本研究延續Coffey (2013)的研究，將社會學的理論「自主概念」應用至華語教學研究的領域當中，採用的是敘事資料、個案研究方法。本研究中，有兩位敘事風格與學習行動迥異的華語老師，一位平穩的將自己的故事娓娓道來；另一位則關注觀眾的感受，使得說故事的過程趣味橫生。本研究以兩位老師回顧二語學習過程的音檔及書面資料為分析樣本，並依照他們敘事的時間繪製曲線圖，這兩張曲線圖包含了敘事場域中的三個不同面向，包括：兩位老師學習過程中的各個事件和人生轉捩點（二語學習自主）、說話者是否在乎觀眾反應而改變原先的說話方式或內容（說話者展現之言談自主）以及觀眾的反應。研究人員依話語給予相應不同分數，並利用Holistic-Form（整體形式）的方式繪出三面向之間的交會與變化，從中分析學習者如何敘說自己生命歷程以及自我概念的變化。 本研究之貢獻在於敘事研究的分析方法上，使用三條曲線視覺化學習者自我與時空連結與敘事現場氣氛的流動，更全面的檢視團體互動細節。並發現這種「依附/不依附」觀眾為中心的敘事模式，顯示說故事者的自我揭露程度不同。以此提出建議，當說話者展現之言談自主高、情節多且短時，要注意對方可能避重就輕、迴避了感受的真實性。同時，言談自主高起的區段可能是當事人比較痛苦或負面的經驗，可以多加留意。研究的場域與在場的觀眾會對說故事者的敘事產生影響，如採一對一訪談，應能降低前述情況的發生。並建議將之納入日後研究方法的範疇中。 / Drawing on theories of identity and agency (particularly, Coffey, 2013), this qualitative case study scrutinizes how language learner identities and agencies are performed in group storytelling sections. The participants involved are two Chinese teachers with distinct narrative styles: one tells her stories quite uneventfully; while the other intentionally shaped her stories according to audience response, making the storytelling section full of laughter. Both oral and written narratives were gathered for holistic-form analysis which resulted in two matrix displays of running time, response intensity, and levels of learner agency as the participants narrated critical events in their language learning trajectories. These matrixes helped reveal how the three intersected and changed and how the participants narrated the changing identities and agency in the L2 stories that they lived through. This study contributes to the approach of data analysis in narrative study by utilizing graphical presentations to facilitate visualization and analysis of the interaction between and among the storytelling time/context, the participants’ language learner agency, and audience response. It also pays close attention to details in how the learner story is told and in what kind of group dynamics as well as reveals different possible levels of self-exposure: that is, audience-centered and non-audience-centered narrative styles. In addition, the study alerts narrative researchers of the possibility that true emotions will be hidden and important details will be avoided when the narrator performs high agency in discourse, particularly with too many short plots in their stories. It is also clear that when there is high intensity in changing discourse it is often involved emotionally charged negative episodes that deserve careful scrutiny. Since context and audience could affect the form, flow, and content of narratives, one-on-one interview is suggested for future study to avoid limitations introduced by group storytelling sections.