近年韓國偶像風潮襲捲亞洲，本研究目的以Super Junior與其歌迷E.L.F.共創的文本內容（包含初級偶像文本、次級偶像文本和迷文本）為例，探究其如何塑造雙方的想像關係與情感認同，描繪偶像文本的特色、內涵與故事，以及想像與情感的關係。 透過文獻回顧，將迷定義為「在某段特定時間，特別為某些文本內容所吸引並產生互動，具有相當程度之認同與涉入的閱聽人」並發現迷的認同與想像來自對偶像的情感。偶像文本依循神話敘事發展情境，使迷在原有的經驗上建立新的意象，並進一步引發迷的生產行為（迷文本）。 本研究經由文本分析法，了解Super Junior偶像文本以及E.L.F.的應援活動內涵；透過深入訪談剖析E.L.F.的想像和情感世界，並藉由研究者曾參與Super Junior偶像文本的經驗，補充文本原貌。 本研究結果歸納如下：Super Junior初級偶像文本分為誕生、考驗和成型三個階段，是一沒有結局且不斷交織、循環、反饋、相互參照的過程。其次，Super Junior次級偶像文本則由演唱會舞台敘事為代表，與E.L.F.的情感形成七項對應階段。 最後，E.L.F.與Super Junior的關係能夠透過Super Junior偶像文本建立，E.L.F.不再是Super Junior的從屬文本，E.L.F.不僅接收、消費偶像文本，也是Super Junior偶像文本的創造者，其情感結構從矛盾、憧憬到參與；生產行為則是E.L.F.對Super Junior表達情感的方式，亦是取得Super Junior偶像文本的參與位置的手段。 / In recent years, “Korean Wave” is more and more popular in Asia. Korean pop music, referred to as “K-pop”, has played a significant role in the Korean wave.The important fact of fan culture between Super Junior and E.L.F (the name of Super Junior fans) needs to be discovered that Super Junior and E.L.F create text which builds the imaginational relationship and affection between them. As revealed in literature review, the imaginational relationship and affection come from the narrative form and structure of myth. This study uses contextual analysis, in-depth interviews and observational survey to collect Super Junior history and E.L.F “ouen”(cheer) actions. Through the research and the understanding of the context from Super Junior and E.L.F, this study tries to construct a new method of new narrative in idol area. There are three conclusions can be addressed as follow: First of all, Super Junior primary text is a three-stage process. Secondly, Super Junior secondary text can be described as a seven-stage process which is responsed by affection of E.L.F.. Finally, Super Junior tertiary text is the way that both Super Junior and E.L.F use to build up the imaginational relationship and affection between them.

《自由談》是戰後台灣第一本暢銷國內外的民間雜誌，發行時間從1950年4月到1987年11月為止，沒有官方撐腰而能歷經整個戒嚴時期，並取得巨大成功，是來自於雜誌背後所擁有的海派文化資本、商業手腕，以及因地制宜的在地轉化。本論文以《自由談》為中心，首先比較民國上海《旅行雜誌》，踏察海派文學／文化與台灣當代文學／文化的關聯。其次藉由觀光客凝視（The Tourist Gaze）、世界主義（Cosmopolitanism）和美學世界主義（Aesthetic Cosmopolitanism）等理論，分析《自由談》裡最大宗的國內外遊記，說明藏匿在官方論述保護色之下的「世界想像」，有意無意溢出戒嚴臺灣所限制的禁忌究竟為何。最後集中關注《自由談》的小說，一樣先分析海派小說的在地化轉變，說明如何可能成為台派鴛鴦蝴蝶小說；之後再聚焦以國外為主要敘述空間的嚴肅小說，討論這些小說如何區分自我與他者、確認差異（difference）和認同（identity），進而隔海回望，漸漸打造出不同於官方主導文化、嶄新的「台灣想像」。 / The Rambler（《自由談》） was the first private magazine in post-war Taiwan that sold well domestically and internationally. Published from April 1950 to November 1987 without government support, the magazine thrived throughout the entire martial law period because of the combination of the cultural capital of the Shanghai School, effective business tactics, and a local transformation that underpinned its operation. In this study, The Rambler and its predecessor, China Traveler（《旅行雜誌》）, were compared to investigate the relationship between the Shanghai School literature and contemporary Taiwanese literature. Travelogues collected in The Rambler were subsequently analyzed through the perspectives of tourist gaze, cosmopolitanism, and aesthetic cosmopolitanism to illustrate how the world imagination was influenced by the ruling Nationalist Party, which, wittingly or unwittingly, revealed officially stated taboos in Taiwan under martial law. The local transformations in the Shanghai School fiction reflected in The Rambler were also discussed in this study. Finally, fiction in The Rambler with settings that occurred beyond the borders of Taiwan were examined to discuss how characters in these fictions distinguish between the self and the others, perceived their difference, and identified with their identity to create a different imagination of Taiwan from the officially created one.

想像是一種說故事的媒介。說故事的方法有很多種，文字、圖像、音樂，以及影像等等，這些都是將腦中的想像具體化的方式。而作「夢」，也是一種想像，一種不受人、事、時、地、物的影響，最自由的想像行為。 本作品將以「夢」為創作發想，並以〈Night Dream〉以及〈Day Dream〉兩種夢的主題為創作核心，並在故事中加入「反烏托邦」的元素，以音樂作為說故事的媒介，進行想像的實踐，進而完成一張音樂創作專輯。 / Imagination is a media of telling stories. There are many ways to tell stories, which include words, pictures, music, videos, and so on. These are ways of making imaginations become stories. “Dreaming” is also a kind of imaginations, which will not be confined to no matter who, which, what, when, where, and how: it’s the freest attitude of imaginations. This project is to produce a music album. And “Dream” is the theme of this project, which includes both “Night Dream” and “Day Dream”. The idea of “Dystopia” also plays an important role when creating stories. Telling stories through music is the purpose and also the process of making imagination into practice in this project. A music album will be produced as the achievement of this project.

許多讀者時常透過閱讀旅遊敘事來認識異地，無論是敘事中的文字或圖片，皆能為讀者建構異地風貌並藉此延伸出許多關於該地的認知與想像。據此，本研究旨在探究讀者在閱讀旅行敘事過程中，對於旅行圖文敘事因何產生想像，是否有特定因素會勾起讀者的想像開關，圖文敘事因何使讀者產生想像。 研究發現，讀者閱讀旅行敘事時，對於具有當地特殊文化背景的物品、人物的故事、動作與對話、歷史背景等特別能夠勾起讀者的想像。文字敘事可利用關於細節的描述、感官、形容詞、生命經驗、故事等喚起想像。此外，非本國文字的使用也可使讀者延伸想像。圖片在旅行敘事中的功能多在印證與具體化，且可能限制讀者想像。 讀者所生成的想像內涵中可發現，閱讀旅行圖文敘事能夠使讀者產生關於空間、修補外在客觀形式、情感、聯想、生命經驗、記憶以及五感聯想中的視覺聯想等。而其他時間、因果、對比、創造新形象以及五感聯想中的聽覺與嗅覺皆少有想像。 / Many readers access to foreign place by reading travel narratives and pictures. While reading travel narratives, many imaginations and affection come out from their mind. This study aims to explore the imagination of reader on travel narratives and pictures. If there is any element in narratives and pictures can arouse reader’s imagination, and what those elements are. The study shows that when reader found something is unfamiliar with, people’s conversation and story, and the history can arose imaginations. The descriptions, adjectives, life story and experience in narratives do help to arose imagination. In addition, foreign characters also make readers think further. However, pictures in travel narratives limit the imaginations, it makes readers stop imagining. Most of imaginations are about the space, fix objective forms, affection, life story, experience, and visual association. Less do people think of time, causality, contrast, making new image, hearing association and olfactory association.

2014年12月的「雨傘運動」中，不時看到「支持本土、以香港為家」的口號和標語，如「自己香港自己救」、「守護香港拒絕沉淪」以及「撐(支持)香港」等等，都反映出年輕一輩對香港的歸屬情感，顯示出本土主義是這場運動論述的核心內涵，意在對抗北京的愛國主義論述，同時也反映出本土意識是目前香港認同與社會集體想像的重要內容。本論文採取文獻分析法，旨在針對透過公共討論中與香港身份認同相關的論述進行脈絡式分析，探討香港身份認同的演變，剖析香港社會自英殖時期至今關於香港人的集體想像。本論文針對英殖管治時期、戰後至回歸、一國兩制實施至今三個主要歷史時期進行研究，探討香港人的集體認同及其演變。本研究結論指出，強調多元族群社會想像的認同論述有助於形塑具包容性的香港本土認同。 / In the 2014 Umbrella Movement, nativism, aimed to contest with the patriotism advocated by Beijing, appeared to be the core of the discourse of the movement. It is embodied in slogans such as ‘Supporting the native; Hong Kong is our home’ and ‘Preserving Hong Kong.’ This reflects the sense of belonging of the Hong Kong youth. Nativism therefore appears to be an important element in the formation of collective identity and social imaginary of Hong Kong. This dissertation, through a contextual analysis of discourses on Hong Kong identity, aims to probe into Hong Kong identity in different historical periods, including the period of British colonial rule, the period from the end of World War Two to the 1997 handover of Hong Kong, and the period when ‘One Country and Two Systems’ is practiced in Hong Kong. In the conclusion, it is argued that the nativist discourse that emphasizes multiethnic social imaginary contributes to the formation of an inclusive form of Hong Kong identity.

本文旨在探討加拿大哲學家泰勒(Charles Taylor)的政治思想。泰勒政治思想深受個人身為英裔魁北克人、英加兩地學術薰陶、以及參與加拿大新民主黨活動等因素所影響，並與其亟欲建構哲學人類學之鴻圖，有著緊密的關係。泰勒反對笛卡兒式與洛克式的心靈理論，卻採取梅洛龐蒂的觀點，主張感知性知識乃是一種行動者知識的樣態，感知的內容從不是偶然地與世界連結，感知的主體是世界的化身，其身處的困境無法置外於其行動者的結構。泰勒更進一步抨擊當代自然主義假設背景祇不過是我們認知的因果性前提的看法，他主張背景乃是知識之先驗性、超越性的條件，但它不能完全地客體化，因為任何客觀的知識宣稱要被理解，其本身必需具備背景預設，這種反思之先驗性、超越性的層次充份顯示出客體化、表徵化世界的限制。泰勒遂借用加達瑪的視域融合概念來說明社會科學的詮釋邏輯，與自然科學的邏輯大異其趣。他更抨擊行為主義過度簡化人類的行為，竟將價值和實踐分離，導致價值和行動在具體生活經驗中的關聯性遭受排拒。泰勒更明確地批評原子式個人主義者的信念，也拒斥工具理性。泰勒因此提倡善的客觀性，強調人們與其道德經驗，從而建構其道德實在論。泰勒的政治理論則係挑戰現代以普遍主義為基礎的憲政民主制度之合理性，其批駁當代程序式的自由主義者對個人自主性之錯誤理解，並提出本真肯認之理論。從宗教、經濟、政治與道德等多元角度，泰勒爬梳西方現代性的源流，就中探討宗教在俗世政治中所扮演的角色，它竟成為政治認同的關鍵。他也追尋現代社會想像如何崛起，預視多元現代性的到臨。面對俗世時代人類處境，泰勒則導正孤傲人文主義之偏頗，企圖拯救大眾虛空無聊的生活。最後，本文對泰勒的理論在道德視域、政治哲學及現代性加以檢討，並以臺灣經驗的反省作結，期收他山之石，可以攻錯之效。

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Benedict Anderson《想像共同體》刺激了跨學門的研究，甚至潛隱成為不同取徑的中軸。本文即以此書為虛擬的對話人，同時延伸書中的指標概念—想像，據以鋪陳、架構本研究的兩個問題：營造國族想像的要素？語言如何扣合本地文化資源以營造國族想像？循著Anderson揭示的時間、印刷資本主義和語言等文化要素，我們進一步將之搭上語言再現論，一方面建築「想像語言」觀、另外延伸時間、印刷資本主義於本地經驗與理論上的意涵。於想像語言，本研究以Wittgenstein後期論理為軸，並向功能語言學派借火，認為語言與脈絡（語境）間的遞迴關係適足以中介台灣社會脈絡與理論的接軌，特別是軸輻自該書印刷資本主義的雙層意涵—一面是文化、一面是結構。作為結構，本論文藉以引導出報業與善書兩個代表，而文化則遙指一種相對於古老宗教共同體的世俗而神聖之文化氛圍。文中也順勢轉入《民報》語料的分析。藉社論的耙梳，我們將文本語言資料、主題與相關意義構連上該時的社會實況與本地文化資源（於內容與形式上，皆隱隱地透露出某種神聖的氣味），其中，當以本省人╲外省人的定位為核心，同時含括了國族之於人的隱喻、對為官者的期待，以及時間因素的相關分析。

台灣這一塊土地基於數百年來獨特的移民與殖民交相混融的歷史，形成多元文化共時性社會意識結構，二戰以後，面臨殖民帝國崩解、移民母國恐怖統治以及民主與共產兩大陣營對壘的冷戰局勢，遲緩了後殖民論述的建立，1960~70年代的紛擾與不確定因素形成庶民族群在工業化現代都會發展與資本主義勃興社會秩序重整夾擊下，巔巍巍地步入殖民想像與後殖民錯縱複雜的意識形態交織轉型網絡中，正如俄國學者巴赫汀(Mikhail Mikhailovich Bakhtin)所提出的社會文化變遷導致的深刻社會危機、文化斷裂、歷史轉折、命運門檻的生存災難，以台語流行歌曲的文化書寫形式，記錄了一段模糊的生活血淚，為戰後台灣歷史定位劃出鮮明的符碼。 本論文嘗試以當前對峙分明的台灣兩極意識型態之最大公約數 ── 移民與殖民的大眾文化書寫文本「1960年代台語流行歌曲」內容，以班雅明(Walter Benjamin)的城市觀看、列斐伏爾(Henri Lefebveur)的日常生活批判、索雅(Edward W. Soja)後現代地理學空間編碼等觀點，參考一般歷史學(historicism)、法國學者傅科(Michel Foucault)提出的考古學(archeology)及系譜學(genealogy)等三個方法論層次，探討戰後二十幾年間這一群經歷殖民與再殖民雙重衝擊下，福佬移民族群生活及集體血脈中奔騰、交織的多元混融深層文化脈息，印證了巴赫汀社會與文化發生劇烈動盪與變遷的時期所呈現的社會言說「眾聲喧嘩」(raznorechie, heteroglossia)現象。 / Based on the theories of “Critique of everyday life” suggested by Lefebvre, and “City gazing” by Walter Benjamin, and “Post-modernity geography space-encoding” by Edward W. Soja, the purpose of this study aims at explicating the deeper bruise of Taiwanese in their existence, mingled with the state of colonization and re-colonization through the local popular songs in the phase between 1950s and 1970s. Taiwan is an island which has a history of alternate hybridization between immigration and colonization since five hundred years unceasingly. People reflect their everyday life through creative art works, such as popular songs. Those days of disorder and disaster will be floating to the present days via the cultural writings of the Taiwanese popular songs. In view of methodology, this study uses three layers of concepts, namely, theory of historicism, and Foucauldian theories of archeology and genealogy. This study also employs Bakhtin’s theory of heteroglossia for further discussing. Study findings would be able to signify a vivid picture of colonial imagination and cultural writing in Taiwanese collective unconsciousness through popular songs after World War II.

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