女性角色有更多的自主权，甚而统率部队上阵。在对南蛮的普 遍负面描述中，祝融的军功和野心都是比肩男将军，甚至比其他南蛮将军更出色。然 而，这个角色的功能并不仅仅是削弱其他南蛮将领，而具有个体能动性。这些发现有 助于我们更广泛地理解传统中国社会中女性的多元面貌。