在現代都市的生活中，為了達到安全舒適與便利，經常需要配置許多都市服務設施來提供必要的服務，然而這些設施卻未必能讓所有人都樂意接受。一般而言，會在人們心目中留下清楚圖像的環境多半是值得回議會為人所津津樂道的，這些意象通常都是正面的。雖然過去的受害經驗也可能在人們的腦海中留下不可抹滅的印象，但人們通常會試著淡忘這些不好的經驗，因此都市服務設施不論具有正面或負面的效果，是否均會在居民對空間的認知結構中形成如「都市意象」般的設施意象？ 環境意象的掌握是規劃工作中一項極為重要的課題，意象既是個人對其所具有空間知識的有意義選擇，其形式必然是被賦予了價值的結果，換句話說，由於人對環境的理解是透過知覺作用進行的，因此環境認知與環境意象的研究不但涉及了環境的實質元素、事件，更包含了個人或群體的情感屬性。因此，本研究即是希望從環境態度與環境認知的角度來了解民眾對都市服務設施主觀認知的社會事責，並利用意象圖的方式來探究居民對都市服務設施的認知結構及其所代表的意義。 而經以面訪的方式對設籍於臺北市的242位居民進行調查後發現，在設施意象的建構過程中雖會受到外界資訊的引導與暗示，但是意象的內容卻未必會受到影響。再者，對受訪居民而言都市服務設施無非是公共設施的代名詞，且幾乎都是指對生活具有正面效果的設施，如果不是經常受到環境的刺激，並不會在意象圖中強調具有鄰避(NIMBY, Never-In-My-Back-Yard)效果的設施。在本研究的調查中也發現形成都市服務設施意象的最重要元素是商業及服務業設施，除了公用事業設施之外，各類設施的重要程度都會隨著空間範圍的大小不同而有所改變，而這些受訪者的都市服務設施意象在空間上不但有集中於居住地點、臺北車站附近以及臺北市政府附近等三個地區的趨勢，並傾向於將具有地方特色或當地象徵的設施表現出來，受訪者的設施意象亦多半會沿著主要的交通軸線延展而表現出與移動能力之間的某種關聯性。 除了調查組成設施意象的環境元素之外，本研究更將意象圖的繪製視為環境行為的表現方式，對可能影響個人環境行為的變數進行驗證，結果發現受訪民眾封環境議題的看法都可以被歸類到資訊、經驗、環境態度、動機、領域性與個人屬性等六個因子當中，而形成各個因子的變項亦可能因為不同得時空環境而有所不同，使得因子對個人環境行為產生作用的過程隨時可能產生變化並形成一種極為複雜的網狀結構。

《花間集》是第一部選錄晚唐五代文人詞的總集，是我國現存最古最完整的詞集，以藝術的角度觀之，它的表情特徵，是將某感情審美意象化，以意象疊加多樣化的色彩加諸詞中，使之較能專注著墨於單純的愛與美的形象表現，《花間集》雖不及宋詞之精麗，卻獨具簡古的風格，在中國詞史上具有承先啟後的地位，本文主要分為二個研究方向，一為主題內容，二為感覺意象。茲說明如下： 第一章緒論 說明研究動機與目的，研究方法與範圍，文獻檢討。 第二章《花間集》創作背景與十八家詞人 在創作背景方面，分時代背景及文學背景，說明晚唐五代的時代風氣與文學批評風氣，進而以(花間集》為焦點，說明其風格及文體的傳承，再簡述花問十八家詞人之生平及詞風。 第三章《花間集》主題內容之研究--兒女情愛 《花間集》概分九個主題，即浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨，遊仙，詠物，入世的政治態度，出世的理想抱負，邊塞與地方風物等九個主題。浪漫的情愛，女性的姿態，怨曠與傷逝，離情與別恨四個主題主要是描寫世間男女的情感為主，故以兒女情愛標之。浪漫的情愛寫男女之間熱戀時的喜悅，女性的姿態描摹當時女子的美態與才藝，怨曠與傷逝則描寫女子傷春，思念情郎，宮怨，悲秋的情緒，亦有男子思念女子的主題出現，在離情別恨主題上，是《花間集》中數量最多的主題，分別時場景與別後相思二方面，別時場景寫情人夫婦的相別，亦有其他友朋的送別，在別後相思方面，有征婦思夫，閨婦思夫，男子的離情別恨，行人傷別之思等，十分多樣而豐富。本章側重主題的分類，並對同一主題，詞中主人公表現的共同傾向做一概要的分析，使主題更為明確。 第四章《花間集》主題內容之研究--處世情懷 本章是以處世情懷為重，有遊仙主題寫仙凡之間的愛恨嗔痴，有詠物主題詠物本身或借以寄託作者自身的情感，有入世的政治態度主題，呈現花間詞人關心國事，懷古懷鄉的一面，有出世的理想抱負主題，呈現隱逸情懷，有邊塞與地方風物主題，寫作者放曠胸懷，好山好水的景致。這樣的主題，雖只佔花間詞的三分之一，但內容多樣而風格放曠，實突破花間閨帷香豔詞風，開闢另一新風。 第五章《花間集》感覺意象之表現--視．聽覺 五、六章為一單元，為本文另一個重點，本文試以五根為觀察的量尺，即所謂眼、耳、鼻、舌、身（視、聽、嗅、味、膚）五覺，以《花間集》九大主題為觀察的內容，觀察九大主題所使用感覺意象的情形．本章主要觀察視、聽二覺的使用，採統計的方式，以表格的呈現，使讀者能有較為全面的了解。第六章《花間集》感覺意象之表現--嗅．味．膚覺本章以嗅、味、膚覺為觀察量尺，以九大主題為觀察內容，採用圖表統計的方式如前章，並於最末一節對五、六兩章做一總分析，依兒女情愛與處世情懷二大重點，觀察感覺意象運用之異同，再以總體趨勢來看，以呈現《花間集》共同使用最頻繁的感覺意象為何。 第七章結論 由以上數章，約可歸納為如下三個結論，一是開啟婉約、豪放的源流，二是感覺文學的典範，三是濃厚的女性敘寫特質。綜上所述，可知，《花間集》為外貌香豔媚弱，內在輕柔和婉，靈秀清新，純樸自然的詞集，它在愛情多方面的探討，影響了元曲、明傳奇等的萌發興盛。而其在感覺意象的使用，足為後世之典範，其主題內容足開婉約、豪放之先聲，故在中國詞史上，實具不可輕忽的重要參考價值。 文後並有附錄--「《花問集》主題內容一覽表」，是將《花間集》五百首詞，依九大主題而分類，讀者閱讀第五．六章感覺意象時，可依圖表上所附數字，檢閱全詞的內容，特此聲明。

文學文本是複雜的意義結構，是由語言層面和文化層面交織而成的場域，本論文所選用之概念分析法，是為綜合性質的文本分析法，並透過作者意象(Образ автора)、概念化(Концептуализация)與類別化(Категоризация)等分析過程，總結文學文本中語言和文化所結合呈現出的主導概念，重新詮釋文學文本的面貌。 高爾基是為二十世紀初俄羅斯文化的代表作家，對於其著作《懺悔》的分析在近一個世紀以來，往往帶有著政治性與片面性的解讀，故本論文的主旨，在於運用概念分析法的分析角度進入作品，給予高爾基著作新的解釋，並重新確立高爾基及其著作《懺悔》在俄羅斯文學史中的地位與價值。

隨著科技的快速變化，企業為了生存，除了產品，也應在服務上進行革命。服務創新成為每個企業都希望擁有的能力，然而，想像和現實是有差距的，大多數的企業因為環境因素而缺乏資源，但仍不得不去進行服務創新，這樣強求的結果通常是失敗的。本研究欲開發一個互動的雛型工具，提前建立服務創新雛形，幫助企業避免投資風險。但由於服務是無形的，所以這項工具想利用故事的方式闡述服務。對於企業需要的獨特的服務或產品，我們利用服務意象的主要概念，在故事中進行表達。在這項研究中，意象代表的是企業對其服務或產品的態度，目的是，企業可以測試自己的意象，並通過互動式雛型建置的過程中，令企業獲得新的服務創新靈感。 / Along the fast changes in technology, business should revolute not only products but also services to survive. Service innovation becomes a popular competence that every business wants to have. However, there are the gap between intentions and results. Most of business are lack of resources but forced to do service innovation because of environment factors. The result usually is a failure. This research wants to develop an interactive prototyping tool to help business avoid the risk of investing on innovation by creating their service prototypes in advance. A service is always intangible and this prototyping tool would elaborate the prototype contents in a storytelling way. For business needing unique services or products, we adopt service image as the main concept in constructing the story prototype. In this research, an image represents the attitude of business toward its services or products. The goal of this research is that business can test its image and get new inspiration through the interactive prototyping process.

當好萊塢式的超級英雄在全球影視文化圈刮起炫風之時，日本次文化中亦有一群「娘子軍」，推動了日本動畫、漫畫的發展，諸如《美少女戰士》、《新世紀福音戰士》，至2011年成為日本推動軟實力外交「Cool Japan」的主打動畫—《魔法少女小圓》，都展現了日本動漫市場被名為「戰鬥美少女」的角色（character）和文類（genre）所引領的實態。這些巾幗不讓鬚眉的「美少女」，是動漫畫中的戰鬥主體，卻擁有別於歐美文化中結合力與美的女超人及女戰士的特質，她們同時擁有戰鬥的能動性，在身體表象上又具有纖細瘦弱、容易受傷的受動性，更甚是成為男性觀眾的性慾客體、女性自我實現的投射。如此對「少女」的憧憬與操作慾，實乃根基於日本近代文化的一種特殊現象。 在日本動漫充斥著色情與暴力而為人詬病之時，宮崎駿動畫電影因其所蘊含的藝術價值而和我們認知中的「御宅動畫」產生一線之隔。作品中披荊斬棘、自力更生的女性形象讓人耳目一新，然仔細探究宮崎駿動畫的人物設計和敘事結構卻與上述類型動畫中的戰鬥美少女特質不謀而合，甚至其作品《風之谷》中的娜烏西卡更被譽為是替戰鬥美少女定型的元祖角色。因此，本研究擬梳理少女文化與戰鬥美少女的發展，並以宮崎駿自1984年起至2013年執導的十部長篇動畫電影為研究對象，檢視其作品在角色形塑上是否使用戰鬥美少女模式包裝其理想的「少女意象」，期以理解「少女」之於日本社會有何種意涵與價值。 本研究發現，宮崎駿動畫除了酷愛以「飛行」強調少女的神聖性，其去性化的純潔無垢的少女意象，更符合近代日本對少女所設下的社會框架，而在敘述手法上卻體現了日本文化中普遍具有的過度男性凝視與母性肥大的主題，從而證明戰鬥美少女實非顛覆父權的利器，反而加深了既有的性別刻板印象。 / While Hollywood’s superhero movies are blowing up entertainment industry all over the world, there is a kind of young female character toting weapon in Japanese subculture and promotes the development of Anime and Manga. From Sailor Moon to Neon Genesis Evangelion, also Puella Magi Madoka Magica, which played an important role in Japan’s foreign Policy titled “Cool Japan” in 2011, the Japanese animation industry seems to be led by this kind of character or genre called “Battle Heroine”. These girls are prepubescent and pretty, but not inferior to boys and man. Although they are different from western superwoman and female warrior shaped in Amazons, they still hold the initiative in theirs fights. In the same time, they also maintain the passivity came from their vulnerable bodies and naive personality. Therefore, the battle heroine turns to be an object of desire for male audiences or a projection of self-actualized for female audiences. In fact, such desire to manipulate young girls, who were named “Shōjo” in Japanese, was based on the culture of modern Japan and became a special social phenomenon in recent times. Despite the fact that Japanimation was condemned by public because of teeming with violence and pornography, it is no doubt that director Hayao Miyazaki is appreciated for the artistic value in his awarded animations and makes a fine line between his films and “otaku anime”. The woman images in his animations can be refreshing because of its independence and brave behavior. However, when we have made a careful study of character design and narrative structure in his works, we may found that there is a coincidence between these characters and battle heroines in otaku anime. Furthermore, Nausicaä in Nausicaä of the Valley of the Wind is widely regarded as a stereotype of battle heroine. As a result, the thesis was intended to prioritize the development of Shōjo culture and battle heroine animations, and research whether Miyazaki attempted to shape female characters in battle heroine way to show his ideal Shōjo images or not among ten films directed during 1984 to 2013. Moreover, the meanings of Shōjo to Japanese were also discussed in this thesis. Throughout the research, I have found that Miyazaki tended to use “flying scene” to emphasize the deity of Shōjo characters, and the desexualized Shōjo images are familiar to the gender norms made in modern Japan. On the other side, the narrative approach of Miyazaki’s films revealed the exaggeration of maternal instinct and the redundancy of male gaze which have generally existed in Japanese culture. In my observation, these results proved that battle heroines are created to strengthen gender stereotypes instead of subverting the paternity rights.

在自媒體時代下，每個人都可簡單創立一個自媒體，使讀者在旅行的過程中得以參與照片的產製，共同塑造一地的城市意象。本研究將觀察場域設定為以照片為主的社群平台Instagram，研究標的為－上海。藉由Kevin Lynch的城市意象理論、Fakeye & Crompton的原始意象、誘發意象、複合意象理論，探討讀者抵達上海前後的差異與如何藉由照片形成複合意象，進而探討一座城市的意象如何經由照片被形塑以及讀者眼中的城市意象的構成元素與自媒體時代的關係。 研究發現，讀者的原始意象多來自朋友間主觀性的評論。抵達上海前的原始意象多指向繁華、中西合併的國際化都市，抵達後的意象較多元而衝突，特別對於人民的文化素養有所描述。在自媒體時代下，Kevin Lynch的五大要素除邊界外，其他皆仍存在自媒體上，新增人物、食物、建築空間等三大新要素。 從讀者所提供的照片歸納出以人物、標誌物兩種要素佔比最高，根據深度訪談分析讀者上傳照片的原因，如：特別、值得紀念、實現夢想、覺得自己美、心情美好、感到優越。進而從照片中發現，在自媒體時代下「我」的主體性被凸顯，使照片中充分展現自媒體時代的特色。 / In an owned media era, people can create owned media easily. They can always share photos during their travel time and shape urban images together with other readers. With the experiences of the author and consider the suitability of samples, this research will be based on Instagram, a social media platform focusing on photographs, and targeted on Shanghai. With “The Image of the City” of Kevin Lynch, “Original Image”, “Induced Image”, and “Complex Image” of Fakeye & Crompton, this research will be analyzing the difference between interviewees’ image towards Shanghai before and after visiting, and how they shape their urban image through their uploaded photographs. Through the research, the author wish to discuss the relationship between the constitute elements of urban image by different readers and the aspects of owned media era. After the research, the author found out that readers’ original images come from subjective comments of their friends. Most original images include seeing Shanghai as a prosperous, diverse and an international city. Images after visiting start to diverse and conflict, especially on cultural literacy of the people in Shanghai. In own media era, four of the five elements, except for Edges, of Kevin Lynch are still applicable. In addition, the author established another important elements, people, foods, and spaces. The photos provided by readers can be classified into people and landmarks. Through analyzing interviews, the reasons of uploading pictures are mostly things that are special, things or events that are memorable, dreams come true, photogenic, in a good mood and feeling superior. The author concludes that under owned media era, the subjectivity of “I” has been highlighted from the uploaded pictures and that also brings out the aspect of owned media era.

中學舞蹈班女學生的身體，在社會當中被認為是符合「美」的一群。為了達成演出的視覺效果，而被訓練出能靠著嚴格的飲食控制與身體訓練來維持身材的能力（靳晨瑄，2010）。本研究以質性研究的半結構式深度訪談採訪11名有過舞蹈班經驗的女學生，來了解中學舞蹈班中的身體規訓技術，以及舞蹈班女學生如何自我規訓。並從「舞者認同」和身體意象的角度，來探究舞蹈班女學生能持續自我規訓背後的動力。 本研究之研究發現如下：一、舞蹈班女學生對規訓並非全然接受，並以意識到自己的需求為前提，有著對抗規訓的策略；二、舞蹈班女學生可經由「舞者認同」的建立而形成自我規訓，進而塑造身體；三、因「舞者認同」受到舞蹈類型的偏好影響，而發展出多元的舞者認同。 / The girls in dance classes in Taiwan strictly conform to the social standard of beauty. Their bodies are ideal beauty according to society. In order to deliver the best visual performance, they would keep fit from strict diet control and body training (Jin Chenxuan, 2010). To find out how dance class follows body disciplinary method and how the girls in dance classes discipline themselves, semi-structured interviews were used when interviewing 11 experienced female dancers from dance classes. I would also like to figure out whether “dancer identities” and body images support them when they are trying to shape their bodies. Here are the findings: 1. The girls in dance classes may resist the body discipline in dance classes, because they are also aware of their own demand. 2. The girls in dance classes may build self-disciplinary and shape their body through the construction of “dancer identities”. 3. “Dancer identitiy” is influenced by various dance types, therefore we can conclude that “dancer identity” is diversified.

近年來觀光產業的快速發展，使相關業者面臨激烈的競爭，旅遊目的地行銷的概念應運而生。隨著產業結構的轉型，地方都市無不透過觀光行銷來吸引投資者或遊客之進入，以增加自身競爭力，因應全球化下的競爭。 　　觀光意象是遊客對於一旅遊目的地所持的知覺、看法與印象的重組，其傳達遊客腦海中對旅遊目的地遊憩屬性的偏好，具有宣傳與行銷的功能。一般而言，觀光意象在遊客對目的地之選擇行為過程中扮演了重要的角色，具有良好觀光意象的旅遊目的地通常具有較高的吸引力，且正向的觀光意象對都市透過觀光收益來促進都市發展及經濟成長亦有顯著效果。觀光意象包含了遊客的認知與情感面，遊客將據其偏好選擇喜歡的目的地作為旅遊地點。然而，過去研究較少探討遊客主觀感受與其對地方之情感連結等心理層面對選擇行為之影響，據此，本研究以台北市貓空地區為例，以觀光意象作為前因變數，探討其對遊客之地方依附、旅遊品質、滿意度、選擇行為之影響路徑及各變數間之交互影響效果。 　　本研究以遊客問卷之設計，對非當地居民之遊客作為抽樣調查之對象，並以因素分析與結構方程模式作為資料分析方法，所得主要結果為：觀光意象對地方依附、旅遊品質與選擇行為有直接正向影響，而影響遊客對旅遊目的地選擇行為最重要的因素為地方依附。 / With the change of industry structure, tourism industry has become one of important industries in a city. Facing the competition under the global age, the concept of destination marketing has widely aroused attention because of fast development of tourism industry and keen competition among relative industry proprietors. Destination image is sum of beliefs, ideas and impressions that a person has of a destination. Destination image has been shown to be vital influence on travelers' travel behavior, that is, the urban with a positive and good image perceived by tourists can bring out the urban a significant effect on urban development and economic growth. A tourist's intent to visit a destination is determined by a combination of cognitive and affective image. Tourists usually develop emotional associations with destination where they're lovely to visit. However, very limited research has been conducted personal emotional or meanings tourists attach to the places they visited and experienced. Thus, the study takes Maokong Area of Taipei city for example, and the purpose of this paper is to examine the relationship among destination image, place attachment, trip quality, satisfaction, and traveling behavior. In research method, the survey was quantitative research oriented in order to understand visitors' ideas toward the destination images of Maokong area. Both factor analysis and structural equation modeling were used to analyze for the study. The major results of this research were found that destination image directly has positive influence on place attachment, trip quality, and traveling behavior, and place attachment is the most important cause to influence tourists' behavior.

在這篇研究朵莉絲．萊辛＜暴力之子＞系列第五冊＜四門之城＞裡空間和心靈互動關係的論文中，筆者所要探討的主題有二，第一點旨在分析作者如何透過空間意象呈現角色的內在心理狀態；第二點所要探討的是主角在城市空間和建築空間中的漫遊如何象徵其對心靈統合的追尋。以空間和心靈間的互動關係為主軸，筆者認為空間意象乃是內在心靈活動和外在環境刺激的語言化結晶，而空間意象所呈現的將不只是外在的物理表象更包含了小說人物的內在心理實態。於是本論文試圖以空間意象出發，探討如何以此些意象和容格的個體化理論說明主角的心靈旅行。 第一章，我將分析都市空間的主要兩個意象，疆界(boundary)與層疊漫渙(palimpsest)，以及主角瑪莎與心理原型面具(the archetype persona)的遭逢。在此我將探討主角作為一個城市的觀察者和批判者如何察覺那些可見或不可見分隔都市空間的疆界。同時也將說明主角在面對面具原型時如何解決內在退縮和成長的衝突。在下兩章，我將討論兩個建築空間和主角內在心靈的關係。首先，在傑克的房子裡，主角探索記憶和身體的連結並初探被深深壓抑的自我仇恨。其後，在科利奇的豪宅，主角則把自我狀態從防衛性的貝殼意象轉化為開放空間裡的流動中心點。同時，主角亦透過潛入瘋狂和內在暗影(the archetype shadow)的經驗，習得如何面對暗影與探掘其心靈的潛意識。 / In this study of Doris Lessing’s fifth and final volume of her Children of Violence series, The Four-Gated City, I would like to explore how the spatial imagery illustrates the inner landscape of the protagonist and how the protagonist’s wandering journey in the urban and architectural space symbolizes her inner quest for psychic integration. With an emphasis on the interchange between space and psyche, the spatial imagery is read as linguistic crystallization of psychic activities and environmental stimuli, which mirrors not only the physical appearance of the surroundings but also the psychological reality of the characters. As a result, with this spatial imagery as point of departure, I will also employ Jung’s individuation theory to account for the protagonist’s psychic journey. In the first chapter, I examine the two major urban spatial images, the boundary and palimpsest, and Martha’s encounter with the archetype persona. In this part, I would like to present the protagonist, Martha Quest, as an astute city observer and critic, who perceives the visible and invisible boundaries demarcating the urban space. I will also explicate how Martha is brought to confront the archetype persona and resolves the tension between regressive impulse and inner urge for growth. In the following two chapters, I will probe into how two architectures symbolize Martha’s intrapsychic space. In Jack’s house, Martha explores the nexus of body and memory and intimates the repressed self-hater. In Coldridge’s grand mansion she transforms her self-image from a defensive “shell” into a circulating center in a fluid open space. Then, in a symbolic descent to the madness and the inner shadow, Martha learns to confront the inner shadow and explore this unconscious aspect of her psyche.

對於結盟的建立而言，如何選擇夥伴是相當重要的議題。許多的學術研究著重於建立一些選擇夥伴的框架或準則，以求達到資源分享、節省成本的效果。在旅遊產業中，許多文獻舉出了意象建立的重要性，也點出了意象的有效建立有賴於企業體彼此緊密的合作，然而，較少研究探討如果要建立獨特且具有吸引力的意象效果，應該選擇那些夥伴才能到到目標。因此，本研究提出一系統化的方法能幫助使用者分析並找出合適的合作夥伴，以建立獨特且具有吸引力的意象。此一方法利用隱喻計算作為工具，嘗試找出創新的解決方案。本研究提出也提出一個系統架構，並輔以相關的演算法與情境來說明方法上的可用性。從理論上的觀點來看，本研究嘗試透過自動化的方式找出隱喻的意涵，並將之整合到一問題解決的方法上。從實務面來看，本研究提供了中小型企業一個有用的方法能幫助他們找到合適的合作夥伴。透過建立更高品質的夥伴關係，我們期盼在旅遊產業的中小型企業能夠進一步增加其競爭優勢、存活與獲利能力。此外，研究也發現，一個區域的意象多樣性直接影響到中小型企業透過合作來建立市場利基的可能性。 / Partner selection is an important issue in alliance formation. A lot of research works have been done in developing the framework or criteria for selecting partners from the views of resource complement, cost reductions and knowledge sharing. However, research to date suggests relatively little is known about how to select partners for attractive and unique image building, which is essential to the developments of tourism especially for SME owners in the tourism sector. In this paper, we propose a systematic approach for service providers in tourism to identify appropriate partners to form alliances and build their attractive and unique images. This approach employs metaphors as a tool to generate innovative and creative solutions. The system architecture is then provided and elaborated with algorithms and the system scenario. From the theoretical perspective, we attempt to excavate the meaning of metaphors from the web in order to propose a new frame of problem-solving. From the practical perspective, we provide SME owners with a useful approach for managing partner selection and attractive and unique image building. By forming better alliances, SMEs in tourism sector can gain competitive advantages and improve their sustainability and profitability. In addition, the image diversity of a tourism destination is an important factor on market niche creation through alliance formation.