網際網路發展之初，女性主義者批評網路是許於男性的新科技，女性被拒絕在這項新科技外，然而越來越多的女性網站相繼成立，各BBS站台也陸續有女性為主的版面出現，顯示女性逐漸在這項新科技中佔有一席之地。 女性在網路世界裡尋找到獨立的空間，在這個新的溝通空間裡，女性如何看待彼此？如何建立關係？少了男性意見的干擾，女性如何型塑溝通文化？專屬於女性的溝通文化呈現如何的特色？這些都是女性入主網路世界後，值得深入探討的問題。 本研究以台大椰林「站崗的女人」版面為研究場域，版上使用者的互動以及版面特殊文化，是探討網路人際關係以及網路科技現代意義的最佳題材。研究以深度訪談進行，探討版上的女性使用者如何看待「當兵」、如何調適「站崗」心情，同時探討在BBS的虛擬環境中，版上的女性使用者如何建立關係、培養親密情誼。 在文獻部分，首先探討電腦中介傳播中人際互動的可能性，接著整理愛情相關理論，探討在時間與空間的限制下，「站崗的女人」與當兵男友的愛情關係可能會面臨的狀況；最後探討女性與網路的關係，包括女性主義者對科技的批判、以及網路中的女性情誼。 　　研究結果發現，同理心、共同經驗、以及女性特質是「站崗的女人」版上使用者建立關係的重要基礎；而來自於版友的慰問與鼓勵、以及版上正面積極的文章，是站崗的女人最大的支持力量來源；站崗的女人與版友和男友之間的互動關係，也突顯出女性在站崗中的位置以及傳統價值觀下扮演的角色。

本文採用制度途徑為分析工具，比較歐洲地區的後社會主義國家在金融自由化的過程中，國內外不同的政治力量如何運作。從政治背景和金融發展兩個層面來看，後社會主義國家可以區分為三類：中東歐、波羅的海及獨立國協，因為資料和能力所及的緣故，本文選擇了波蘭、愛沙尼亞與烏克蘭作為比較的個案。 任何形式的改革皆會有阻力與助力，而在金融自由化之前需先做到經濟穩定化和國營部門私有化，這就要國內的既得利益階級犧牲部分利益，才能讓改革繼續下去，既得利益階級不甘利益受損，於是團結起來抵制改革，或對國會遊說、施壓，或藉由選舉進入國會、掌握國家機器，保持舊制度；此時，西方國際組織(歐盟、國際貨幣基金、世界銀行、歐洲復興與開發銀行等)扮演著改革助力角色，利用貸款、加入國際組織條件從外部制度協助後社會主義國家維繫改革動能和抗拒既得利益階級。 本文研究發現，朝野主要政黨能夠遵照新制度而行的國家，往往是經濟改革和金融自由化較為優異的國家，這些國家的既得利益階級和國內對立情況相當較弱者，又有加入歐盟的改革誘因，才能順利推動改革，如波蘭及愛沙尼亞；烏克蘭陷於東西對立，既得利益階級強盛，國會屢屢修改制度，造成金融自由化落後。結論是制度和行為者都很重要，行為者制訂制度，制度提供行為者遊戲規則，行為者要遵守制度而行。

在路易斯‧卡洛（Lewis Carroll）的小說《愛麗絲夢遊仙境》（Alice’s Adventures in Wonderland, 1865）中，愛麗絲是個透過夢境冒險於地底的旅行者。在她的旅行中，愛麗絲一直無法掌握仙境中各種事物的意義，而產生了「怪誕」（the uncanny）觀感，因為仙境中的事物總是一方面打破、另一方面卻怪誕地指涉地面上的世界。本論文擬從「旅行時空性」、「旅行本質」與「愛麗絲做為旅行者」三個面向去解讀愛麗絲旅行的涵意。 / 本論文第一章為總論性質的介紹。第二章從心理學潛意識分析討論文學中的「幻見」（fantasy）與「奇幻文學」（fantasy literature）中的旅行主題。本論文主張潛意識與現實息息相關，愛麗絲夢境中的旅行因而帶有真實色彩。本論文以法國哲學家德勒茲（Gilles Deleuze）的「遊牧」（nomadology）與「變成」（becoming）理論為基礎，結合伊斯蘭（Syed Manzurul Islam）從德勒茲理論延伸出的旅行理論，為小說中的旅行主題帶出新的觀點與視野。 / 第三章分析仙境的時空性（spatiotemporality）與時空性對愛麗絲的旅行者角色的影響。伊斯蘭將旅行者分成兩類：遊牧旅行者（nomadic traveler）與靜止旅行者（sedentary traveler）。遊牧旅行者脫離現在（the present），在平滑空間（smooth space）中進行其「變成」過程；靜止旅行者則只侷限於有限時間中，在固著空間（rigid space）的特定路線移動。因此，旅行的時空性影響旅行者成為遊牧旅行者或靜止旅行者。本論文指出，仙境的多重時空性供給愛麗絲成為遊牧旅行者的機會。 / 第四章著重探討愛麗絲的旅行本質與她的旅行者角色，從分析愛麗絲與他者的相遇情形、她的旅行速度與移動，到她在地底世界的「變成」過程。愛麗絲在仙境的「變成他者」（becoming-other）有待商榷，她不斷地侷限自己於維多利亞（the Victorian）的規範中，無法「與他者相遇」（encounter the other），無法以緊密的速度（speed of intensity）進行「去畛域化」（deterritorialization）。儘管仙境的時空特性促使愛麗絲往遊牧旅行的路線前進，但是她缺少擺脫過去記憶與偏見的決定性動作。愛麗絲的旅行擺盪在「變成他者」、成為遊牧旅行者的邊緣地帶。 / 愛麗絲的旅行既不是靜止旅行，也不是遊牧旅行；她有自己獨特的旅行風格，總是擺盪在靜止旅行者與遊牧旅行者的角色之間。她沒有像遊牧旅行者一樣「變成他者」；她處於無止盡的「變成（遊牧）旅行者」（becoming-(nomadic) traveler）過程中。 / In Lewis Carroll’s Alice’s Adventures in Wonderland (1865), Alice is a traveler, adventuring in the fantastic underground under the framework of her dream. Alice’s failure to grasp sense in Wonderland and her constant suspicion of things and inhabitants make her travel an uncanny one, for events in Wonderland always disturb but uncannily refer to those of the above world. This thesis attempts to explore the secrets of Alice’s travel lurking in the dream scenario, identifying and explicating her role as a traveler in the miraculous Wonderland from three aspects of travel: traveling spatiotemporality, the nature of travel and the traveler herself. / Chapter One is a condense, general introduction to the whole thesis. Chapter Two discusses the psychoanalytical theory of the unconscious, the theory of fantasy in literature, and the motif of travel in fantasy literature. The inseparable relationship between the unconscious and the reality will be introduced first. It is this relationship that makes Alice’s travel in her dreamland being effective and possible in the real world. Employing the Deleuzian theory, this thesis takes Gilles Deleuze’s ideas on “nomadology” and “becoming” as the main theoretical framework. Being accompanied with Syed Manzurul Islam’s ideas on the ethics of travel, which is derived from the Deleuzian theory, this thesis takes a step further to develop a new perspective on travel account. / Chapter Three deals with the spatiotemporality of Wonderland, analyzing its spatiotemporal nature and the way it influences Alice’s role as a traveler. Islam divides traveler into two categories—a nomadic traveler and a sedentary traveler. A nomadic traveler is one who eludes the present, undergoing the process of becoming-other on the smooth space, whereas a sedentary traveler is one who travels on pre-set routes of the rigid space within limited temporality. Therefore, the spatiotemporality of a travel will affect the kind of a traveler Alice would be. The multiple spatiotemporality of Wonderland provides Alice with a good foundation to become a nomadic traveler. / Chapter Four concentrates on Alice’s travel and her role as a traveler, analyzing her encounter with the other, her traveling speed and movement, and her becoming in the fantastic underground world. Alice is problematic in becoming-other, since she keeps being captive in the representation of norms received from the Victorian overground which makes encounter with the other and deterritorialization with intensity of speed impossible. Although the spatiotemporality of Wonderland pushes Alice forward to the process of a nomadic travel, she lacks a final move to shake off the confinement of the past memories and preconceptions. Alice is on the brink of becoming-other as a nomadic traveler. / Alice’s travel is neither a sedentary nor a nomadic one; she has a travel of her own, always vacillating between a sedentary traveler and a nomadic traveler. As a sedentary traveler, she is not becoming-other as a nomadic traveler, but on the process of becoming-(nomadic) traveler.

本文擬探討塔信政權與泰國政治變遷的關係，從兩方面來分析泰國政黨政治體系的改變，一是從制度面討論1997年憲法的選舉制度對泰國政黨政治的衝擊與影響。二是從憲法的實踐和非制度化因素，分析塔信政權之興起與終結，來觀察泰國政治變遷的過程與意義。塔信政權是在1997年憲法下所運作的產物，最後卻被長達15年不見的軍事政變所終結。本文深入剖析塔信政權執政過程，探討為何會發生軍事政變的原因，以及分析這(場政變)對泰國民主產生什麼樣的意義與影響。 / This study examines the relationship between Thaksin's regime and political change in Thailand. It analyzes the change of the Thai party system from two respects. First, it discusses the impact which the new electoral system of the 1997constitution had on the Thai party politics. Second, it analyzes the rise and the fall of Thaksin’s regime from the constitution practice and the non-institutional factors in order to observe the process and the implication of political change in Thailand. Thaksin’s regime is the result of 1997 constitution. However, it was ended by a military coup which had not happened for 15 years. We discuss deeply the history of Thaksin’s regime, why the military coup took place to close this regime, and the influence of this military coup on Thai democracy.

簡單來說：憲法—是否及如何，適用或影響—私法關係？亦即，私法關係是否應該受到合憲控制？如果是，應該限於什麼範圍，受到什麼程度的合憲控制？而民事法院的法官又應該如何操作合憲控制？對此，目前為止的相關文獻固然已經大致確立了以間接影響說為主軸的通說論述，然而，仍然留有「理論基礎」、「射程範圍」、「操作方法」及「操作示範」等問題尚未解決。 著眼於以上的問題意識，本文首先針對「理論基礎」的問題，回顧關於私法關係合憲控制的重要理論，釐清其中一些曖昧不明的說法，並且嘗試對於「憲法是否適用或影響私法關係？」這個根本的問題，尋找一個比較站得住腳的立論基礎，也替之後的討論勾勒出一個基本輪廓。其次針對「射程範圍」的問題，本文嘗試界定私法關係合憲控制的射程範圍，包括憲法規定的範圍，以及媒介規範的範圍，目的在於劃定私法關係合憲控制的外部界限。接著針對「操作方法」的問題，本文設法提出一個可供民事法院操作的合憲控制方法，目的在於把討論至今的抽象理論進一步加以具體化，並且建立私法關係合憲控制的內部流程。最後針對「操作示範」的問題，本文以再興社區訴關愛之家案為例，進行私法關係合憲控制的操作示範，希望能夠作為我國實務將來在處理案例時的參考。在結論上，本文雖然仍以多數意見所採取的間接影響說為基調，但是希望透過對於理論基礎的明確化、射程範圍的細緻化及操作方法的具體化，能夠重新構成間接影響說的理論及實務。 關鍵詞：基本權第三人效力、基本權保護義務、合憲性解釋、間接適用說、關愛之家案。

本研究之研究目的旨在：(一) 探討友情、愛情與親情三種情感關係的共同性；(二) 探討友情、愛情與親情三種情感關係的獨特性；(三) 探討友情、愛情與親情三種情感關係之共同性與情感關係滿意度的關係；(四) 探討友情與愛情二種情感關係之共同性與情感關係穩定度的關係；(五) 探討友情關係中的性別差異。 研究者為690位大學生與研究生進行人際關係量表施測，分友情、愛情與親情三組樣本，各為230人；回收之有效問卷共617份，其中友情為203份、愛情為206份、親情為208份。調查結果透過描述統計、獨立樣本t考驗、單因子變異數分析、積差相關分析、簡單迴歸分析與多元迴歸分析進行研究分析工作 研究主要發現如下： 一、友情、愛情與親情三種情感關係有共同性存在。 二、愛情關係與親情關係有獨特性存在。 三、三種情感關係之共同性與情感關係滿意度有顯著正相關。 四、三種情感關係之共同性僅與友情關係穩定度有顯著正相關。 五、友情關係中，女性對「親密感」的重視顯著高於男性。 六、異性友誼中之「愛情成份」顯著高於同性友誼。 七、友情階段至愛情階段存在著漸變的光譜特質。 / The main purposes of this study are to explore: (a) the commonality of friendship, romantic relationship, and parent-child relationship, (b) the uniqueness of friendship, romantic relationship, and parent-child relationship, (c) the relationship between commonality and satisfaction of friendship, romantic relationship, and parent-child relationship, (d) the relationship between commonality and stability of friendship and romantic relationship, (e) the gender differences in friendship. A total of 690 undergraduate and postgraduate students participated in the study. The participants are then separated into three equal groups with 230 students in each group. The survey on the interpersonal relationship scale was then administered to each group regarding a unique relationship such as friendship, romantic relationship, and parent-child relationship. Total valid questionnaires are 617; among them are 203 regarding friendship, 206 regarding romantic relationship, and 208 regarding the parent-child relationship. Data were collected, processed, and analyzed using the following statistic methods: descriptive statistics, t-test, One-way ANOVA, Pearson's product-moment correlation, simple regression analysis, and simultaneous multiple regression analysis. Major findings are summarized as follows: 1.There are commonalities found among friendship, romantic relationship, and parent-child relationship. 2. There is uniqueness between romantic relationship and parent-child relationship. 3. There are significant positive correlations between the commonality and satisfaction of friendship, romantic relationship, and parent-child relationship. 4. There are significant positive correlations between the stability of friendship and the commonality of friendship, romantic relationship, and parent-child relationship. 5. Female students pay much attention to closeness than male students in friendship. 6. The romantic in opposite sex friendship shows significant positive correlation than in the same sex. 7. The gradual change of spectrum last in the stage of friendship to romantic stage.

台灣偶像劇自2001年開始發展至今，已經成為台灣電視劇的主流，在面對高度競爭的收視市場，如何能吸引觀眾收視，行銷是重要的。而在傳播行銷過程中，如何能引起媒體報導加以宣傳、如何能有效使用行銷工具、整合行銷偶像劇，「話題」是重要的。 話題行銷就是將偶像劇產品一致性的訊息設定，建構媒體有興趣報導的題目及內容，也就是媒體話題，透過媒體的報導宣傳，形成閱聽者有興趣的話題，再加以討論、流行、傳播，形成有效傳播產品訊息的行銷。 本研究是以「命中注定我愛你」偶像劇為例，由於「命中注定我愛你」偶像劇創下了台灣偶像劇歷史的最高收視紀錄，分段收視高達13.64%；另一方面本劇亦獲得民國97年度廣播電視金鐘獎的「年度電視節目行銷獎」，本劇在播出期間引起平面媒體爭相報導，共計超過二百篇平面報導、網路熱烈討論，話題熱度高到平均天天平面媒體均加以報導，本劇在台灣偶像劇發展史中，的確具有指標性意義，故以「命中注定我愛你」偶像劇為研究個案。 本研究分別從話題行銷的「策略面」、「戰略面」、「執行面」加以分析，並且從「大眾傳媒通路」及「行銷工具通路」兩個面向，即傳媒通路應用的「報紙」、「電視」、「網路」、「雜誌」及行銷工具中的「活動」、「廣告」、「公關」、「DM」中，執行整合行銷傳播的應用研究， 在話題行銷的「策略面」及「戰略面」分析中是以「傳播模式」及「整合行銷傳播」加以研究，在話題行銷的「執行面」研究，是透過本劇的行銷團隊、產製劇組、媒體記者的實際訪談及相關資料加以整理分析，匯整訪談重點及行銷資料，找到「話題行銷」於「命中注定我愛你」偶像劇行銷的研究發現及結論。 / Since year 2001, Taiwanese idol drama has become the main trend of Taiwanese TV drama show. Marketing is very important in how to attract the audience in a highly competitive TV rating market. However, within the process of media marketing, the “talking point” is very significant because it is how we catch the media’s attention, has them advertise for us and how we can use the marketing implements effectively, and unifies the marketing strategies for the idol drama. “Hot topic marketing” is to set up a certain type of message that makes the peripheral products of the idol drama has its consistency. In this way, it constructs the topic and context that the media is interested. Through media’s reports and advertising, the topic becomes an interesting issue among the audience. When the audience talk about it, it become more popular so it is spread out and the marketing of product selling become even more effective. This research uses the idol drama “Fated to love you’ as an example as a case study. The drama show “Fated to love you” created the highest TV rating record among the Taiwanese idol drama records ever, and the sectional rating was high up to 13.64 ％. Besides, the script also won the prize of “Yearly Best Marketing TV program” in Golden Bell Awards in year 2008. During the broadcasting time, it attracted so many print media to rival for priority to report news about the show. There were over 200 written reports writing about this drama show, and it is also been discussed through the interest ardently. The popularity was so high at the time that print media almost have reports about the show daily. Therefore, the idol drama show “Fated to love you” is very indicative in the development of Taiwanese idol drama show. This research will talk about the “maneuver aspect’, “strategic aspect”, and the “executive aspect” of hot topic marketing and using them to analyze the drama show. Also, through the dimension of using “Mass Media approach” such as newspapers, television, internet, and magazines；“Marketing implements approach” such as propaganda activities, advertisement, relations, and flyers, we can execute the applied research study on integrated marketing dissemination. Within the analysis on the aspect of “maneuver” and “strategy” on buzz marketing, I put emphasis on “Communication Model system” and “Integrated Marketing Communication in particular. I found some discoveries and conclusion on hot topic marketing within the drama show “Fated to love you” through analyzing our marketing team, production group, reporters actual interviews and other related data.

Fiction has emerged as a major medium for modern Chinese to express their imagination and 'narrate' the country since Liang Qichao advocated the importance of 'New Fiction'. Over the past century, fiction (including both its form and content) has undergone various changes in response to the transformation of the modern Chinese society. In 1993, David Der-wei Wang initiated a discussion on 'Imagination of China', examining how Chinese people imagined the past, present and future of the country through fiction as a means of fabricated narration. While diegesis is a literary concept central to Realism and lyric constitutes a typical form of Romanticism, visual expression is the technique representative of Modernism. This method was first introduced to Shanghai by Liu Na'ou from colonial Taiwan and it exerted tremendous impacts on the works of Mu Shiying and Eileen Chang subsequently. The present dissertation sought to address two main questions pertaining to 'visuality'. First, how did the fictions of Liu Na'ou, Mu Shiying and Eileen Chang use visual expression for imagination of China? A related concern was how this approach reflected and molded the modern experience of China. Second, how was this particular mode of imagination related to other forms of imagination of the time? Also, what was its association with the politics and ideology in the arena of power? This dissertation did not only analyze the visual properties of this particular mode of imagination, but also examined the power issues underlying the technique, including colonialism and post-colonialism, literature and image, as well as man and woman. / There are five chapters in the dissertation. The first chapter introduces the framework, method, and background of the research. Chapter two examines how Liu Na'ou, Mu Shiying and Eileen Chang imported, migrated and mimicked the visual perceptions of colonists when expressing their imagination of China. On the one hand, this kind of imagination closely resembled the mentality of colonists such as France and Japan. On the other hand, the three authors strived to make modifications, formed critical judgments and reflected on the roles of the colonizer and the colonized during the process of imagination. All these were manifested in the changes in the form of presentation characterizing their fictions. As such, examination of these changes relative to the literature from the 1930s to 1940s is another focus of this chapter. Chapter three explores how Liu Na'ou, Mu Shiying and Eileen Chang incorporated the visual features of movies into fictions when expressing their imagination of modern China. The interaction between literature and image (especially the influence of movie on the presentation of fiction) inspired the three authors to come up with an alternative perceptive regarding imagination of China. The intersection of fiction and movie also allowed more room for fictitious creation, giving rise to a different mode of imagination beyond those featuring Realism and Romanticism. Some other issues covered in this chapter include why and how this approach guided the imagination of readers in designated time and space, as well as its relationship with the national discourse. Chapter four discussed the problems concerning imagination of China with reference to visuality and alternation in sexual subjectivity. Male vision could be identified in the fictions of Liu Na'ou and Mu Shiying. However, under the symbolic system of patriarchal culture, such male vision, when compared with the vision of the colonizer, is apparently less prominent in terms of male subjectivity. In their fictions, female characters are usually 'seen' through the lens of others and such female images are largely consistent with the male authors' perceptions of national subjectivity. This chapter also investigated how Eileen Chang used vision as a way to reflect on the male perceptions of female images, as well as how she was imagined and defined as a female author in the field of literature. Chapter five is the conclusion, which highlights the significance of visual expression in Liu Na'ou's, Mu Shiying's and Eileen Chang's fictions. / 梁慕靈. / Adviser: Hang Fung Carole Hoyan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 269-306). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liang Muling.

本研究主要目的是從不同面向的自尊來預測個體的憂鬱與攻擊行為。由於低自尊導致憂鬱與攻擊行為的論點遭受質疑，於是本研究應用到最近自尊文獻中的兩股趨勢：自尊內部的結構—單向度與雙向度（自我喜愛感與自我能力感）；以及自尊本質的可變動性—程度與穩定度，希望能從自尊的多面向來分別探討自尊與憂鬱、以及自尊與攻擊行為之關係。 單向度自尊與憂鬱的關係而言，根據Brown與Harris（1978）的研究認為整體自尊偏低會傾向憂鬱；Butler, et al.（1994）的研究指出預測整體自尊不穩定者會傾向憂鬱；而根據Greenier et al.（1995）的研究則認為不穩定低自尊將對憂鬱有最顯著的預測關係。在單向度自尊與攻擊行為的關係中，Anderson（1994）認為穩定低自尊有較多的攻擊行為；而Baumeister et al.（1996）則主張不穩定高自尊者會較多的攻擊傾向。上述各種理論對憂鬱與攻擊行為的預測仍有不一致之處，是本研究希望能釐清的。 若是在雙向度的架構下，Tafarodi與Vu（1997）認為雙向度中特別是自我喜愛感低者對憂鬱更具影響力；而Mruk（1995）與Tafarodi（1998）認為雙向度中自我能力感與自我喜愛感的矛盾性（自我能力感顯著的大於自我喜愛感），最能預測攻擊行為。從雙向度架構探討不同自尊面向，何者對憂鬱與攻擊行為有最顯著的預測力也是本研究的主要目的。 本研究以296名台北地區的大學生為樣本，進行為期一個月對受試自尊、憂鬱與攻擊行為的追蹤研究。研究工具包括社會讚許性量表、自我喜愛感與自我能力感量表（普通版與此時此刻版）、貝氏憂鬱量表、與波氏攻擊量表。 研究結果首先發現自尊結構在因素分析中不盡如Tafarodi雙向度的假設，因此按因素分析結果將整體自尊區分為自我喜愛感、自我肯定感、自我期望感、與自我懷疑感四個向度再進行與依變項（憂鬱與攻擊）的分析。 在自尊與憂鬱之間的關係中，低程度的整體自尊與憂鬱後測呈正相關；區分多向度後低自我喜愛感、低自我肯定感、高自我期望感、與高自我懷疑感分別與憂鬱呈正相關，在四個自尊面向中則以低自我喜愛感對憂鬱有最大的影響。整體自尊穩定度與憂鬱後測的關係未達顯著，但是不穩定的自我喜愛感與穩定且高的自我期望感，分別可以預測憂鬱情緒的提升。自尊與攻擊行為的關係，在低程度的整體自尊，與低自我喜愛感、高自我懷疑感分別與攻擊後測呈正相關。以攻擊行為為依變項，不同矛盾性自尊組差異的ANOVA達顯著，說明了若個體的自我肯定感高於自我喜愛會比自我喜愛感高於自我肯定感者更容易攻擊。整體研究結果顯示，預測憂鬱與攻擊的自尊面向仍然是整體性低自尊為主，其中預測憂鬱最主要的貢獻是來自於低程度的自我喜愛感。 進一步將依變項（憂鬱與攻擊後測）按照高低區分，再分別以各自尊面向預測憂鬱、攻擊。高憂鬱組裡低整體自尊，與多向度的低自我喜愛感、低自我肯定感、高自我期望感、高自我懷疑感都對憂鬱有預測力；而加入穩定度的因素後，穩定且低的自尊，與穩定且低的自我喜愛感預測憂鬱達顯著。在低憂鬱組中，自我期望感高且不穩定者較能預測憂鬱情緒提升。在攻擊依變項中除了低攻擊組的自我肯定感穩定度與攻擊呈正相關之外，其餘無論高、低攻擊組中的自尊與攻擊關係都不達顯著。 最後本文針對研究結果、自尊的不穩定性、自尊的結構、攻擊者的自尊現象、與研究方法（受試）等問題逐一討論，並對未來的研究提出可能的建議。

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.