以皇帝作為描寫主角的小說，通常分為偏向傳奇軼聞或發跡變泰的歷史演義或英雄演義式小說，以及強調縱慾描述的艷情小說兩種，《隋煬帝艷史》在前人的研究中卻無法被歸類至任何一種當中，有的研究者視其為歷史演義，有的研究者卻認為不可忽視其人情世態的描寫，為歷史與人情二者合流後的作品，本論文即從此根基出發，試圖呈現小說中的獨特意涵。 筆者從《隋煬帝艷史》對於歷史資料與筆記小說的重寫情況切入，觀察小說特質如何轉化介入歷史題材，在通俗化的過程中吸引讀者的目光。論文第二章書名的「艷」字出發，以「重寫」的觀點釐清「艷」、「奇」等小說素材在《隋煬帝艷史》中如何被突顯與呈現，第三章則分析《隋煬帝艷史》如何沾染人情小說的元素以及對煬帝形象的塑造，第四章則探究歷史與小說間的關係，並以《隋煬帝艷史》及多部與隋煬帝相關的歷史演義小說作比較，觀察其間的關係。 / A novel which takes emperor as a leading role is usually be sorted into two groups, an interesting episode or a legend and a novel emphasizing indulging in sensual pleasure. However, “Sui Yang-ti Yen-Shih” can not be classified into any kind of type above in previous research. Some researchers take “Sui Yang-ti Yen-Shih” as a historical story, but some think that the depiction in sentiment and life is not allowed to neglect. This research is based on former discussion, and attempts to present unique meaning of novel. Starting from rewriting historical documents and short stories, we observe that how the character of novel is added into historical materials, and how the author attracts readers in popularization process. The second section of our research starts from the title “yen,” and in the view of “rewrite,” we discuss how the glamorous and odd characters in “Sui Yang-ti Yen-Shih” is emphasized and presented. We analyze how “Sui Yang-ti Yen-Shih” touches sentimental factors, and how it builds the image of emperor, Sui Yang-ti, in the third section of this paper. The fourth section is to investigate the relationship between history and novel, and compare “Sui Yang-ti Yen-Shih” with other historical novels about Sui Yang-ti.

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王韜（1828-1897）一生經歷與著作豐沛多元，其《遯窟讕言》、《淞隱漫錄》與《淞濱瑣話》三部志怪小說，歸屬於小說史上《聊齋誌異》續書脈絡；然而相對於王韜在近代思想史、報刊史等領域研究成果之豐碩，其小說相關研究至今仍猶顯單薄。在思想領域上被認定為新式知識份子，且各式文類兼擅的王韜，為何在晚年陸續撰寫、出版志怪小說集；其寫作動因為何、特質為何，如何回應志怪書寫譜系及自身學思經歷、時代變化，誠為本論文最初發想之問題意識。是故，第二章先自王韜志怪小說書寫動因進行探論，針對其自詡為「聊齋替人」之特徵，就蒲松齡、王韜生命歷程的同與異，及王韜對蒲松齡的承續與新衍進行討論。承此，第三、四章則分別自王韜小說的題材交織與人物圖景兩大面向論述，觀察王韜在志怪體裁的承續下，如何轉擬時事、經歷，賦予其小說書寫個人化特質；在人物群像的勾勒上，續衍書寫之特質又將如何呈現，如何衍異。第五章則以前行數章觀察為基礎，探討王韜於志怪小說書寫中自我形象的逐次建構，以及三部作品間書寫動因、內容與意旨的微型流變。第六章則總結本論文之研究成果作一回顧與結論。

一九六三年郭良蕙的《心鎖》、一九七三年歐陽子的《秋葉》、一九八三年李昂的《殺夫》。每隔十年台灣社會就會對於女性小說引發議論，這正好印證性別議題的文學，總是受到壓抑跟封鎖，女作家探討身體的感覺或情慾問題都無法在權力的干涉當中遁逃。三位作家分別運用了性別／文本策略，來表述情慾或小我，這種對於宗法倫常逆向演繹的書寫方式，最終被推上道德審判的祭台。因此我們可以說《心鎖》、《秋葉》、《殺夫》，分別代表了六0年代、七0年代、八0年代，這三個世代台灣的情慾書寫，女性文學遭受壓抑的索引。 五、六0年代可以說是黨國思想最為穩固的年代。郭良蕙反向的探討女性的情慾、外遇問題，無疑就是踰越了那個時代的主流價值。因此「《心鎖》事件」才會從原本單純的文學事件引發成社會事件。整個「《心鎖》事件」也可以視為威權體制壓抑文化表述空間的象徵。《秋葉》在民族主義情緒高漲的年代引發議論。歐陽子所使用的現代主義的審美觀念，在於彰顯人性的深不可測。透過人物內心不真實的想像，挖掘到最真實的自己。因此她筆下的女性角色也顛覆了傳統文學裡三從四德的女性形象，讓女性回歸真實的人性。《殺夫》成功問鼎文學大獎，替女性文學作了成功的辯護。而她的獲獎，並不意味著衛道人士從此就會對溢出常軌的女性書寫善罷干休，而是揮舞著道德的大旗群起圍剿。李昂所欲控訴的實則是一部血淚斑駁的女性身體壓抑史。 以歷時性的觀察，三冊小說分別反叛當時響徹雲霄的大敘述。她們從幽微的女性意識到主動出擊的女性主義，這樣的脈絡經過現代主義的洗禮之後，也可以視為女性從「反思」到「反抗」的自我美學建構的歷程。

本研究旨在探討高中英文教師對於英文作文教學的信念與其實際教學情形。文獻回顧內容涵蓋英文作文教學理論以及教師信念與實踐。 本研究的對象為台北市的高中英文教師，研究方法採用量化的教師問卷輔以質化的教師訪談，問卷回收171份，採用兩種統計方法分析：描述性統計及單因子變異數分析；訪談人數為6人，訪談結果用來支持、解釋問卷結果。研究重點如下：(一)教師信念及教學情形：包含教學目標、教師角色、教學內容及教學方式、（二）教師信念與實踐的符合度與造成不相符合的原因以及（三）影響教師信念與實踐的因素。 本研究的主要發現如下： 1. 大考會左右老師的教學方向，但老師教學時目標不只侷限於此。 2. 老師的教學信念與實踐皆綜合成果導向與過程導向的教學法原則，而非單一教學法。 3. 教師教學上面臨課程、學生、教學準備及批閱作文等方面的困難，這些困難會阻礙老師遵循其信念教學。 4. 教師背景經驗確實會對其信念與實踐有所影響。 本研究有助於認識高中英文教師教寫作的信念與教學情形。研究者根據研究發現，分別對高中英文教師、教師培育機構、教育部及作文教學教材編寫者提出建議，以期讓高中英文作文教學更進一步。 / The purpose of this study was to explore what beliefs senior high school English teachers hold toward writing instruction and their practices of the beliefs. Literature review covered the approaches of ESL/EFL writing instruction and teachers’ beliefs and practices. The participants of this study were senior high school English teachers in Taipei city. Two data collection instruments were adopted, the quantitative questionnaire and the qualitative interview. In total, 171 questionnaires were gathered and analyzed by means of descriptive statistics and one-way ANOVA. In addition, six interviews were conducted, whose results were utilized to further support and explain the questionnaire results. There were three research focuses. The first one was on teachers’ beliefs and practices in the goals of writing instruction, the roles they played, and the content as well as the teaching procedures of writing instruction. The second one was on the consistency between teachers’ beliefs and practices and possible reasons for the inconsistency. The third one was on influential factors on teachers’ beliefs and practices. Based on the results of this study, major findings are summarized. First, for the teachers in this study, entrance exams were approaching, so the test-oriented trend seemed to be inevitable. However, teachers believed that to familiarize students with English writing structure and to enable them to express in written English could also be possible goals, and they did teach accordingly. Second, the goals, roles teachers played, content, and teaching procedures reflected a mixture of product-oriented and process-oriented approaches. Third, the difficulties originating from curriculum, students, teaching preparation, and composition evaluation might hinder teachers’ practices of their beliefs. Finally, teachers’ background experiences were found to play a part in influencing teachers’ beliefs and practices. It is hoped that this study can contribute to more understanding of senior high school English teachers’ beliefs and practices in writing instruction. With the results of this study in mind, the researcher further made suggestions toward senior high school English teachers, teacher education institutes, the Ministry of Education, and writing instruction material designers. This might help refine senior high school English writing instruction.

本篇論文以大陸當代知名女作家方方為研究對象。以方方小說文本為核心，分六章進行討論。第一章、緒論：第一節敘寫本論文的研究動機與目的，第二節敘述其研究範圍、前人研究概況與論文架構。第二章、走入方方的創作世界：由於方方發表〈風景〉後，被歸為「新寫實小說」代表作家之一，故第一節先對「新寫實小說」緣起與特色作簡要闡釋，第二節敘說方方的創作歷程，依照方方的生活經歷與風格轉變，將創作歷程分為三期：詩意與溫馨相伴的潛伏期、清醒與痛苦並生的掘進期、機敏與多思同在的成熟期，除簡略介紹各篇小說內容，並說明各期作品的整體特色；第三節說明方方小說的創作立場，藉此更全面理解方方小說的多樣風貌。 第三章至第五章為方方小說作品的內容分析。第三章、方方小說的主題：本章節將方方小說打破寫作時間限制，以主題分類將之歸納為：奇異的市民風景、知識者的定數、男女情愛、警匪故事等四大類型，分做四節論述方方小說的主題內涵。第四章、方方小說的情節模式：分析方方小說敘寫故事常用的五種情節模式──偶然—逆轉、生—死、親—仇、淑女—蕩婦、妓女、歷史—現世、宿命，從另一角度分析潛藏在小說情結模式中的內在意涵。第五章、方方小說的藝術特色：分從敘事觀點、灰色幽默的反諷手法、借詩文抽象哲理表現故事內容、「漢味」特色等四個角度切入，賞析方方小說的藝術特色。第六章、結論：總結各章重點，綜述方方小說的特色與精神內涵，以及方方在中國當代文壇中的地位與意義。

平路是當今台灣文壇一位傑出的女性作家，除了創作小說，也出版散文及評論集，著作豐富。1970~1980年代是台灣女性作家開始大量創作的時期，不論質與量均豐，受學院肯定，而平路從1983年〈玉米田之死〉獲獎，至今持續小說創作，對台灣社會的關懷是她一貫的堅持，以台灣歷史作為小說背景或小說題材成為她的創作素材。平路書寫台灣歷史，融入文學手法，想像小說情節和歷史事件上未出現人物，化作一篇篇的小說，此種歷史想像是平路小說的特色之一。本論文從平路的生平和經歷出發，追溯其內在心靈的轉變，影響作品風格轉變，並醞釀歷史小說和台灣歷史小說的誕生，將平路小說中出現台灣歷史事件的篇章提出，予以集中討論，深究平路小說中的台灣歷史想像意涵，而近期出版的《婆娑之島》，運用新歷史主義觀點和後殖民書寫深入析論，並探討《婆娑之島》的藝術表現，從其寫作脈絡勾勒作者建構台灣歷史小說的意圖，彰顯《婆娑之島》的小說藝術成就，整體呈現平路作品中所呈現的台灣歷史想像意義，建立平路的台灣歷史小說在文學史上的地位。

幾十年來，過程寫作常因為『重內容輕形式』和『輕忽寫作成品』而導致批評聲浪不斷。 近年來，部落格網誌的四大特色 — 自我表達、自我反省、互動和發布 — 吸引學者和語言學習者的注意。本文旨在探討部落格融入『過程寫作』之教學如何影響四名台灣高三學生的寫作表現。文獻探討涵蓋過程寫作，部落格和三項共通因素 — 回饋、自我反省日誌和電子檔案評量。 本研究的對象是研究者所教授的過程寫作班的四位高三學生。本研究的程序以寫作循環 (writing cycle) 為主軸。資料包括多次校訂 (multiple revisions)、兩篇草稿 (前後測)、學生寫作態度問卷、教師日誌(teacher’s log)和訪談紀錄。首先，以Yagelski’s coding schemes (1995) 和Johnson’s (1994) 內容和組織指標 (indicators of content and organization) 解讀多次校訂，以了解學生的校訂類型 (types of changes in multiple revisions)。接著，分析前後測分數的差距 (score differences)及文章長度 (the length of essay)、探討多次校訂與前後測草稿的關聯性，再找出前後測草稿中的內容與組織指標，以顯示學生在兩篇草稿的進步程度。訪談資料則用於探討部落格的功能、學生遇到的困難和需要何種教師支援。至於學生的寫作態度，則以前後測問卷的分數差距 (score difference) 為主，再以訪談紀錄作為佐證資料或疑點澄清。最後，與教室情境有關的發現，則以教師日誌和訪談資料為主。 本研究的主要發現如下： 1. 生有自己偏好的校訂類型 (types of changes in multiple revisions)。 2. 作班的四位高三學生在內容和組織方面有顯著進步。 3. 級部落格在過程寫作的每個階段都有不同功能。 4.多次校訂的枯燥須加以克服，以及建議實施老師與學生間的迷你會議。 5.在信心、焦慮、實用性與偏好四方面，學生寫作態度改變。 6.教室情境所衍生的幾項發現。 最後，本研究對過程寫作在實際教學上應用與未來研究方向提供建議。 / Over the past decades of practice in process writing, criticism over “the stress on content over form” (Badger & White, 2000) and the neglect of final writing product (Barnes, 1983) has never ceased. Considering that blog has attracted scholars and learners for its unique features — self-expression, self-reflection, interactivity, and publication, this researcher integrated blog into the instruction of process writing to investigate the writing performance of the four 12th graders. The literature review covered studies on process writing, blog and three elements commonly found in both process writing and blog— feedback, self-reflection journals and e-portfolio. The participants of this study were four 12th graders of Taiwan’s high school in a blog-mediated process writing class taught by the researcher. The procedure revolved around the process writing cycle, in which these four participants repeated the recursive writing process. Data included multiple revisions, two drafts (pre-test and post-test), questionnaires on students’ writing attitude (pre-test and post-test), the teacher’s logs and interviews. First, to obtain what types of changes students made in multiple revisions, the 48 multiple revisions were coded by Yagelski’s coding schemes (1995) and Johnson’s indicators of content and organization (1994). Second, to investigate if the four participants made progress in content and organization, this researcher touched on four aspects of analysis: 1) the score differences between the pre-test and post-test drafts, 2) the length of essay, 3) a connection analysis between the multiple revisions and the two drafts and 4) a draft analysis using Johnson’s indicators of content and organization (1994). Third, the interview data helped to explore how the blog functioned in each step of process writing model, and to present the challenges students encountered and the teacher support they needed. Fourth, to discover if these students experienced any attitude changes, she also calculated the score differences between the pre-test and post-test questionnaires in students’ writing attitude and verified the questionnaire results or clarified the unclear points with interview data. Finally, some other classroom-context-related findings were also revealed in the analysis of the teachers’ logs and the interview data. The major findings were listed as below: 1) students showed preference for making some types of changes in multiple revisions; 2) the four students in the blog-mediated process writing class gained significant progress in content and organization; 3) the class blog functioned differently in each step of process writing model; 4) the boredom of doing multiple revisions and the teacher-student mini conference were the challenges encountered and the teacher support recommended; 5) there were writing attitude changes in the four categories — confidence, anxiety, usefulness and preference; and 6) several findings were also revealed in the context of classroom. Some pedagogical implications and recommendations for future research on process writing were presented at the end of the thesis.

網誌使個人化出版的美夢成真，網路空間因此充斥著網誌使用者的觀展╱顧影自憐，而重看網誌的舉動亦成為書寫╱閱讀循環下的自我認同建構歷程。電腦文本具有閱讀即重寫的特性，加上網誌媒介獨有的互動性質，網誌使用者因而得以運用網誌進行個體層次的自我凝視與人際層次的互動想像，意即個體透過自反性的作用，想像他人如何觀看自我，在「觀看」自己如何「被觀看」的過程中反看觀眾，據此對自身存有進行加工以創造自我。 本研究從Foucault的主體觀出發，援引閱聽人研究中的觀展╱表演典範的自我認同建構觀點，關照網誌使用者如何在網誌中重看自我與其效應。以紮根理論分析法進行研究，經由深度訪談法蒐集網誌使用者的經驗資料，輔以研究者的親身觀察與參與，嘗試修正或補充既有理論。 研究結果顯示，網誌中的主體構成深受網誌使用者人際關係的影響，網誌使用者依據其觀眾發展出「被觀看」的想像，並運用各種自我技術營造自我，然而此間的人際關係卻非如同過往研究所示，僅為線下╱線上或真實╱虛擬的二元對立樣態，網誌中的自我觀看織就出線下、線上關係合流的虛實交錯溝通情境，因此網誌中的主體並非單純的線上人格，更滲透至網誌使用者的線下生活。 網誌中的自我觀看端賴網誌使用者在觀看位置上的轉換達成，使得網誌使用者的主客體界線逐漸消弭，因此網路時代的閱聽人概念亟待研究者的重新探問，同時也是今後研究探討網路主體形構的重要途徑。

本研究旨在分析臺灣英語系大學生在英語故事寫作方面的表現。研究對象為二十位某大學英語系三年級學生，藉由分析這些學生寫作的故事所呈現出的敘事結構，期望能發現學生寫作故事的模式，寫作上的長處與弱點，在寫作方面遇到的困難，以及文化背景是否影響其寫作表現。 研究結果顯示，學生寫作的故事呈現不同的敘事結構，而這些敘事結構反映出他們對於英語故事的基本元素已有初步的了解，但仍需要老師進一步在文體區隔、內容、以及校訂等方面給予指導，以增強其故事寫作技巧。此外，學生的作品中表現了許多文化特徵，這些特徵也同樣可在泰國、越南、不丹等學生的故事作品中發現，因此，本研究或許可作為亞洲文化間具有高度相似性的證明。 / The purpose of this study is to investigate the story-writing performance of college English majors in Taiwan in terms of narrative structure. A total of twenty stories composed by twenty junior English majors of one national university were analyzed based on the conventional English story structure. The collected stories were part of the students’ normal school work rather than specially designed tasks. Through a narrative structure analysis of the collected data, different structural patterns were discovered, including (1) Description, (2) Abbreviated Story, (3) Complete Story, (4) Lengthened Story, and (5) Complex Story. The structural uses not only reflect the learners’ writing styles but also represent their strengths and weaknesses in writing. Overall, the results show that although these students have possessed the basic knowledge of the structural conventions, they still need instruction in terms of content, editing, genre-distinction, or formal devices to enhance their story-writing skills. In addition, cultural characteristics were discovered in the writings. The preferences observed coincide with the characteristics of narrative writings of Bhutanese, Vietnamese, and Thai cultures in many ways. Therefore, the findings of this study may also serve as evidence for the great similarities that existed among Asian cultures.