University of Macau / Faculty of Social Sciences and Humanities / Department of Chinese

互動敘事為敘事創作開啟了許多新的可能性，不論是在各種多媒體敘事創作平台上或是提供更擬真、更深刻的說故事體驗，是傳統敘事所無法提供的。透過日新月異的傳播工具，要在各種平台上創作出這類多媒體互動敘事，對於各種敘事創作者來說是一項相當大的挑戰，也引發了許多相關議題的探討：要如何開發出好用的創作工具，不但是可以降低創作技術門檻，同時也提升創造力。如何設計出一個創作模型是能夠讓故事建構者（包含原創作者、中介創作者、體驗者等本系統目標使用者）對於故事內容、結構以及像長度、複雜度、主軸、文類等故事特性有更多的控制權。 為了探討這議題，本研究提出一個多媒體敘事創作以及互動敘事腳本產生的框架，結合 3D 戲劇平台建立一個具有創作環境，以故事建構者設定的條件與敘事理論為基礎的故事篩選與腳本產生機制，及3D虛擬模擬環境的互動敘事系統。在創作與故事產生方面，故事建構者可以針對各種條件的篩選（像是故事主軸、長度、敘事架構、時間順序等等）由同一組故事片段產生各種敘事上的可能性。本研究設計一個演算法，有效重組既有的故事片段以產生符合作者所有條件設定的互動敘事腳本。 這種機制的另一個特色就是所產生的互動敘事腳本與敘事平台是獨立的，不受到特定平台的技術門檻、創作格式所侷限。為展現此腳本產生系統在各種敘事表現形式上的彈性，在本研究的系統實作中，可以同時產生故事的文字形式並在3D敘事系統 The Theater 上以即時的動畫、攝影機規劃與簡易互動呈現結果。最後，此研究設計一個質化前導實驗，以了解使用者面對具互動、動畫與個人化的敘事內容時，會有甚麼看法與反應。 此次研究的貢獻為設計一個建構在3D虛擬環境上的互動敘事創作的架構，並提供適當的故事腳本產生機制，讓創作者的故事片段擁有重複利用價值。此外，透過故事內容的篩選過程，我們能提供故事建構者在故事結構與內容上有高度的控制，讓產生出來的敘事腳本符合故事建構者所設定的條件、具有良好的敘事理論基礎，並即時在3D虛擬環境中以角色動畫演出。以這次建立互動敘事平台的經驗以及於使用者測試中所得到的回饋，本研究也對於敘事創作介面與輔助工具提供一些設計原則，並提出一些互動敘事系統未來可再延展的議題。 / Interactive storytelling opens a world of possibilities for narrative creation on multimedia platforms, allowing a more compelling and immersive experience compared to traditional narratives. With the emergence of new storytelling technologies, the authoring of such narratives in complex virtual environments becomes an issue critical in the domain of multimedia storytelling platforms: How can we reduce the authoring effort as well as enhance creativity for interactive narratives? How can we design a flexible framework to allow creators of the story (including authors and experiencers at various stages of the interactive story) to have control over the story content and structure based on characteristics such as length, complexity, plot line, and genre? In order to address these issues, we propose the design of an interactive storytelling platform with models for authoring, story generating based on narrative theory and constraints set by story creators, and simulation in virtual environments. In the platform the creators of the story can specify characteristics (such as plot, length, narrative structure, time sequence, and etc.) on story fragments in order to generate variations of interactive stories. An algorithm we devise will filter and recombine story fragments from these characteristics, generating a high-level interactive script that satisfies all authorial and structural constraints. This mechanism provides sufficient abstraction from the technical implementation in that it is platform independent, and can be highly expressive in various forms of discourse. To implement the results of the story generation and demonstrate the abstraction from the virtual environment, we simulate the generated interactive narrative both in text form and in the 3D animation environment of The Theater. The Theater platform is complete with autonomous character animation, simple interaction methods, and automatic camera planning. Finally, we carry out a qualitative pilot study to understand how users would perceive and react to the animated, interactive, and personalized narrative content. Through this implementation, our contributions are to design a flexible framework for authoring interactive narratives for 3D environments, and also provide story generating tools that allow easy reuse and recombining of existing story fragments. Moreover, the filtering and selection process provides high-level control over the story content and structure, thus enforcing the authorial control as well as ensuring the generated stories have a basis in narrative theory. From the experience of implementing this platform and feedback obtained from the user experiment, we hope to suggest design principles for authoring tools and interfaces of interactive narratives.

民間故事凝聚了民眾的情感與風俗，「變形」母題在民間故事中具有特別的文化意涵。筆者搜集318則中國各地的「人變異類」故事，依照情節特色將故事分類敘述：在神話裡的「變形」展現先民對抗大自然的奮鬥過程；人物傳說中的「變形」刻劃了英雄「犧牲小我，完成大我」的偉大情操；風物傳說中的「變形」帶有惜福愛物之心；神奇故事中的寶物與法術都能引發「變形」；生活故事中的「變形」凸顯小人物的苦難與愛情的堅貞不渝；寓言中的「變形」則大多是懲罰。 在「人變異類」故事的敘事分析方面，故事中最常提到拯救社會的大英雄，以及飽受欺負的悲苦人物，人物的名字與變形物往往有相對應的連結，故事的情節模式大致分為「不凡的命運」→「現實的考驗」→「超現實的結局」。而變形的原因歸類為「遭遇危險」、「期望未成」、「懲罰性變形」。變形的類型分為「直接的變化」，變化時間短則一瞬間，長則數年之久；「有憑藉物的變化」，例如運用寶物、衣服進行變形；而「連續變形」則以蛇郎君故事為代表。變形的環境以「懸崖」、「烈火」、「水域」、「雷電風雨」、「墳墓(土)」有較多的描述，壁畫與懸棺的文化顯示懸崖是一個特殊的神祕空間，烈火、水域、土皆被視為「再生」，雷電則具有懲罰的能力。 變形物在「人變異類」故事中有特別的文化意涵，魚、蝴蝶、「龍鳳匹配」皆隱喻愛情，樹、花、彩虹都有美好的象徵，石頭代表生殖與誓言，鳥類的叫聲表達主人翁的心境，杜鵑鳥有其特殊的悲苦意涵。各地不同的地形風貌、風俗習慣影響著變形物的流傳與寓意，例如藥材由來的故事與望夫石傳說，大多屬於解釋性傳說，苗族的樹崇拜、滿族的鳥崇拜影響故事中變形物的選擇。「人變異類」故事表現人類對於生命意義的追求，表達了人民對自然、社會抗爭的不屈精神，以及對人、事、物的感恩，而道教與佛教的觀念間接影響著民間故事的變形觀。「人變異類」故事中，無論是角色的對比、環境的渲染、情節的推演、變形物的象徵，皆烘托出「變形」情節在「人變異類」故事中的「不可變動性」。以人為主體的描述方式，透過超現實的「變形」情節，表達人類堅強的意志力、決心與純潔的真善美價值。 / Folk tales combine the customs of the people's emotional, "deformation" Motif in the folk tale has a special cultural meaning. The author collected 318 Chinese around the "human variation" stories, classified according to the story plot . In the natural mythology "deformation" to show the process of our ancestors struggle against nature; figure of the legendary "deformed" scored a hero "sacrificing for the greater good" of the great sentiment; In helenahat legendary,"deformed" has cherish love for things ; in amazing story, treasure and magic can lead to "distortion"; life story of "deformation" highlights the suffering of ordinary people and the steadfast love; fabled 's "deformation" is mostly punishment . In the "human variation" story of narrative analysis, the most frequently mentioned in the story are a great hero that save society, as well as the misery suffered bullying characters, figure names and deformation often have a corresponding links, the plot can be divided into" extraordinary destiny "→" reality test "→" surreal ending. "The cause of the deformation can be classified as "defuse the crisis", "psychological expectations," "punitive deformation", "magic." Deformation mode is divided into "direct natural variation," changes in a short time,or as long as several years; " deformation by something" such as the use of treasures, clothes for deformation; while "continuous deformation" places snakeman story as a representative. Deformation of the environment as "cliff", "fire", "water", "lightning and storm", "tomb (soil)" have more description, cliff Contains natural worship and witchcraft culture, fire, water and earth are all considered "reborn," lightning then have the ability to punish. "Human variation " story perform the pursuit of human meaning of life, express the indomitable spirit to natural and social protest, as well as gratitude for averthing, and the Taoist and Buddhist concepts indirectly influencing the deformation of folk tales. Deformation in "human variation" story has a special cultural meaning, fish, butterflies," dragon and phoenix match "are metaphors of love, trees, flowers, rainbow has a beautiful symbol. Stone represents reproductive and vows, birds cry expression masters of mind, the cuckoo has its special misery meaning.Style and customs over different terrain, affecting the meaning of dformation, for example, the story of herbs origin and Amah Rock legends mostly explanatory legends, Hmong tree worship, the birds worship influence selection of deformation in the story. In the story of human’s variation, whether it is the role of contrast, the rendering of the environment, the deduction of the episode, a symbol of deformed material, all express a "deformation" episode "non-volatility" in the story of human’s variation story. Description of the human subject, through the surreal "deformation" episode, expressed strong willpower, determination and pure value of the good and the beautiful.

台灣與歷史建築相關的討論開始於古蹟的專業保存，由1978年因都市計畫拓寬拆除的「林安泰古厝保存事件」以及官方1981年《文化資產保存法》的制訂與頒佈，至此傳統建築的保存有了上制度的支持。 1982~1994年之間對於古蹟的態度處於上對下的保存與修護時期；主導者為政府，採取凍結式的修護管制方法。此時，公有產權下的古蹟大多以延續原有使用方式或以展示為主，這些使用模式都是〝再利用〞發展的前端，另一方面關於私有產權下的古蹟，則囿於民眾對於古蹟保存觀念不了解並無太大發展。 1994年之後，學界對於古蹟（歷史建築）保存理論的研究逐漸開始發酵，加上許多醞釀已久的保存團體發起了老街保存推動事件；這些除了顯示出民間單位越發增加的保存共識外，亦可發現民間對於歷史建築的觀念由以往政府倡導的凍結式轉向多元再利用。 本研究主要在於探討「歷史建築再利用」之創新商業模式，利用Gary Hamel於啟動革命一書中所提出的四大要素作為分析項目，得到的發現如下：1.歷史建築再利用之創新事業模式中，「經營者」與歷史建築本身之『策略性資產』關連性強者，可讓事業本體的『核心策略』有效運用其『策略性資源』。2.歷史建築再利用之『價值網絡』若有效發揮，則為有助於本身『策略性資源』累積。3.歷史建築再利用與原建築用途二者之鍊結度強者，可較有效使用其『策略性資源』。4. 歷史建築再利用在事業模式中的『策略性資源』項目，並非如傳統認為的僅有〝建築〞部分，另外有著許多〝軟性意涵〞的項目；例如她本身所具有的歷史意義、地理意義、人文思維…等等。而這些唯有透過其『價值網絡』與『顧客介面』才可充分發揮。5. 以〝再利用〞為目標之歷史建築其重點在於〝與人的互動〞，否則將淪為單純的古建築保存。

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.

語言與文化脣齒相依，在語言學習與教學的層面上，文化的概念具有相當程度的重要性，特別是屬於高語境的華語，擁有豐富的文化意涵。華人社會中的民間風俗緊貼日常，是理解生活文化的重要線索。華語學習者能透過習俗傳說的故事性，理解隱含的華人文化背景，避免文化誤解，達到尊重他人，進而培養跨文化的能力。 　　民間故事的教學多置放於中文母語學習者的教育歷程，而在華語文教學的領域，仍以華裔或中高級以上程度學習者為大宗。故本研究以民間文學中的習俗傳說為範圍，中級華語學習者為對象，使用內容分析法找出合適的文化教學主題，文本分析法探析教材與跨文化教學點，並援引前人歸納之文化教材編寫與教學設計理論，做出教學設計，另以調查研究法中的研究工具作為輔助，透過行動研究法檢視華語文教學的實踐。 　　本研究目的有二，一為發展習俗傳說與跨文化概念應用於成人華語課程之教學設計；二為探討習俗傳說與跨文化概念於成人華語課程之實施成效。本文融合ADDIE教學模式之五大步驟，包含分析、設計、發展、實施、評鑑，以及Moran之體驗式學習循環，包括理解內容、理解方法、理解原因、理解自我，作為本研究課程設計模式。並以影音、問卷、訪談等資料等研究工具，作為評估實施成果與修正依據。 　　本文研究結果如下：第一，於教學設計方面，本研究採用兩項教學模式之融合，為ADDIE教學模式及Moran之體驗式學習循環，有助於文化教學更加完整，達到跨文化的範疇，另外，於教材設計中，需針對學習者程度考量詞彙難易度，並注意應符合教學宗旨與課堂設計；第二，於實施成效方面，以習俗傳說為素材之華語教學課程，能夠增進學習者的語言技能，提供文化學習與體驗的機會，達到跨文化的目的。 / Language and culture are inextricably linked. Cultural concepts are considerably important for language learning and teaching, particularly for Chinese, a highly contextualized language with rich cultural implications. Folk customs in Chinese society are closely related to everyday life and can serve as important clues for understanding the living culture. Stories involving customs and legends can help learners of Chinese understand Chinese cultural implications, avoid cultural misunderstandings, achieve respect for others, and develop interculturel competence. The teaching of folktales is usually used in the education of native Chinese speakers. In the field of teaching Chinese as a second language, it is generally restricted to heritage learners or learners at or above the high intermediate level. This study focuses on customary legends in folk literature with intermediate learners as the target group. Content analysis is used to determine appropriate topics for cultural teaching and text analysis to analyze teaching materials and intercultural teaching points. Established theories of cultural materials compilation and instructional design were referenced to inform our own instructional design. In addition, I adopted action research design and developed a survey instrument to use as an aid in examining the practice of Chinese language teaching. The study has two objectives: first, to develop an instructional design for the teaching of customary legends, and intercultural concepts in adult Chinese language courses; and second, to investigate the effectiveness of utilizing customary legends, and intercultural concepts in adult Chinese language courses. ADDIE model (analysis, design, development, implementation and evaluation) and Moran’s experiential learning cycle (knowing about, knowing how, knowing why, and knowing oneself) were used as models for course design. In addition, videos, questionnaires, and interviews were used to evaluate the implementation outcomes, and served as a basis for revision. The results were as follows: First, the two teaching models that were incorporated into the instructional design for this study, the ADDIE Model and Moran’s experiential learning cycle, contributed to the comprehensiveness of cultural teaching and the achievement of an intercultural scope. However, during materials development, it was important to ensure that the degree of difficulty of the vocabulary matched learner levels, and that the vocabulary aligned with the teaching objectives and course design. Second, in respect to the effectiveness of implementation, I concluded that a Chinese language teaching course utilizing customary legends as teaching materials can enhance learner language skills, provide cultural learning and experiential opportunities, and achieve intercultural goals.

隨著經濟的快速成長，產生了各種社會問題，而為了解決這些社會問題，許多社會企業隨之出現，這些企業希望在改善社會問題的同時，能透過盈利的方式，使組織永續經營，而本研究欲探討社會企業如何取得資源，換言之，哪些因素會影響資源擁有者提供資源的意願。 本研究參考過去的文獻資料，整理出三項會影響社會企業獲取資源難易度的因子，分別為「社交連結」、「品質信號」與「說故事」，並透過個案研究的方式，透過深度訪談及次級資料的蒐集，探討各個因子是否對社會企業取得資源有所影響。研究結果顯示，在三項因子中，社會企業最常使用說故事的方法來獲取資源，最少透用釋放釋放品質信號，然而，若社會企業有一個很強的品質信號，便會被大量的使用。最後，社會企業若有好的故事，且主動聯絡，透過多樣化的媒體管道，也能更有效的吸引資源擁有者的注意，增加獲得資源機會。 / With the rapid development of economy, a variety of social problems have arisen. As a result, many social enterprises have emerged in order to solve these social problems. These enterprises attempt to help solve social problems and meanwhile, they want to make the enterprise sustainable by making profit. This study wants to explore how social enterprises acquire resources. In other words, this study examines the factors that will affect the willingness of resource owners to provide resources. Referring to past literature about how social enterprises acquire resources, this study categorizes them into three factors that may affect the accessibility of resources for social enterprises, which are “social ties”, “quality signals” and “storytelling.” This study uses the method of case study. Through in-depth interviews and secondary information, we examine how each factor may affect social enterprises acquiring resources. Results show that among the three factors, storytelling is being used the most often to obtain resources. On the other hand, quality signals are used the least often. However, if a social enterprise has a very strong quality signal, it will be widely used. Finally, if a social enterprise has a good story and takes initiative to contact media, it can attract more media attention. Through various media channels, more resource owners will have the chance to know this social enterprise; therefore, the chance of acquiring resources may increase.

本研究以台灣中部地區一所高級職業學校的27名三年級學生為對象，旨在探討利用課外時間應用短篇故事引導學生英語句型寫作的效果。藉由學習日記、教學觀察日記、以及訪談等質化研究方法收集資料，資料分析則以深入了解研究對象對於短篇故事教學的感受為目的，並於研究期間經由不斷反思與調整，以尋求更為實用可行的教學方法。本研究結果發現：一、短篇故事教學能更強化研究對象的句型寫作能力與學習動機；二、短篇故事教學的經驗對於研究者的課程設計能力以及教學技巧具有相當大的助益；三、經由不斷地反思與調整，研究者逐步發現了更為實用可行的教學方法；四、對於研究對象的句型寫作能力發展具有真正影響力的是他們自身的學習態度，而不是程度高低。根據上述幾點發現，研究者於文末總結出幾項研究重點與局限性，並對未來相關研究提出建議。 / Targeting 27 senior three students at a vocational high school in central Taiwan, this action research project used extracurricular activities to explore the effects of applying short stories on the development of learners’ sentence writing competence. By means of qualitative techniques, including learning logs, teaching logs and interviews, results were analyzed and interpreted with an attempt to have a profound understanding of the participants’ responses to short story teaching and to derive a more feasible approach through continuous reflections as well as adjustments. The findings concluded from the results included: 1) short story teaching could better enhance both the development of the participants’ sentence writing and their motivation; 2) the experience of short story teaching was beneficial for the teacher researcher’s curriculum design and teaching techniques; 3) a more feasible approach had been built through continuous reflections and adjustments; 4) it was not a learner’s proficiency level but his learning attitude that affected the development of his sentence writing during the teaching stages. Based on these findings, pedagogical implications and limitations of this project are proposed; in addition, recommendations for future studies are provided at the end of this thesis.

1993年有線電視法通過，有線電視逐漸取代無線電視，成為台灣主要的傳播媒介。有線電視因其纜線鋪設與經營形態等特性，成為自然壟斷的地方媒體；因此，法律上視其為「準公用事業」，並賦予回饋地方的義務，此為有線電視公用頻道出現的原因。 公用頻道的主要價值是落實媒體近用權，然而受到申播法規、業者經營意願與民眾製作影音內容技術門檻等限制，公用頻道在台灣的成效不彰。近年來新傳播科技興起，影音網站快速成為民眾慣用的近用平台，公用頻道存續意義乃受挑戰。本研究之目的即在探討數位匯流趨勢下，公用頻道的未來。研究發現，影音網站雖能儲存播放大量的民眾影片，但其本質仍屬「社群媒體」，與公用頻道作為社區媒體的功能不同。同時，影音網站的搜尋機制與使用者習慣也影響影片的曝光度，並不能提供一視同仁的公平近用。因此，本文認為，有線電視公用頻道的地方性與公平近用的經營理念，仍是公用頻道未來發展的應屬方向。 據此，本研究之創作實踐即以五十支「臺北市民故事館」短片，試驗公用頻道落實地方媒體近用，提升社區意識的可能製作方式。此短片透過口述歷史與數位自述之技巧，提高居民分享社區記憶、建立社區認同、參與社區事務，提升社區公益的意願，以作為公用頻道未來節目企劃製作的參考。 / In Taiwan, the previously prohibited cable television operators were legalized after the Cable Television Law was established in 1993. Like in many countries, cable television has gradually replaced network television as the primary media in Taiwan. The specific cable installation and its business model make cable television a monopolizing media in local communities. According to Cable Television Law, cable television is regarded as a “prospective public utility,” and one of its obligations is to serve the public. Therefore, the cable television public access channel was launched. The core value of public access channel is to grant the Right of Media Access. However, the practice of public access channel in Taiwan is hampered due to multiple restrictions such as broadcast application law, regulations, business management and the technical thresholds of audiovisual content production. In recent years, many websites, such as YouTube and youKU, have rapidly become the preferred access platform for the public. The necessity of public access channel is being questioned and challenged. Some studies showed that while audio and video websites can store and play a large number of access videos, their essence remains as “social media” rather than “community media,” such as public access channel. Furthermore, the audio video websites’ search mechanism and the users’ habits can both affect the exposure of the videos and impair the fair access of media. This study, supplemented with 50 related projects, intends to discuss the future development of public access channel under digital convergence. Through a year’s productions and surveys, the author concludes that the unique local relevance and the importance of providing fair access should be the emphasis of the future development of public access channel. The creative projects of this study, broadcasted on public access channel, present the public the right to access local media and enhance the community awareness. These projects, digital programs of personal life experiences, were designed for telling Taipei Stories. By employing oral history and digital storytelling techniques, these projects intend to encourage the residents share their community memories, enhance community identity, participate community affairs, and further improve the community charity. In addition, these projects can serve as references for planning and producing programs for public access channel in the future.

《鼎峙春秋》是奉乾隆皇帝的命所創造的作品.本劇本,以元明以來流傳的三國演義故事為題材,僅在清代宮廷裡所演出的劇本。 清代極為崇拜關公,而關公到了《鼎峙春秋》呈顯出最完美的形象. 本論文將關公的一生分為七個時段來探討鼎峙春秋中的關公如何被描述, 其中發現本劇作家透過關公的一生突顯出忠義精神和善惡報應思想,以此教導民眾. 本論文雖然不足的地方很多,希望研究關公的學人有所幫助. / 《Ding Zhi Chun Qiu》 was made by the order of Qian Long the Emperor of the Ch'ing dynasty. It’s a play only performed at Court. And it’s about the story in the period of the Three Kingdoms which has been one of the people’s favorite subjects since Yuan-Ming Dynasty.The people of the Ch'ing dynasty were more devoted to worship Gwangong than any other times. Therefore, the Gwangong who is a main character of 《Ding Zhi Chun Qiu》 is described as the most perfect person whose image is handed down from generation after generation.This paper divided the life of GwanGong into 7 periods based on the important historical trace, and watched how GwanGong’s story was described in《Ding Zhi Chun Qiu》. I was able to find out that the writer had intention to enlighten the people by highlighting a loyalty spirit and right and wrong retribution thoughts through Gwangong in the process. Although this paper has some insufficient points, but I hope this paper would be helpful to those who study Gwangong.