本論文旨在研究，績效良好的高技術密集度公司與低技術密集度公司，其組織結構是 否有所不同，以做為欲從低技術密集度產業進入高技術密集度產業者之參考。本研究 共壹冊，預計四萬至五萬字，論文綱要如左： 第一章緒論：研究動機，研究問題與研究架構。 第二章文獻探討：學者對於技術與組織的研究探討，技術密集度的定義。 第三章研究方法與分析：變數設計，資料來源，研究架構，研究設計，資料收集與樣 本描述，研究限制。 第四章資料分析與研究發現。 第五章結論與建議。

個體生涯發展的歷程受到諸多因素影響，其中自我認同、個人特質、以及社會所加諸性別角色的作用，是本研究所關心的議題。研究樣本為四位心理學界具有卓越成就的學者，選取兩男兩女作為相互比較的參照，使用質性研究當中的生命故事研究法，透過一對一訪談，輔以文件蒐集，作為主要資料來源。資料分析主要依循「整體－部分－整體」的三角循環程序，對文本作反覆分析。研究結果發現，生涯發展的情形確實受到自我認同以及性別角色的影響，其中有關於個人能力與動機的認同，更加影響其發展歷程；而在性別角色的作用方面，對於女性的衝突又大於男性，社會所給予的性別角色作用在男性身上是加成的效果，亦即與其自身的成就動機方向一致，但是作用在女性身上卻是抵減的，往往與自我成就動機的方向相反。本研究其中一位女性學者因幸運地擁有與男性相同的機會與環境助力，於是成就了與另兩位男性學者不相上下的學術表現；而另一位女性學者，則因家庭、婚姻中種種不利於個我成就表現的因素，呈現出較多衝突與阻礙的生命故事，也因此面臨客觀學術表現的困境。

第一章 包含研究動機與目的，研究方法、研究架構、研究範圍及研究限制。 第二章 專章介紹分析層級程序法之理論及其應用例證。 第三章 乃對以往學者所研究發表過之傳統評估方法作一綜合整理，並加以分析比較 其優劣。 第四章 為本研究之重心，即邀請學者專家共同進行分析層級程序法應用在投資計劃 評估之實證研究。 第五章 為結論與建議事項。

傳統經濟學者只從工資所得的差異，作為研究區位選擇決策的基礎。但個人的消費當 包括私有財及公共財，筆者從公共財的利益與負擔探討其關係；並圖利用其差異，來 調節人口分佈，達成區域均衡發展之目標。 首章：緒論。 第二章：地方財政差異之經濟意義。旨在說明差異的原因及對社會福利的不良影響。 第三章：地方財政差異與人口異動。主要在探討﹁以足投票﹂過程，是否可使人口分 佈達到最適。 第四章：地方財政變數資本化與人口異動。本章將前章擴充，如果資本化問題存在， 將使Tiebout 效率更不樂觀。 第五章：地方財政差異的調節措施。本章除說明中央政府調節功能，並以簡單模型說 明調節方法。 第六章：我國現況分析與政策建議。 第七章：結論。

日本吸收中國學術文化已有長久的歷史，但長期以來，接受者往往以上層階級，如貴族、僧侶等為主；換言之，中國學術一向是菁英專用的知識。這個現象到了17世紀，日本近世時期，發生極大的變化——漢學開始風行草偃地傳佈到庶民社會。「懷德堂」正是於這樣時代思潮中，在大坂創立的機構。1724年，五位商人（所謂「五同志」）共同出資，建立學習儒學的學校——「懷德堂」，隨後為官方所批准、認可。從日本近世到明治初期約一百四十年中，懷德堂為大坂的學術發展與商業道德的養成貢獻甚鉅，陸續栽培出許多優秀的學者，不只成為大坂朱子學派的中心，亦成為當時西日本學術交流之樞紐。 本論文從「儒」與「商」互動的觀點來重新檢討懷德堂，深入探掘近世大坂社會中，「儒家—神聖性」與「商人—世俗性」可以結合的動因，最後說明在近世日本思想史中，懷德堂的主張及其意義，重新認定懷德堂的價值。 為了探討上述的議題，本論文首先從外在的環境談起，分析日本近世的社會背景與制度演變，主要闡述懷德堂在大坂出現之因素及後來發展的軌跡。先自釐清歷史背景開始，接著申明內在因素。儒學在日本近世開始有了新的發展，形成所謂日本化的儒學，同時更普及到社會各個階層，筆者在此鉤沉日本儒學各種學派影響懷德堂學說的線索。 大致勾勒出懷德堂建立的外圍條件之後，本論文進入探討懷德堂內部的儒與商互動，以懷德堂儒者與町人學者作為觀察對象，研究儒家與商人融合之過程。懷德堂儒者為了將儒學進一步落實到民眾，追求符合日本社會的儒學而其學問愈發邁向世俗化的道路，形成具有開放性的朱子學。大坂商人則積極地吸收儒家思想，引用儒家經典肯定商人的意義，並解釋商業活動，以「均天下之富」為商業的原則而其精神逐漸儒者化。 最後，本論文超越儒者或町人的分野，更能清楚看出懷德堂儒與商融合的結果，懷德堂學者在日本近世大坂町人社會裡，如何呈現其儒學精神並躬行儒道。透過分析懷德堂學者的學說，說明懷德堂學者無論儒者或商人，其精神都一致，即是關懷社會，承擔治天下的使命感。可見他們雖然僅僅是個町人階級的人，卻懷抱著所謂「以天下為己任」的宋儒士人意識，是不折不扣的儒學實踐者。

本論文以1937年至1945年「中日戰爭」、「大東亞戰爭」時期為座標，透過考察大東亞共榮圈下的東亞經驗、記憶、文化與歷史的交錯問題。並試圖以宏觀的角度來檢視日本與亞洲各國的關係，從「跨界」的視域進行東亞文學與文藝體制之研究討論，探討關於日本的大東亞共榮圈之建構概念及其欲型塑的東亞文學觀，與大東亞共榮圈各地域對於此文學建構所衍伸出的知識、權力、文化關係的接受與質變。從日本因應戰爭的動員過程以及帝國主義思潮的發展脈絡中，可以窺見透過國家機器的運作模式，日本企圖在內地、殖民地及各佔領區中塑造「共同體」之想像，並欲透過此「共同體」的想像型塑出「大東亞共榮圈」的東亞一體之翼贊結構。另一方面，大東亞共榮圈中的各地域對於此「共榮想像」也各有不同的對應態勢，從中可以觀看出大東亞文學圈中的文學者們認同的游移，同時對於大東亞議題在不同的統治模式下所衍生出的不同之「協力」圖像。 本論文是以日本的帝國主義發展之脈絡為東亞文學圈的論述中心，並擇取大東亞共榮圈下的五個漢字使用地域為個案討論對象，包括了殖民地：台灣、朝鮮、傀儡政權：滿洲國、中國（華北、華中），以此討論日本文學共榮的表象與實際，以及東亞地區在大東亞想像下的文學樣貌。大東亞的文藝運動可以說是日本國家主義發展的衍生，包括文學者統合團體的誕生、筆部隊的派遣、報國文學的創作乃至於徵用作家的紀行報導，全都受到國家機器的操弄。「八紘一宇」支撐了日本的國體論述，在各個地域中並以日語教育取代血緣的系聯，欲藉由語言型構出「東亞民族」的一體性，同時透過各地域的日本文學者之創作，也顯現了此大東亞的視野，透過戰爭文學、勤勞文學、增產文學、國民文學各種文學書寫模式與文學生產過程，日本文學者們也從不同角度展現出帝國想像。此外，透過統合文學者的文學報國會之串連，也建構了大東亞文學圈的文學者們的「交流」系譜，各地域的文學者也在此文學場域中各自展開「文學共榮」的命題。 / This dissertation examines the entanglement of memory, history and cultural experience within the Greater East Asia Co-Prosperity Sphere during the Second Sino-Japanese War or Greater East Asia War between 1937 and 1945. From a comprehensive perspective of boundary crossing, this dissertation intends to study the conceptualization and formation of a unified East Asian literary ideal and its literary and cultural institutions by examining the discourse of a Greater East Asia Co-Prosperity Sphere in the context of Japanese Imperialism. It further explores the reception and transformation of knowledge, power, and cultural struggles shaped by this literary construction within the cultural sphere. Through the observation of the process of wartime mobilization and the development of imperial ideology, this dissertation reveals that the Japanese Empire intended to implant the image of an imagined community in Japan, the Japanese colonies, and occupied areas. By enlisting this imagined community, the Japanese Imperial would forge a cooperative institution, the Greater East Asia Co-Prosperity Sphere, within which “Asia is One.” On the other hand, intellectuals in different parts of Japanese East Asia adopted different positions in response to the imposition of this imagined Co-Prosperity Sphere. By scrutinizing their responses, we will discern these writers’ shifting positions and diverse strategies of “collaboration” under different types of rule and across various regions. The dissertation traces the progress of Japanese Imperialism as the discursive center of the East Asia Literary Sphere. Five regions from the Chinese character-using portions of the empire were chosen as case studies: Japanese colonies such as Taiwan, Korea, as well as puppet regimes like those in Manchukuo, and occupied North and Central China. By surveying the literary performances in these East Asian regions that were under the influenced of the discourse of Great East Asia, we could get past the surface and scrutinize the reality of the ideology of the Japanese Literary Co-Prosperity Sphere. The Greater East Asian Literary Movement was a byproduct of the development of Japanese nationalism. All literary activities were manipulated by the Japanese state apparatus, including the establishment of writers’ alliance, the dispatching of the Pen Writers’ Brigade, the writing of Patriotic Literature, as well as the reportage from Conscript Writers. The discourse of Hakkō ichiu (All the world under one roof) became the core of Japanese national ideology. Japanese became the sole language taught in schools throughout the Japanese empire in an attempt to replace ties of blood and ethnicity with a linguistic affiliation. Through this linguistiunity, Imperial Japan fostered the unity of an “East Asian ethnicity.” Writing in diverse genres such as War Literature, Labor Literature, Increasing Production Literature and National Literature, Japanese writers in different parts of East Asia manifested the imperialist dream of a Greater East Asia. Moreover, through the establishment of organizations such as the Association of Literary Patriotism, writers in the Greater East Asia Literary Sphere gained a legitimate channel to communicate and exchange their ideas on literature. In other words, East Asian writers constructed and developed their own discourses of “Literary Co-Prosperity” within this context.

視英語為第一外語的學習，一直是學生生活中一個重要的課題。英語的使用變的更為普遍，以位於東亞國家的台灣來說，就已經開始重視英語的教學。然而，大部分的家長仍不滿意孩子們的英語能力，因此，而產生了所謂的補習班。為了增進學生的閱讀能力與態度，任何一種有效的教學策略都是值得探討的。本研究的主要目的之一，便是了解平衡閱讀教學的出現，如何增進國小學生英語學習的效能。而實施行動研究的目的，主要是為了確認平衡閱讀教學的效果。在為期五個月的前導研究完成後，其研究成果便成為正式研究的基礎架構。本研究之對象為15位台北市國小一年級參加補習班的學童。研究結果顯示，平衡閱讀教學對於增進學生字彙的認知能力、語音覺識與技巧有所幫助，同時，也能大幅增進學生學習英語的自信心。除此之外，平時就有參加補習班的學童進步的程度也明顯大於未參加的學童。然而，為了增進教學的效能，系統化的發音教學範例在幫助教師制定更為合適的教學計畫與學習內容上，是極為必要的。 關鍵字:平衡閱讀教學、字母知識、語音覺識,閱讀態度,英語初學者。 / English language learning as the first and foreign language has always been an important factor in a child’s life as a student. As the usage of the English language becomes ever more apparent, East Asian nation like Taiwan has started to place much focus on its teaching. However, many parents in Taiwan are still unsatisfied with their children’s English abilities where they gained from formal school, hence the so-called cram school. In order to improve student reading ability and attitude, any effective teaching strategies are worth exploring. The main objective of this study is to determine how balanced reading instruction will enhance English learning effectiveness among EFL beginners. An action study was done in order to identify teaching effects of a balanced reading instruction. A pilot study was first accomplished, which later served as the backbone of the formal study. Participants were fifteen first graders at an English cram school in Taipei. Data collections were gained from abecedarian reading assessment, reading attitude questionnaires, observations, interviews and recordings methods. Results showed that balanced reading instruction is helpful in enhancing students’ letter knowledge, phonological awareness and increasing the students’ reading attitude. In addition, students who attended class in the cram school regularly improved better than those who did not. However, in order to improve teaching efficiency, more systematic phonics teaching are needed in order to help teachers make appropriate teaching plans for the EFL beginners. Keywords: balanced reading instruction, letter knowledge, phonological awareness, reading attitude, EFL beginners

本論文凡分為九章，茲述其內容大要如次： 第一章緒論，就永嘉學派之學術立場，及其在當時學術界之地位，說明撰述之旨趣。 第二章為宋永嘉學派學術思想變遷之大勢，蓋一書之綱領，而以說明其學之來龍去脈 ，暨諸代表人物學術思想之重點及其成就與地位，並探討其學風所以轉變，暨其學所 以終歸衰歇之緣由。 第三章為元豐九先生之學術思想，第四章為鄭氏兄弟之學術思想，第五章為薛季宣之 學術思想，第六章為陳傅良之學術思想，第七章為葉適之學術思想，分別論述永嘉學 派各期代表人物之學術思想。初欲分就學術與思想二端論述之。 第八章為宋永嘉學派學術思想之影響，博采前修持賢之說，並附己見，以所處時代與 永嘉諸子之略相同者，略分為南宋末年、明末清初、有清道咸同光、民國以來四期， 述其學對於後世學者，若王應麟、顧炎武、黃宗羲、顏元、萬斯同、全祖望、章學誠 、邵晉涵、孫衣言、詒讓父子、陳黼辰、林損師弟等人之影響，但取其實而有徵者論 述之，期免穿鑿附會之病焉。 第九章結論，略論並時浙東學者，呂祖謙、唐仲友、陳亮之學，皆不足與朱、陸相抗 衡，惟永嘉學則足以與之相頡頏。然永嘉學派之學術思想雖與程、朱等道學家之說有 所出入，惟皆在於明體致用。 上述九章而外，並益以三附錄： 附錄一為宋永嘉學派諸子生平著述年表。 附錄二為宋永嘉學派諸子著述考略，稽考永嘉諸子之著述，並說明其存佚，以明學術 思想之趨向焉。 附錄三為參考書目舉要，列舉撰述本論文所參用之重要書目。 /

本研究旨在探索瑞典華語學習者漢字學習歷程、漢字學習困難、產生困難的因素及其之間的關係、以及因應困難的策略，屬質性個案研究。對象為瑞典林奈大學選讀初級華語課程的四位華語學習者，以深度訪談、學習週記、課室觀察作為資料收集方法。 研究發現學習者的漢字學習困難，除了過去研究提出的漢字書寫、辨識、記憶困難以外，還有漢字讀音困難與線上資源應用困難。而他們面對漢字學習困難的因應策略可以分為三種，分別是積極的尋求老師協助、積極的尋求網路資源協助、消極的逃避。影響漢字學習的「內在因素」有「語言學習態度與方式」、「華語學習動機」、「對漢字的看法」；「外在因素」有「環境因素」、「教學因素」、「簡繁體班因素」。影響漢字學習的內外在因素之間的互動關係，除了「外在因素」的「教學因素」是單方面影響「內在因素」，其它的內在因素與外在因素都是相互影響。 建議華語教學者除了加強學習者的漢字書寫、辨識、與記憶能力，還有漢字讀音的演練與線上資源應用的學習。而影響學習者漢字學習的因素有很多，因素之間也會相互影響，因此教學者可以通過了解影響學習者漢字學習的內外在因素，而給予學習者適切的協助。 / This qualitative study aims to explore Swedish learners’ Chinese-characters learning process, with a focus on discovering their difficulties and coping strategies and identifying the factors that influence the learning of Chinese characters and their relationship. The research participants were four Swedish learners who took the class “Chinese for Beginners” in Linnaeus University in Sweden. Multiple sources of data were collected, including in-depth individual interviews, learning journals, and class-room observations. The results showed that the four participants had difficulties in learning Chinese characters, including reading, writing, recognizing, and memorizing Chinese characters as well as the application of online resources. Despite learning difficulties, these Swedish learners were actively asking for the teacher’s help, using the online re-sources, and passively avoiding facing leanring difficulties. The internal factors that influence learning Chinese characters were “language learing attitudes and methods,” “the motivation of leanring Chinese,” “the feeling toward Chinese characters.” The external factors included “environmental factors,” “teaching factors,” and “tradition-al/simplified Chinese charactes class factors.” The relationship between internal factors and external factors were bi-directional, except that the ways the instructor teach Chinese characters may influence students’ attitudes, motivation or feelings unilater-ally. This study suggested that Chinese teachers should enhance students’ Chinese-characters writing, recognizing, memorizing ability and provide oppotunieis for be-ginners to practice reading Chinese characters and using online resources. It is also important for Chinese teachers to know the complexity and interaction of the factors that may influence students’ learning of Chinese characters. In so doing, Chinese teachers are able to offer beginners appropriate assistance in learning Chinese charac-ters.

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.