隨著科技的革新與網路的開展之下，帶來了人類在互動形式中的改變。然而，人類作為社會性動物，無法全然離群索居，因而需要與他人互動，故對於友誼關係的需求，乃是無法缺少的。在面對科技革新的變遷之下，其所造成互動形式的改變，將對於人類友誼關係的需求帶來影響，特別是近年來Facebook與Line的大量使用之下更是明顯，因此，將以成長在網際網路世代的現今八年級大學生作為研究對象，來討論人類對於友誼關係之需求。 本研究的發現可分為兩部分，分別為互動形式的改變，以及對於友誼關係的討論。隨著科技革新下，互動形式自過往書信、電話到現今以網際網路做為互動的平台之下，使得互動更多元、即時，特別是近年社群網站的流行，以及即時通訊軟體的盛行使用下，使用者透過個人真實社會中的身分，在社交媒介之中與所知悉的對方互動。對於友誼關係的討論，則有以下五點發現： （一）友誼關係的劃分：本研究以「點頭之交」、「普通朋友」與「好朋友」三種類型，藉以瞭解在自我揭露程度、互動次數以及互助程度的增加下，將使得雙方的友誼關係更加密切；（二）雙方的關係程度：以Facebook和Line做為其主要互動媒介時，對於雙方之間的互動程度，則會受到連帶關係強弱的影響，讓互動對象能更多、更廣；（三）社交媒介中的互動：透過社交媒介來發佈或關注朋友的動態消息、打卡、留言、按讚、聊天等行為之下，使用者藉由自我揭露的方式來與他人互動，並因社交媒介的功能，讓互動更為即時下，而有助於維繫友誼關係；（四）友誼關係於社交媒介上的展演：在虛擬世界中，以社交媒介所進行的互動，較現實社會中更容易出現戲劇論中的前台扮演，以使友誼關係和互動能繼續進行；（五）真實社會中的互動：以社交媒介做為互動形式下，固然具有其便利性，然而，友誼關係的維繫與增加，乃是終究無法脫離真實社會中的互動。 對於現今八年級大學生而言，互動的形式包含了真實社會與虛擬世界之中的互動，即使虛擬世界中的互動帶來了便利性、即時性、跨越地理限制，然而，卻依舊無法拋棄真實社會中的互動。故對於人類而言，隨著社會、科技的革新，互動形式產生了改變，但人類卻無法拋棄對於友誼關係的需求。

馮叔鸞作為活躍於民國初年的報刊劇評家之一，身兼編、演、評數職。作為劇作家，他創作了十餘種戲劇劇本，其中不少曾經被搬上舞台。作為戲劇活動家，他經常客串戲劇演出，創辦過戲劇雜誌，並參與過戲劇教育工作。作為戲劇批評家，他發表了大量劇評文章，兼及戲劇常識的介紹與戲劇史料的搜集整理。其中，集結成冊的有《嘯虹軒劇談》一書，其餘則散見於當時各類報刊雜誌之中。 本文以馮叔鸞之戲劇評論，及其提出的「戲學」概念為主要研究對象，將其置於新舊並陳的民初劇壇，以及戲劇理論批評近代化轉型之大背景下，通過對其戲劇活動資料的盡可能搜集與整理，在完善其個人資料的同時，深入分析其劇評文章，歸納總結其戲劇觀及企圖建構的戲劇批評體系。並試圖給予這一因歷史原因而多有被忽視的人物更多關注，以及相對公允合理之評價。 馮氏「戲學」之批評面向主要包括戲劇本體、編劇、演員、表演、劇場、觀眾以及戲劇與社會之關係等，而其新舊並重、分而論之、融會貫通的改良觀則始終貫穿於各個面向之中。「戲學」之實踐與應用，還可從其戲劇批評觀中展現，通過對於劇評界時弊之針砭，馮氏提出了自己對於劇評的界義，以及劇評家所應當具備的學識及道德水準。馮氏「戲學」概念的提出，尤其是囊括新舊的批評範疇，以及將「戲學」樹立為一門獨立學科的願景，無疑對學科界定意義重大，或可謂為現代戲劇學學科建立之先聲。 / Feng Shuluan was one of the most famous drama critic in the early Republic of China. As a dramatist, he wrote more than ten scripts, most of which were staged. As a dramatic activist, he took part in many performances and dramatic education activities, as well as dramatic magazine editing works. Moreover, he wrote extensively on several topics as a drama critic, including dramatic basics and the history of drama. Some of them were later put together in the book <Xiaohongxuan’s drama criticism>. Others were published on the newspapers and magazines. This study regards Feng Shuluan’s drama criticism as the main research object. While collecting original data of him, special attention is paid on this nearly forgotten historical figure and his dramatic theory. With the analysis of his work, this study will endeavor to give him an adequate appraisal. Feng Shuluan’s dramatic criticism includes ontology, function theory, script theory, performance theory, theatre theory, audience theory and improved theory. He found out many problems of the critics at that time, and proposed the knowledge and moral standard a drama critic should possess. He tried to establish his drama criticism including both Chinese traditional opera and western drama as a new subject, which was a significant development of the dramatic theory and criticism.

在大多數人的日記經驗中，藏匿、上鎖、被偷窺後的憤怒總是如影隨形，因為所有說不出與不能說的秘密，都被寄情於日記之中。然而隨著網路普及，越來越多的基本生活需求可藉由網路滿足後，傳統的紙本日記也開始轉以網路作為記載與儲存的媒介，成了任何人都可公開遊賞的園地。 / 本文基於研究者本身在網路日記社群三年來的親身書寫參與經驗，以「愛情國小」作為主要研究場域，除了以日記作為文本分析的對象外，並深入訪談重度使用者以及退用者，以瞭解使用者如何處理既公開又私密的網路日記書寫。本文自日記在東西方的歷史發展出發，先行定位私密在日記中扮演的角色，再輔以從社會心理學層面對秘密本質的探討，來重新探討公開與私密的問題。最後以Goffman分析日常生活之人際互動的戲劇理論為本，佐以社會學中的陌生人理論，解析人們如何在公開的網路日記裡進行表演，其間的變與不變。 / 顛覆了傳統紙本日記之私密形式的公開網路日記，之所以能為日記書寫者接受或喜愛，無非是它既能滿足日記書寫的基本需求，同時又能在日記書寫之餘創造與他人社交互動的樂趣。雖然紙本日記「自我忠實紀錄」之要素，必須仰賴將他人隔離的秘密形式才得以達成，但日記書寫者仍是企圖向日記中想像的對象揭露公開，解決秘密無處可訴的焦慮。而網路日記不僅隔離了現實生活中的親友熟人，更進一步為日記書寫者帶來了能提供積極聆聽，並能給予回應互動的具體觀眾。這些網路上似近實遠、似遠實近的陌生人，讓網路日記書寫者願意公開與之分享私密自我，並且無須擔憂網路日記紀錄的後台面向會對現實生活之前台演出造成破壞。換言之，網路日記既有公開面對觀眾、在意觀眾反應的前台特性，亦有自現實生活前台角色解放、呈現私密自我的後台性質，實則為一結合了公開與私密、前台與後台之「私密自我的展演」的中間地帶。因此，網路日記書寫者只能透過訊息管道的操弄與分寸拿捏，隨著與不同觀眾間親疏遠近的關係變化，揭露不同層面或程度的私密，且更進一步控制與不同觀眾間的心理距離。 / Diaries, on which personal matters are inscribed, are defined as a literary form that is written for oneself and therefore are kept privately, some even locked up, to avoid prying. However, the privateness, the distinguishing characteristic of diaries, has abated since the prevalent internet has become one of the media of storing content of diaries. The study is to investigate how diary writers coping with the conflict between the privateness and publicness in online diaries. / This study is based on the personal online diary writing experience of the author for three years in "Love School" ( http://love.youthwant.com.tw), the field of this study. The interviews with nine persons, including heavy users and dropouts that had ever been indulgent in Love School, are the main qualitative analysis material with some online diaries for textual analysis. / Beginning from exploring the changes in the nature of diaries both in eastern and western history, the study proceeds with probing to the characteristic of secrecy to comprehend that diaries inherently are both public and private. Moreover, Goffman's theory of human interaction in daily life and Simmel's of strangers offer steppingstones to detail the features—interacting and sharing intimacy with others unknown—of writing diaries on public internet. / Briefly speaking, the prevailing phenomenon of online diaries reveals that making diaries public can satisfy the needs of recording private life and of social contact simultaneously. Despite that traditional diary is kept away from anyone to ensure frankness, all the diary writers indeed still reveal themselves in it to some object(s), real or imaginary. Online diaries not only can exclude, if writers want, people who know them in person, but also bring in the unlimited audience with real feedback. Since the audience is composed of strangers, somehow far enough not to reach online diary writer's everyday life but virtually close to see his/her innermost, the online diary writer doesn't have to be anxious about the destruction of frontstage performances in everyday life, caused by backstage behaviors in diary being revealed. In other words, online diary is a frontstage as well as a backstage, that is, a middle region, where the division of the public and private is blurred. In online diaries, diary writers are able to disclose private selves hidden from frontstage role playing while audience¹s gaze and applause, absent in backstage, is all around. To reconcile the conflict between publicness and privateness, online diary writers master in manipulating information accesses and discretion. Therefore, they can disclose different aspects and degrees of privacy to various audiences according to various relationships, and can be the dominators subsequently to control psychological distances between them.