本研究旨在從俄國學者Mikhail Bakhtin（1895-1975）狂歡節語言與身體論述的觀點探討「抵抗如何可能？」的問題，並且以台灣當代女性主義小說家李昂於1999年出版的《自傳の小說》為主要的案例，重新思索和說明語言／意義的民主化（democratization）意涵與可能性。 有別於過去論述分析雖然言明語言／意義與政治社會之間並非單向的因果關係，而是相互影響、建構的辯證關係，但在實際進行案例分析時，卻較少著墨於語言如何「由下而上地」對象徵秩序進行意義的顛覆，本研究以Bakhtin對狂歡節語言與身體論述的說明，依序對抵抗的意涵、抵抗的可能性以及抵抗如何在文本中呈現，提出理論性的再詮釋。本研究發現，Bakhtin對於抵抗的想像，乃是一種在傳播／溝通與對話中，藉由特定語言形式而動員的意識形態鬥爭。積極而言，抵抗旨在透過言說主體的表述建構自己的意義系統；消極而言，抵抗至少具有解構他人意義系統的政治意圖。 然而，由於Bakhtin在狂歡節研究中，並未確實回應他企圖探討的「抵抗如何可能？」的問題。因此，本研究融入Laclau與Mouffe的「接合實踐」、Butler的「論述行動」與「身體展演」，從「形式層面」推敲Bakhtin在「眾聲喧嘩」對話模式中所暗示的政治機會，並對「抵抗如何可能？」提出具體的政治方案，包括：眾聲喧嘩的文本空間、對話與敵對關係中的再意義化、諧擬的身體展演、策略性的本質主義。本研究並且藉由對李昂情慾書寫中的抵抗策略進行「書寫形式的意識形態分析」，具體說明「抵抗如何可能？」的理論／概念架構。 本研究發現，李昂的情慾書寫呈現出「歷史書寫的性別化」與「性別論述的狂歡化」這兩個主要的特性。藉此，李昂一方面揭露了父權意識形態的意義生產邏輯，另一方面也藉由批判父權意識形態建構另類的意義系統或敵對／反對論述。從這點回過頭來再詮釋「抵抗如何可能？」的問題，本研究認為抵抗的可能性可說是在眾聲喧嘩或「弱敘事性」的文本空間中，藉由「接合實踐」動員由下而上的「論述行動」，並以「策略性的本質主義」此一政治方案建構霸權化論述的意識形態鬥爭過程；而「身體論述」所誇大展演出的敵對關係，則是最具渲染力也最為具體的例說。

本篇論文旨在探究列寧與史達林統治期間，蘇聯電影之濫觴與發展。文中首先詳論蘇聯電影形成之時代背景與特殊使命，說明電影傳入俄國之初，正值布黨握權未久，民心浮動之際，列寧與史達林如何善用電影高可塑性及易於大量複製之特色，進行政策宣導與掃盲教育，不僅積極為共黨樹立領導威信，更塑造政權繼承之合法性。 1917年十月革命之後，蘇聯共黨首重電影工業之管理，從1919年列寧將電影工業收歸國有起，至1953年史達林去世為止，蘇聯電影機構與管理階層不斷改組，權力集中。與其他各國娛樂商業影片相較，蘇聯電影濃厚之政治色彩與實用功能，風格自異。 蘇聯電影在歷經戰時共產主義、新經濟政策、社會主義寫實主義、二次世界大戰等不同階段的政策洗禮後，除呈現一系列歌功頌德的樣板影片外，亦在重重監檢制度與狹窄創作空間下迸發令人驚嘆的藝術成就，如庫列雪夫、愛森斯坦、普多夫金、杜甫仁科等大師的電影蒙太奇理論，又如他們結合政治現實與藝術理想之社會寫實創作。蘇聯電影不僅成功整合政治宣傳，鼓舞民心士氣，更於拍攝技巧和視覺美學上，創造出彌足珍貴的藝術語言，為本論文提供豐富且堅實之藝術佐證。 / This dissertation mainly discussed the development of Soviet Cinema under Soviet Socialist ideology during Lenin & Stalin period from 1917 to 1953. First came into its historical background and special mission: cinema came into Russia in early 20th century while Revolutionaries just grabbed power, Lenin and Stalin wisely used the characteristics of high plasticity and massive reproduction in films to propagandize their political policy and to educate the overwhelmingly illiterate peasant masses. Not only did Soviet Cinema build reputation for Soviet Communists, it also helped to legalize the regime of Bolsheviks. After the 1917 Revolution, Bolsheviks first pay their attention to the management of film industry. From 1919 Lenin took over the whole Soviet film industry and made it nationalized to 1953 Stalin passed away, Soviet film department had been gone through process of constant reshuffles and power centralization. To compare with the entertaining and commercial film industry in other countries, Soviet Cinema is unique for its strong political color as well as its pronounced pragmatic function. After baptizing itself through the policy changes during the different political Stages in Wartime Communism, New Economic Policy, Socialist Realism, plus Second World War, in addition to a series of complimentary stereotype films, Soviet Cinema, under layer upon layer censorship and cramped creative room, still spurted its astonishing artistic achievements to the world: the Montage film theory developed by Kuleshev, Eisenstien, Pudovkin and Dovzhenko, the masterpieces of social and realistic creation which demonstrate sophisticate combination of political reality and artistic idealism. Soviet cinema played a successful role in integrating the political propaganda with encouraging the massed; furthermore, it also create the precious artistic languages in the shooting skills and visual aesthetics, all these apply the rich and profound artistic evidences for this dissertation.

本研究針對寫真集現象所披露的身體性別政治作討論，基於現象社會學的立場，認為媒體事實與閱聽人主觀真實乃不可分割，因此從剪報資料與寫真集讀者的訪談交相參照，來分析討論寫真影像本身於身體、性別兩錯綜交媾的層次間，所遂行的性別化身體定義，及其間的性別差異；另外，我們也從訪談資料來了解性別化的寫真集讀者於閱讀過程中，藉由其肉身與寫真身體影像的對話折衝而進行的性別認同和實踐，以及其間所展現的身體性別政治。 研究發現，寫真集藉助影像，實踐了吾人對於兩性身體的性別化想像，也同時反映出兩性在身體展演上所受的規訓權力差異，寫真女體所受的規訓差異，尤其遠多於寫真男體。 在讀者方面，男性讀者一方面於閱讀寫真女體的意淫幻境中證成自身乃為具有男子氣概的身體，另一方面，其身體卻因過度耽溺於閱讀規訓、鏡像的寫真女體意淫幻境，同時又無能面對自身性生理並與自己疏離，而成為肉身空洞化、僅剩陽具與眼睛獨大的主體；女性讀者儘管面臨包括寫真女體在內的整體社會美體風潮和壓力，其反倒可以從與自己身體的緊密關係出發，而能以實際的肉身經驗作為閱讀寫真女體的基礎，成為抵抗反省美體洪流的力量。

國立政治大學研究所碩士論文提要 研究所別： 英國語文研究所 論文名稱： 閱讀溫特森«銘刻在身»的爽 指導教授： 劉建基教授 研究生： 張惠慈 論文提要內容： （共一冊，約 31500 字，分五章） 本研究關於溫特森的《銘刻在身》旨在探究在閱讀此文本過程中，不同程度及不同形式的爽(jouissance)。此研究將著重於三方面：其一，追求愛情的爽；其二，在幻想中永恆的爽；其三，閱讀文本《銘刻於身》的爽。本論文將分五個章節。 我在第一章的前半部簡介溫特森及她的小說，在後半部，描繪拉岡心理學中三個限界（幻真界[the real]，想像界[the imaginary]，及象徵界[the symbolic]），及此三界與爽的交互作用。這三個限界及爽，將是本研究的理論基石。 第二章的討論旨在解釋，為何敘述者著迷於不斷陷入愛情，及為何露伊絲在小說結尾莫名其妙的消失了。乍看之下，敘述者對露伊絲的愛相當矛盾：敘述者對露伊絲宣稱其無窮的愛，卻又刻意地悄悄的遠離了她。然而事實上，敘述者的矛盾行為堪稱合理：因為愛與失去是共生的。在浪漫愛情故事裡，一段介於愛的主體(the loving subject)及被愛客體(the loved object)之間的距離是必要的。表面上，愛的主體（敘述者）的追求過程裡看來痛苦，而實際上他正無意識的，享受著對被愛客體無限的追求時的爽。在這迷戀他者的過程中，主體實際上是自我迷戀(narcissism)，而在這自我迷戀的過程中，主體將其自我理想(an ego-ideal)投射在被愛客體上，並美化被愛客體成為一理想的自我(an ideal ego)。 在第三章，我將對敘述者迷戀愛情的現象做更深入的探討：到底敘述者打算由露伊絲的完美形象中挖掘什麼，以及為何敘述者得與一個理想戀人，住在一個理想愛情的幻象之中？我發掘出其中最主要的原因來自於，主體懼怕被去勢及懼怕象徵界中的無能（例如婚姻、老去、死亡）。主體具有一個原生的欲望：期待完滿及永恆（此欲望是期待回歸幻象界以及獲得爽），然而在現實世界（象徵界）的短缺及壓迫之下，回歸的可能被榨乾。幻象(fantasy)於是成為主體（敘述者）的護欄，它一方面讓主體相信自己是全能，另一方面它掩蔽事實，讓主體忘卻自身的不完整和無能為力。 在第四章，我跳出單單在文本內容中的討論，進而探討文本與讀者之間的關係；本討論的立論基礎為羅蘭巴特的書寫式文本(writerly text)。在文本╱讀者及露伊絲╱敘述者之間，有一類似的有趣現象：文本之於讀者正如同露伊絲之於敘述者。在這兩個情況當中同時都有一被動的客體(the desired or probed object)勾引探索中的主體(the probing subject)，然後再由主體的追求中脫逃而去。閱讀《銘刻於身》，表面上痛苦萬分，而實際上卻令人陶醉：因為閱讀的爽正源自於，作者刻意設計的不確定因素(uncertain elements)。這些不確定因素，一方面玩弄讀者，一方面也在文本上形成一未填滿的空間，其特徵就是不斷的衍生(endless generation)－－讀者可以參與創造各式各類的可能性，而意義的系統將不斷延伸。一個單一的文本，在此不斷延伸的系統下，便成了多重文本，而閱讀此類書寫式文本之樂趣，就在於讀者不得不參與創造意義的過程。 最後我在第五章的結論部份，總結了愛與閱讀的爽具有相同的條件與模式：在追求的主體（讀者與愛的主體）與被追求的客體（文本及被愛客體）之間，空間與距離是不可避免的要素，因為隱藏在人體內的爽本身就是一個矛盾體。 Chapter One Introduction Chapter Two The Jouissance of Pursuing Love Chapter Three The Jouissance of Being Immortal in Fantasy Chapter Four The Bliss of Reading Written on the Body: A Writerly Text with Jouissance Chapter Five Coda / Abstract In this study of Jeanette Winterson’s Written on the Body I would like to explore jouissance in different forms and levels in the process of reading this novel. The emphasis will be laid upon three aspects: first, the jouissance of pursuing love; secondly, the jouissance of being immortal in fantasy; and thirdly, the jouissance of reading this novel. The thesis is divided into five parts. In the first chapter, the beginning section is devoted to a general introduction of Jeanette Winterson and her novels; in the ensuing section, I will picture the interrelationships between the three registers—the real, the imaginary, and the symbolic—and jouissance in Lacanian psychoanalysis, which will be adopted as the interpretative model to account for the theme of jouissance in the whole thesis. In the second chapter, I will stress on the narrator’s exalted love toward Louise and the construction of his/her ego. On the surface, it is odd that the narrator’s sublime love for Louise contradicts his/her decision—to leave Louise; however this paradox is reasonable, because love and loss is in fact symbiosis. A distance between the loving subject and the loved object is necessary in the case of romantic love; though painful, the loving subject enjoys itself in the act of endless pursuit for the loved object, which is actually an ideal ego of the subject’s self. The paradox of love in company with suffering explains the narrator’s addiction in love and the disappearance of Louise. In the third chapter, my interest is getting deeper: what does the narrator want to grub out of the ideal image of Louise, and why does the narrator have to live in the fantasy of ideal love and to be with an ideal lover? The principal cause that I will explore is the fear of being castrated and of the impotency of the symbolic. The subject has an essential desire to be integral and immortal (which is the concept of the real and is allied to jouissance), but there are forces from the reality (or the symbolic) to drain this desire. Therefore, fantasy becomes a protective talisman for the narrator (as well as for every subject) to forget its fragmentation and inability. In the fourth chapter, the interrelation between the text and the reader is the dominant consideration, and Roland Barthes’ theory of writerly text that engenders bliss (jouissance) will be the critical base. There is an interesting formula between the text/the reader and Louise/the narrator. The text for the reader is similar to Louise for the narrator: in both situations, the desired one seduces and slides from the probing other. Reading Written on the Body on the surface is painful and irritating; in a sense, the act of reading is ecstatic. The origin of the bliss of reading is the uncertain elements intentionally created by the author. The unfilled space in the text that entertains readers is characterized by its feature of endless generation—various possibilities are created, and the network of meanings extends. Therefore, to conclude the whole scheme of love and reading in the fifth chapter, I will point out that a space or a distance between the pursuing subject (the reader or the loving subject) and the pursued object (the text of the loved object) is inevitable because jouissance inherent in the human body is in its essence paradoxical.

台灣地區近十年來大型火災死傷頻傳。每逢相關事件發生，大眾媒介總會增加版面或時段擴大報導。而過去研究針對此類災難報導的社會功能評價不一，認為其雖可協助社會大眾了解環境風險，但報導內容有時亦過度強調危險，未來應蒐集更多相關資料以滿足讀者知的權利。本研究之動機與目的，即在觀察災難事件中消息來源與議題類型的關聯性，藉以了解媒介之議題建構過程與特徵。 過去有關消息來源研究多著重與媒介之關係，研究取徑常著重討論哪些消息來源有較多機會接近媒介，或掌握社會權力詮釋社會事象，而議題建構過程之研究則多觀察議題之類別、產生要素和影響機制，以了解不同議題彼此競爭以詮釋媒體或社會真實的機會多寡。本研究認為單從「消息來源」或「議題內容」進行觀察，殊難呈現議題整體建構過程的重要性。根據文獻探討可知，社會議題之建構成功與否，須視媒介是否尋找足夠消息來源詮釋事件因果、進行社會爭論與批評、並提出解決問題以引起大眾之問題意識。社會學家Beck即指出，媒介透過挑選消息來源與議題重點，因而影響了「災難」這類社會問題的定義。由此可知，消息來源和議題兩者似須同時觀察討論，方能了解事件建構的整體過程。 而災難事件正包含豐富之消息來源與議題，適合作為本研究主題。但有關災難報導之研究不多，相關研究曾發現媒介多選擇官方、警方及專家（科學、法律學者）為主要消息來源，而議題內容多以受災反應、受災衝擊情況及檢討責任歸屬為主。 本研究以上述理論推導為基礎，合併「消息來源」和「議題」與「生命週期」三者為研究架構，觀察災難報導之議題建構特徵，並以《中國時報》及《聯合報》有關「衛爾康餐廳大火」（民國84年2月16日至3月15日）之純淨新聞中有關消息來源之引述內容進行文本分析，歸納巨命題並進行編碼與製圖；以下是研究問題及主要研究結果。 1. 在災難新聞報導中，各種消息來源類型主要提供哪些議題？ 研究發現，兩報多偏向找尋「評論／涉入者」作為主要引述之消息來源，「當事人」之頻次則偏低。而議題類型出現頻次以「責任歸屬及調查」與「其他」議題為主，「災禍現場描述與逃生情況」與「災因與傷亡損失等檢討」出現頻次最少。在事件發展過程中，消息來源角色所提出之議題類型多與其採取之行動情節相近。 2. 在新聞報導之事件發展過程中，各類消息來源出現是否有其順序與消長？ 本研究發現，在事件發展過程中之消長順序在兩家報紙中皆以「當事人」為首日主要引述消息來源，但其出現機會隨即快速減少。接棒之消息來源在整體事件中則往往成為主要引述角色。 3. 在新聞報導之事件發展過程中，個別議題出現是否有順序與消長？ 本研究發現，兩報之議題類型長順序皆為「災禍現場描述與逃生情況」→「責任歸屬與調查」及「其他」→各項議題交互出現→「責任歸屬與調查」→「其他」。 4. 不同消息來源所提供的議題是否也有不同消長順序？ 「當事人」所涉及之主要議題類型，依序為「災禍現場描述與逃生狀況」與「救援及善後行動」。「處理者」所涉及之主要議題類型順序，兩報均為「災禍現場描述與逃生狀況」與「救援及善後行動」為主要議題，而以「責任歸屬與調查」及「其他」議題為後續主要議題。「評論／涉入者」皆以「責任歸屬與調查」及「其他」為各階段主要議題，以「責任歸屬與調查」為事件結尾之主要議題。

悅讀是指讀者自己挑選有趣的書籍，自發性地廣泛閱讀。本研究是要探討悅讀對國中生的閱讀動機，閱讀能力，和寫作能力的影響。本實驗邀請台北市某所國中61位的八年級生參加，分為實驗組(悅讀組)和對照組(傳統閱讀組)。本實驗共為期23週，在學生的英文閱讀課進行，每週一次，每次45分鐘。實驗期間， 實驗組在上閱讀課時只專心於閱讀自己所選的圖畫故事書，而對照組則繼續原來由老師所主導的傳統閱讀課程。實驗進行前後二組學生都接受全民英檢的閱讀和寫作能力測驗及閱讀動機評量。這些測驗資料由電腦進行量化處理與分析，個別訪談結果則用來輔助說明結果與討論。 結果顯示，經過悅讀的實驗，學生的整體閱讀動機提升了。此外，多面向的動機顯示，參與者的閱讀自信和閱讀成就與目地深受悅讀課程所影響，尤其是參與者從悅讀中產生很強的愉悅感，也增強了自信心。此結果證明了悅讀的最大功能—增進愉悅感。但是此研究並未發現悅讀能有效地改進參與者的閱讀和寫作能力。 因為小樣本及有限的資料，本實驗結果只能提供建議性而非決地性的結果，不過本實驗還是能提供一些教育性的建議。如悅讀能納入學校課程當作正規英文課的輔助。學校每天的早自習是讓學生悅讀的最佳時間。另外，賦予不同程度的學生不同的閱讀目標與配合適當的閱讀活動能增進他們的英語能力。爲了更深刻了解悅讀對國中生的效益，最好從校內全體的七年級生開始進行為期三年的悅讀課程，最後以高中入學的基本學力測驗英文科成績來檢驗其成效。期待面對繁重課業壓力的國中生能透過悅讀快樂地並有效地學習英文。 / Pleasure reading refers to any reading in which self-motivated readers pick up books they are interested in and engage themselves in those books. Pleasure reading has long been recognized as a powerful tool for fostering reading interest and enhancing literacy development. This study aimed to investigate the impacts of pleasure reading on EFL junior high school students’ reading motivation, reading comprehension, and writing ability. Sixty-one eighth graders in a junior high school in Taipei were divided into the experimental group (pleasure reading group) and the control group (traditional reading group). This program was carried out during the English Reading class, once a week with 45 minutes for each period. During the 23-week reading program, the experimental group only focused on reading self-selected picture books without any instructions while the control group still received the skill-based reading approach. Before and after the program, their reading and writing ability were examined by the reading and writing tests of General English Proficiency Test (GEPT) and their reading motivation was measured by the Motivation for Reading Questionnaire (MRQ). The data collected were analyzed quantitatively and the interview data were utilized to interpret and support the findings. The results revealed that the experimental group participants’ overall reading motivation was enhanced significantly after the program. As for the multifaceted motivation, the results showed that the participants’ “reading self-efficacy” and “reading achievement values and goals” were influenced strongly by pleasure reading. Among the 12 reading dimensions, “enjoyment” was the most significant factor. All the findings confirmed the main value of pleasure reading-- reading for enjoyment, and such enjoyment promoted students’ reading motivation very positively. With respect to the participants’ reading and writing ability, the results did not show significant improvement. Pleasure reading did not influence the participants’ language proficiency positively. However, both groups made some progress in the posttest in the gain score. Therefore, pleasure reading appeared to be at least as effective as the traditional reading approach. Pleasure reading was more interesting and enjoyable for junior high students. Although the results may not be taken as conclusive because of limited data and small samples, this study still provides some pedagogical implications and suggestions. Pleasure reading can be implemented into school curriculum as a counterpart of regular English class, a kind of skill-based English class. The school’s morning session is a good time for students to read self-chosen materials. Moderate tasks should be set for students with different language levels to conquer. Appropriate reading activities can be integrated to help stimulate students’ reading. To get a clear picture of its effect on junior high level students, it is necessary to conduct the program for a longer duration and with larger samples. Therefore, it is suggested that further study can start with all the seventh graders in junior high schools and the study should last for three years. The entrance exam of senior high school, the Basic Competence Test can be adopted as the measurement of language proficiency. It is expected that junior high students under academic pressure can learn English happily and effectively.

單字練習題常作為英語教師提升第二外語學習者單字學習成效的方式之一，然而針對不同單字練習題的實際成效，其相關研究仍顯不足。因此，本研究採用量化研究方法，以探究階層式單字練習題與抄寫練習題對國小學童英語字彙習得（word gains）與記憶保留（retention）的影響。 研究對象為臺灣北部一所公立國小四年級兩個班的五十五位學生，此均質的兩個班級被隨機指定為實驗組與控制組，實驗組於一般教學後施予階層式單字練習題,而控制組則於一般教學後施予抄寫練習題。兩組受試者皆接受每週一次、歷時六週的單字練習題，一共練習二十四個主要單字。之後，兩組受試者隨即接受包含所有主要單字的單字知識等級表（VKS）測驗，以得知兩組受試者的單字習得情形。一個月後，兩組受試者再次接受相同的單字測驗，以進一步得知單字的記憶保留情形。本研究主要發現如下：（1）在單字習得成效方面，接受階層式單字練習題的實驗組學生顯著優於接受抄寫練習題的控制組學生；（2）單字保留成效方面，接受階層式單字練習題的實驗組學生亦顯著優於接受抄寫練習題的控制組學生；（3）階層式單字練習題對於高、低英語學習成就者而言，在單字習得與記憶保留上皆有正面影響；（4）對於高、低英語學習成就者而言，抄寫練習題亦皆有助於提升其單字習得與保留成效；（5）對於高英語學習成就者之單字習得而言，階層式單字練習題與抄寫練習題的成效相同；然而，對於單字記憶保留而言，階層式單字練習題的成效優於抄寫練習題；（6）對於低英語學習成就者之單字習得與保留而言，階層式單字練習題的成效皆優於抄寫練習題。最後，研究者針對階層式單字練習題及抄寫練習題在實際教學上之應用提供建議，以作為教育學者們參考。 / Vocabulary exercises are regarded as one of the ways English teachers frequently utilize to enhance English as a Foreign Language (EFL) learners’ vocabulary learning efficiency. Yet, studies focusing on the comparisons of the effects of different vocabulary exercises on learners’ vocabulary acquisition and retention seem comparatively few. Thus, the present study adopted a quantitative research method to investigate the effects of two types of vocabulary exercises, i.e., hierarchy vocabulary exercises and copying exercises, on learners’ word gains and retention. Participants of the study were two classes of 55 fourth-grade students in a public elementary school in northern Taiwan. With the homogeneity of English proficiency on Cambridge Young Learners English Test (CYLET), the two classes were randomly assigned to the experimental and control groups. During the instructional experiment, the experimental and control groups received hierarchy vocabulary exercises and copying exercises respectively once a week, with a total of six times, to practice a total of 24 target words selected in this study. After receiving the last vocabulary exercises, both groups received post-test 1, based on a Chinese version of Vocabulary Knowledge Scale (VKS), to measure their word gains of all the target words. One month after receiving the last vocabulary exercises, both groups also received post-test 2, which was the same as post-test 1, to assess their word retention. The major findings are summarized as follows. (1) In terms of word gains, learners receiving hierarchy vocabulary exercises significantly outperformed those receiving copying exercises. (2) In terms of word retention, hierarchy vocabulary exercises possessed greater facilitative effects than copying exercises. (3) Hierarchy vocabulary exercises exerted a significant effect on both high and low English achievers’ word gains and retention. (4) Not only high English achievers but also low English achiever reaped benefits from copying exercises on word gains and retention. (5) Hierarchy vocabulary exercises demonstrated superior effectiveness than copying exercises on high English achievers’ word retention, but not on their word gains. (6) Hierarchy vocabulary exercises led to both more word gains and retention than copying exercises for low English achievers. At the end of the thesis, pedagogical implications and recommendations for further research were provided.

本研究旨在透過漢字字感教學法，試圖解決前人研究中各式漢字教學法之侷限性，進而發展出能在有限華語教學時數內完成、具有教學成效、符合各類漢字字源演變與特質，且能引起學習者動機，建立字感的漢字教學設計。本研究對字感的定義也同樣是教學目的：學習者經過漢字教學，掌握漢字的大概念後，將所學的知識應用到未學過的漢字上。學習者因而能夠有系統的分析、推測新字的形音義，或者有能力檢視漢字的形音義是否正確合理，如此有助於增進漢字學習效率。 本研究採用教學實驗法，以自編之漢字字感教材，連續十週開設免費班課程，每次上課50分鐘，對初、中級華語學習者進行教學實驗。教材字例以教育部華測會主辦之華語文能力測驗《基礎八百詞》中出現的漢字為主，總共分為五個主題：象形字例教學、指事字例教學、會意字例教學、形聲字例教學、假借字例教學。各教學主題內容主要分為：（1）教學前教師漢字知能建立與教案設計、（2）教學中活動操作步驟、（3）教學後學習評量施測與檢討、（4）學習者課程回饋單。本研究實驗課程合計教授142個漢字。 本研究主要結果如下： 一、字感教學確有教學成效。字感教學可建立教師正確的文字學知識與漢字釋義能力，並協助教師在有限教學時間內，運用本身知能有效率的進行漢字教學，減少學習者學習負擔。 二、字感教學符合教學需求與學習需要。字感教學透過為教育部華語文能力測驗（TOCFL）測驗公布之《基礎八百詞》中常用漢字量身打造教學活動，可以符合華語文教師實際教學需求、學習者學習需要，且讓學習者願意接受、提高學習興趣。 三、字感教學可引起學習動機，有助後續漢字學習。字感教學中的漢字書寫教學讓華語文學習者建立推測漢字「字音、字形、字義」的判斷、自我糾正、自主學習能力，破除漢字難學之迷思。經過有步驟、有系統、有意義、有樂趣、有文化的字感教學後，從客觀的學習評量分析可發現學習者確實能將課堂所學應用至推測與分析未學過的漢字，且可提升華語文學習者漢字書寫能力，從根本改善「動口不動手」的學習結果。 最後，本研究對往後教學實驗可修正與改進的部分提出建議，並期許藉由字感教學，讓全球華語熱因漢字的特色與文化更熱，讓世界各國感受到中華文化的美、智慧與溫度。 / The main purpose of developing the Chinese Character Perception Teaching Approach is to solve the restrictions existing in current Chinese character teaching approaches. Due to the limited time and proportion of Chinese character teaching in teaching Chinese as a second language (CSL), a set of lesson plans are made to possess certain efficiency, meet the different origins and property of each character from the six categories of Chinese characters (liùshū), invoke learners’ motive and build their solid perception toward Chinese characters. The goal of the teaching approach, as well as a more detailed definition of Chinese character perception would be: after going through Chinese character teaching approaches and master the big idea of each category of Chinese characters, learners would be able to transfer their knowledge to comprehend the characters they have not learnt yet. Thus, learners could analyze characters systematically, connect the sound, meaning and structure of characters, or observe whether a character is correctly written or pronounced according to its property. Chinese character learning efficiency would then be improved. In order to prove the positive effects of Chinese Character Perception Teaching Approach, the following items are practiced: the self-designed lesson plans and teaching materials to beginners and intermediate learners in CSL classroom. The experiment lasts for ten weeks, 50 minutes each time. The characters chosen in experiments are from “Standard 800 Phrases,” which is one of the bases of Test of Chinese as a Foreign Language (TOCFL). The teaching experiments are divided into 5 themes: pictographs, self-explanatory characters, associative compounds, pictophonetic characters, and phonetic loan characters. Each theme’s lesson plan contains: 1. before teaching—building teacher’s competence of Chinese characters; 2. during teaching—listing out activities and steps of teaching; 3. after teaching—assessment and review; 4. feedback sheet from students and teaching efficiency analysis. Throughout the experiment, 142 Chinese characters are taught and comprehended in total. The results of this study are listed as following: 1. Chinese Character Perception Teaching Approach is proved to be effective and operative. It provides teacher with appropriate knowledge of etymology and competency to explain the big ideas of different Chinese character categories in a way that is comprehendible to beginners and intermediate learners. 2. Chinese Character Perception Teaching Approach meets the need of both teaching and learning. This teaching approach is tailored to suit requirements in practical teaching and helps learners to prepare themselves for taking TOCFL. Besides, according to feedback sheets, students’ interest towards Chinese characters and related cultural issues are invoked. 3. Chinese Character Perception Teaching Approach can help learners to analyze characters systematically and connect the sound, meaning and structure of characters even before they are taught. Also, through adequate writing practice, students are familiar with the strokes of Chinese characters. Therefore, they are able to write not only correct, but also make words better-looking. Finally, the reaserch brings up some suggestions to modify and improve the Chinese Character Perception Teaching Approach. The author expect that through this effective and interesting way of teaching characters, the myth of “Chinese characters are hard to learn” would be broken, and let students from all over the world truly feel the warmth, the beauty of Chinese language and culture.

本研究之目的為：一、探討行動取向師資培育模式的理論基礎。二、建構行動取向師資培育模式的變項。三、實地試驗行動取向師資培育模式的效能。四、探討知識轉變為行動的歷程。 本研首先透過文獻分析，探討行動取向師資培育模式的理論基礎，建構行動取向師資培育模式的知識、計畫、表現、省思和精熟等五大變項，再用「個案實驗研究法」，選擇花蓮師範學院大學部三年級兩位修習「教育實習」之師資生為樣本，分為實驗組和控制組，進行「知識輸入」實驗處理後，實施六回合計畫、表現、省思試教實驗。資料蒐集的方法有知識引出訪談、教學設計、放聲思考think aloud與轉譯、試教錄影與轉譯、省思錄影與轉譯及研究者實地觀察記錄。資料分析的方法有資料的持續比較、路徑發現分析、精熟情形分析、資料的次數分析、百分比分析等。本研究的重要發現有： 1.教師的知識應分為「領域通用或領域間通用的知識」（一般教育學知識）和領域專用的知識（學科知識）兩大類；領域專用的知識應再分為領域內通用的內容知識、單元╱課專用的內容知識、領域內專用的教學法知識、領域內專用的教學步驟知識；兩類知識交融產生「領域專用的教育學知識或學科教育學知識」。 2.獲取與記憶之學院設計安排的「識字與寫字」教學相關知識、實驗處理的知識，確實成為發展教學行動表徵與採取行動的基礎。 3.一節的「識字與寫字」課，需交融領域間通用的的知識、領域內通用的內容知識、單元專用的知識或常識、領域內專用的教學法知識交融轉換生產教學行動表徵。 4.「識字與寫字」的教學設計需要提取領域內通用的內容知識和單元專用的內容知識，這些知識影響教學行動表徵的生產量。 5.本研究中「設計的教學行動表徵」有84%以上產生具體行動表現。 6.知識越充足計畫量就越多、教學表現量也越多，省思量也隨著增加。 7..經六回合的計畫、表現、省思之後，各個項目都有進步和精熟化的表現，以本研究自編的「陳述性知識與程序性知識11等級量表」評估知識的進步與精熟等級分別從實驗前的3.4和3.5，提昇為7.9和8.1。 最後本研究針對師資培育方案規劃、課程發展、教學、督導、與評鑑，以及未來繼續研究之建議。 / The purpose of this study was to investigate an action-learning model for teacher education. In addition, the study intended to provide implications for the linking knowledge and action of teacher education. The current researcher reviewed literature to analyze the rationale of an action-learning model for teacher education and to construct the five variables of knowledge, design, performance, reflection and mastering for the model. The experiment method was used. The subject was two student teachers. One student teacher studied how to teach elementary school students’ Chinese vocabulary and handwriting from a videodisk. Both the two student teachers teach elementary school students’ Chinese vocabulary and handwriting for six sessions. Knowledge elicitation interview, instructional design, thinking aloud and video recoding were used for datd collection. The showing your work analysis, protocol analysis, constant comparison analysis, the pathfinder analysis, frequency analysis and percentage analysis were used for data analysis. The findings from this study are the following: 1.The pedagogical domain-specific knowledge or pedagogical content knowledge was blended by the knowledge of domain-general and the knowledge of specific-specific. In order to analyze the pedagogical domain-specific knowledge from instructional design, the knowledge of general-general is named of intra-general-general. The knowledge of domain-specific should be divided into inner-domain-general content, inner-lesson-specific content, inner-domain-general pedagogy, and inner-domain-general process. 2.The programmed knowledge learned from teacher education program and from experiment treatment were able to develop the representation of teaching action and teaching action. The two kinds of knowledge were useable. 3.Teaching elementary school students’ Chinese vocabulary and handwriting needs to blend the knowledge of intra--domain general and the knowledge of domain-specific（The knowledge of inner-domain-general content, inner-lesson-specific content, inner-domain-general pedagogy, inner-domain-general teaching process）. 4.To design the teaching of elementary school students’ Chinese vocabulary and handwriting need to blend the knowledge of general-general and the knowledge of specific-specific. The more the knowledge of these two areas induces the more production of representation of teaching action. 5. The subjects had transferred 84% representation of teaching action into their teaching in the current study. 6.The more knowledge of intra-domain general and the knowledge of domain-specific could produce the more production of the representation of teaching action. The more production of the representation for teaching action could transfer the more performance in teaching. The more performance of teaching could induce the more reflection of teaching. The current study not only provides implications for teacher education but also suggests directions for further research.

本論文藉由艾德蒙．懷特<已婚男人>愛滋書寫裡、對男同志性愛/死亡在愛滋年代的辨證關係，探討愛滋文學所能扮演的文化功能。第二章、利用傅柯式圓形監獄概念衍生下主體自我內化規訓，討論男同志性愛原先具有的顛覆本質，如何隨著80年代、HIV病毒出現，在生物醫學論述下對男同志進行”再次病理化”的辨證關係。 第三章參考喬瑟夫．凱迪在1993年發表的文章、 分類愛滋書寫為深刻書寫和反深刻書寫，討論<已婚男人>裡愛滋深刻書寫裡、藉由呈現詭異疾病身體來製造驚嚇感、引發讀者對於愛滋議題另一層次的反思。第四章、則是探討<已婚男人>呈現無病徵的衣櫃身體、其造成主體／客體在視覺上/心理上、介於有病/無病的模糊詭譎狀態，可以被視為愛滋文學、一種提供讀者在愛滋年代裡、在絕望中仍可懷抱希望的正面力量。透過以上探討、艾德蒙．懷特＜已婚男人＞豎立愛滋書寫之中、呈現男同志文化與愛滋病複雜關係的傑出作品。 / This study discusses Edmund White’s AIDS writing in his The Married Man, a fiction that depicts the issue of gay sex and death in the age of the Epidemic. In chapter two, I intend to discuss about how biomedical discourse of HIV/AIDS fosters a Focauldian apparatus of panoptical surveillance and self-discipline in relation to gay sex. With the advent of HIV virus, the once subversive lifestyle of gay sex becomes more problematic. In chapter three, I attempt to employ Joseph Cady’s definition of AIDS writings as either immersive or counter-immersive, and argue that Edmund White’s The Married Man should be viewed as an immersive AIDS writing wherein the ugliness of the grotesque body is used as a literary weapon to engender its readers a sense of shock. In chapter four, I contend Austin’s HIV asymptomatic/closet body in The Married Man should be viewed as an ambiguous symbol by which a dialect between hope (future) and despair (no future) is discussed. To conclude, Edmund White’s The Married Man, a subversive text as it is, thus stands as a masterpiece of AIDS writing not only explicitly depicts the history of HIV/AIDS of the 1990s but that promises its gay readers a potentiality of hope for the misty future.