「中年轉換」係指發生於個體40歲至60歲之間內在與外在的轉變，中年轉換期帶給中年女性的種種轉變是危機還是轉機，中年轉換對女性的意義為何，以及中年女性的自我構成如何與個人經驗、生活事件與外在環境相互型塑，尚待本土研究釐清。研究者帶著對「中年女性」的好奇，開始一段認識中年女性的旅程，並在此呈現兩位中年女性的生命史。 研究者發現，在「中年」這個面向，兩位受訪者的「中年」可能是心理年齡、心理階段而非單純是生理成熟驅動的生理階段。其次，兩位受訪者並未將中年轉換視為中年危機或者中年轉機，而是將其視為生命事件的其中之一。 研究者也發現，在「自我」這個面向，社會與文化脈絡有其重要性，兩位受訪者的自我構成無論偏向獨立我或者相依我，其跟生活環境、關係緊密度與生命主題而有相當的關連，因此從「關係」的角度看自我的發展對女性而言可能是重要的。其次，研究者發現，中年的自我統整不一定是統整為單一整體，中年的自我統整可以是個體對多元自我的一統整性認識，「我」可能是單數，可能是複數，也可能持續不斷生成。 除了呈現兩位女性的故事，本研究也呈現年輕研究者對於「研究」本身的省思，並誠實記錄研究框架的建構與解構歷程。 / Mid-life transition means a series of psychological and physical changes occurring during one’s middle age. How women make sense of it and how it intertwines with women's personal experiences, life occurrences and surroundings are the main interests of this research. After searching through the life stories of Ms. Chou and Ms. Kao, with regard to the mid-life subject, it's found that life occurrences, rather than merely physical changes, drive their life stages to transit. 2 interviewees both see mid-life transition as one of the many events among life occurrences instead of a crisis or a turning point. It's also unfolded that, with regard to the construct of self, discussion on social and cultural contexts is evidently important. The self - "independent" or "interdependent" - actually intertwines with surroundings, relatedness and life themes. Secondly, it's also revealed that the integrated self at mid-life stage can be one integrated self, or an integrated acknowledgment of the fact that, one's self can involve many dimensions and the dimensions can still be growing. In addition to the life stories of Ms. Chou and Ms. Kao, this research also documents the introspection of a young researcher. This is also a truthful documentation of the construction and de-construction of a research framework.

阿嘉莎•克莉絲蒂一般被視為是一位傳統及經典的偵探小說作家。此類小說家通常會在小說裡強調「最後的真相」以及一個穩定社會秩序的回歸。然而，在此論文中，我將試著去證明克莉絲蒂的作品其實已超越了傳統偵探小說家的境界。由於她另類地在小說裡鋪陳「不確定真相」並且展現了一個介於工業社會以及後工業「風險社會」現代化變遷過程中的不穩定社會秩序，她甚至可以說是一位「反身性」的現代主義作家(“reflexive” modernist)呈現「高度現代性」(high modernity)的社會寫實。 本論文共分為六個章節；主要探討了克莉絲蒂對英國工業社會的「現代化進程」(modernizing process)的反身性及批判性的思維。在她的小說裡，所呈現的所謂「現代化進程」，包含了對理性真理的建構、規律化的時間及空間實踐以及國家之各法制機關的運作。在克莉絲蒂的小說裡，此過程與深受資本主義所影響下的工業化以及都市化的英國社會的關係是密不可分的。 因此，貝克(Ulrich Beck)對「風險社會」(risk society)以及「反身性現代化」(reflexive modernization)的見解，被用來廣泛地討論克莉絲蒂的作品。此外，其他談論「現代性」的幾位學者，例如哈維(David Harvey)、列菲弗爾(Henri Lefebvre)、瑟鐸(Michel de Certeau)以及班雅明(Walter Benjamin)的理論也被運用來解析她的文本。之所以涉及到這幾位學者的學說的原因，主要是他們都對工業社會下的理性化及紀律化的日常生活提出他們的質疑，也對現代科技及都市生活影響下的全新空間/時間的感知，發表了他們的見解。這些都有助於以文化研究的方法來暸解克莉絲蒂在其小說裡所呈現的社會情景。 總之，本論文的主要目標是要探討克莉絲蒂的小說文本與小說的社會背景兩者的關係。以「高度現代性」的理論架構，而非以傳統結構主義以及文類研究的方式，來審視她的小說。藉此，我期盼克莉絲蒂的小說能在英美現代文學作品的研究裡，能夠被重視並且能有重新的評價。 / Agatha Christie is often regarded as a traditional and classic detective writer who accentuates an ultimate truth and promotes the restoration of a stable social order in her novels. Yet, my study attempts to evidence that, with her writings transcending the limits of traditional detective fiction, she acted as a “reflexive” modernist by alternatively dealing with an uncertainty truth and demonstrating a shaky social order in a transitive changing reality from an industrial society to a post-industrial risk society. My dissertation is divided into six chapters, which focus on examining her reflexive and critical consciousness of a modernizing process, including the construction and deconstruction of a rational truth, disciplinary spatiotemporal practices, and legal institutions in her contemporary society of industrialization and urbanization under the impact of capitalism. The study of Christie’s works will be based on Ulrich Beck’s notions of ‘risk society” and “reflexive modernization.” The theories of other modernist scholars, including those of David Harvey, Henri Lefebvre, Michel de Certeau, and Walter Benjamin, are also applied to witness Christie’s transformation from a conventional detective writer to a modernist one. These four theorists interrogate the rational and disciplinary control of everyday life in an industrial society and deal with brand new spatio-temporal perceptions rising from the development of advanced technologies and modern city life. Their theoretical perspectives are helpful to analyze Christie’s texts. Christie’s writings exhibit a changing social reality, a change from an early modernity to a later development of high modernity. Other than applying traditional approaches like structuralism and genre study, I employ a high-modernist perspective to discuss the interactions between Christie’s literary texts and their social background. My study is expected to relocate Christie as an experimental writer in the literary history of detective fiction.

兒童的電視暴力行為模仿是存在的，常人由個人經驗和媒體的顯著個案報導對此現象建立表象的印證；而學者透過研究也證實電視暴力具有不良示範作用，和閱聽人─尤其是兒童─日常生活的攻擊行為脫離不了關係。但學界卻忽視了兒童的認知節目能力與電視暴力訊息的互動關係：兒童看過有暴力訊息的節目後，電視暴力訊息在兒童腦海裡會留下什麼印象；並進一步告訴常人如何扼止這些印象可能引起的不當後果。 　　本研究企圖應用故事基模理論於電視暴力訊息的研究，探討電視暴力訊息如何透過故事基模的運作，在兒童腦海中留下何種的印象。研究方法為場地實驗法配合問卷調查及深度訪談等多重方法設計。 　　研究發現，兒童的電視故事基模具有層級效果，愈上層回憶愈抽象。電視暴力訊息的高低和呈現方式，對兒童組織故事的方式沒有顯著的影響；但視覺呈現的高暴力訊息會使兒童對故事產生較多的推論；如果故事一開始就出現大量的高暴力畫面，則能強化兒童對故事開始情節的記憶。年齡和先備知識是有力的解釋變項。年長的、先備知識豐富的兒童電視故事基模較強，回憶數多、理解高、偏差少、推論多，顯見故事基模的形成一方面是自然的成熟因素，同時也受環境經驗因素的作用。 　　然而年幼兒童對於最易產生暴力訊息的反應和企圖事件的回憶數及詳細層次，與年長兒童無顯著差異，但對行為後果（施暴下場）記憶較簡略，可能因此產生施暴並無不可的解禁心理。此外，父母教育程度高、社會成績好、電視知識豐富的兒童故事基模亦較佳，尤其是男生可能因興趣使然，對本研究的故事記憶更好，且詳細記得反應和企圖事件。 　　根據研究發現，本研究建議未來電視暴力研究觀察互動情形、加強實驗設計、進行特定對象研究、進行長期研究；並對電視節目製作者提出加強故事張力減少暴力情節、不得不保留的暴力情節應淡化處理、發展電視識讀材料等實質建議。 / This study applied story schema theory to understand how children decoded the violent messages in television cartoon by a multi-method design. in-depth interviews were conducts with 60 subjects immediated after watching a TV cartoon with different violent level and media presented in a experiment. The same interviews were conducts again after one week. 　　The study demonstrate the 'effect level'in childern's TV story schema and find the top recall level is more abstract. No significant relationship between story schema and violence decoding were found, but visual-presented high violence may increase inferene and enhance memory on the beginning episode. These results correlated closely with age and story-relevant previous knowledge. Finally, the author make some suggestions to TV program producedr.

悅讀是指讀者自己挑選有趣的書籍，自發性地廣泛閱讀。本研究是要探討悅讀對國中生的閱讀動機，閱讀能力，和寫作能力的影響。本實驗邀請台北市某所國中61位的八年級生參加，分為實驗組(悅讀組)和對照組(傳統閱讀組)。本實驗共為期23週，在學生的英文閱讀課進行，每週一次，每次45分鐘。實驗期間， 實驗組在上閱讀課時只專心於閱讀自己所選的圖畫故事書，而對照組則繼續原來由老師所主導的傳統閱讀課程。實驗進行前後二組學生都接受全民英檢的閱讀和寫作能力測驗及閱讀動機評量。這些測驗資料由電腦進行量化處理與分析，個別訪談結果則用來輔助說明結果與討論。 結果顯示，經過悅讀的實驗，學生的整體閱讀動機提升了。此外，多面向的動機顯示，參與者的閱讀自信和閱讀成就與目地深受悅讀課程所影響，尤其是參與者從悅讀中產生很強的愉悅感，也增強了自信心。此結果證明了悅讀的最大功能—增進愉悅感。但是此研究並未發現悅讀能有效地改進參與者的閱讀和寫作能力。 因為小樣本及有限的資料，本實驗結果只能提供建議性而非決地性的結果，不過本實驗還是能提供一些教育性的建議。如悅讀能納入學校課程當作正規英文課的輔助。學校每天的早自習是讓學生悅讀的最佳時間。另外，賦予不同程度的學生不同的閱讀目標與配合適當的閱讀活動能增進他們的英語能力。爲了更深刻了解悅讀對國中生的效益，最好從校內全體的七年級生開始進行為期三年的悅讀課程，最後以高中入學的基本學力測驗英文科成績來檢驗其成效。期待面對繁重課業壓力的國中生能透過悅讀快樂地並有效地學習英文。 / Pleasure reading refers to any reading in which self-motivated readers pick up books they are interested in and engage themselves in those books. Pleasure reading has long been recognized as a powerful tool for fostering reading interest and enhancing literacy development. This study aimed to investigate the impacts of pleasure reading on EFL junior high school students’ reading motivation, reading comprehension, and writing ability. Sixty-one eighth graders in a junior high school in Taipei were divided into the experimental group (pleasure reading group) and the control group (traditional reading group). This program was carried out during the English Reading class, once a week with 45 minutes for each period. During the 23-week reading program, the experimental group only focused on reading self-selected picture books without any instructions while the control group still received the skill-based reading approach. Before and after the program, their reading and writing ability were examined by the reading and writing tests of General English Proficiency Test (GEPT) and their reading motivation was measured by the Motivation for Reading Questionnaire (MRQ). The data collected were analyzed quantitatively and the interview data were utilized to interpret and support the findings. The results revealed that the experimental group participants’ overall reading motivation was enhanced significantly after the program. As for the multifaceted motivation, the results showed that the participants’ “reading self-efficacy” and “reading achievement values and goals” were influenced strongly by pleasure reading. Among the 12 reading dimensions, “enjoyment” was the most significant factor. All the findings confirmed the main value of pleasure reading-- reading for enjoyment, and such enjoyment promoted students’ reading motivation very positively. With respect to the participants’ reading and writing ability, the results did not show significant improvement. Pleasure reading did not influence the participants’ language proficiency positively. However, both groups made some progress in the posttest in the gain score. Therefore, pleasure reading appeared to be at least as effective as the traditional reading approach. Pleasure reading was more interesting and enjoyable for junior high students. Although the results may not be taken as conclusive because of limited data and small samples, this study still provides some pedagogical implications and suggestions. Pleasure reading can be implemented into school curriculum as a counterpart of regular English class, a kind of skill-based English class. The school’s morning session is a good time for students to read self-chosen materials. Moderate tasks should be set for students with different language levels to conquer. Appropriate reading activities can be integrated to help stimulate students’ reading. To get a clear picture of its effect on junior high level students, it is necessary to conduct the program for a longer duration and with larger samples. Therefore, it is suggested that further study can start with all the seventh graders in junior high schools and the study should last for three years. The entrance exam of senior high school, the Basic Competence Test can be adopted as the measurement of language proficiency. It is expected that junior high students under academic pressure can learn English happily and effectively.

國內公共圖書館近年來致力充實館內電子資源，提供豐富的資料庫資源給予大眾閱讀分享與選擇。北市圖擁有豐富的中文繪本資料庫，但林老師說故事團隊鮮有使用電子繪本進行說故事活動。因此，本研究為探討電子繪本融入林老師說故事活動的可行性與實施方式，採用行動研究方法，進行二階段十場次的行動研究，兒童參與活動共有89人次，從行動研究的實施來評估電子繪本說故事活動是否提升兒童閱讀興趣、改善紙本說故事的限制，並提出活動實施程序，以利活動設計與實施。 為能讓行動方案的實施更符合說故事活動需求，本研究提出「電子繪本選擇的原則」，協助說故事人進行繪本的選擇，並發展「電子繪本說故事行動方案」從活動目的、活動資源取用、活動作業程序、活動方式與獎勵、活動實施注意事項等要點來說明行動方案，提供給林老師執行活動的參考，並邀請林老師實施活動，藉由訪談方式了解林老師對於活動實施的看法與建議。 研究結果歸納：(1)行動方案可以幫助林老師實施活動以及選擇電子繪本；(2)電子繪本的特性可以改善紙本說故事的限制；(3)兒童參加電子繪本說故事活動興趣提升；(4)非線性閱讀的選擇自由之特性適合中年級以上兒童；(5)電子繪本適合應用在林老師說故事活動並值得推廣；(6)電子繪本的優勢使得說故事活動更具豐富性。 最後，本研究提出研究建議，供相關單位參考：(1)增購中文繪本資料庫；(2)辦理電子繪本利用教育研習，招募林老師加入；(3)開放權限，協助林老師取用電子資源；(4)解決線上閱讀數位版權數問題；(5)增購電子白板設備以促進林老師說故事效益；(6)辦理電子繪本的說故事活動觀摩會；(7)善用資料庫介面特性以進行活動設計；(8)要了解電子繪本內容才能進行活動設計。 / Rapid developments in digital information technology and Internet communication have changed the ways to retrieve information, and increased the demand for information. For modern Digital Natives, the establishment of reading promotion for children in a library should adopt diverse methods to promote reading. Aside from printed books, public libraries in our nation have recently been devoted to enriching their electronic recourses to provide diverse reading databases for the public to choose from. In Taipei Public Library, there are rich databases of Chinese picture books; however, these books are rarely used by the storytelling team, Teacher Lin. The present study therefore aimed at exploring the feasibility and execution of the adoption of electronic picture books in Teacher Lin’s storytelling. The study adopted the action research to investigate whether electronic picture books storytelling would arouse children’s interests in reading and improve the limitations in printed books storytelling, and to offer advice for designs and procedures of electronic picture books storytelling. The present study provides criteria for selections of electronic picture books, and guidelines for electronic picture books storytelling, including objectives, available recourses, procedures, and ways of rewards of storytelling activities. Teacher Lin thus may follow these criteria and guidelines when carrying out storytelling activities. Feedback from Teacher Lin then was collected via interviews. The results of the study were addressed as follows. First, the action research was helpful in Teacher Lin’s storytelling and selections of electronic picture books. Second, features of electronic picture books could improve the limitations in printed books storytelling. Third, children’s motivation was enhanced in electronic picture books storytelling. Fourth, nonlinear reading was more suitable for children of intermediate grades. Fifth, it was worthwhile to promote electronic picture books storytelling in Teacher Lin’s storytelling activities. Sixth, in terms of storytelling, electronic picture books were more beneficial than hardcopy books. Lastly, the following were some suggestions. First, it is essential to purchase more databases of Chinese picture books. Second, workshops about the adoption of electronic picture books may be held, and members in Teacher Lin are recruited. Third, members in Teacher Lin should be allowed to access to these databases. Fourth, issues on intellectual property rights of online reading need to be solved. Fifth, purchases of electronic white boards can promote effectiveness of Teacher Lin’s storytelling. Sixth, demonstrations of electronic picture books storytelling need to be held. Seventh, features of interface of databases need to be well used to design activities. Eighth, understanding of content of electronic picture books is essential for activity design.

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

本研究以廣告嘻哈性與故事性為自變數、消費者的嘻哈偏好為調節變數對廣告效果進行研究。研究方式以台北市高中生為受測對象，透過自製廣告影片的播放、然後請受測者填答問卷。問卷分析的結果發現： 1. 消費者認知的廣告嘻哈性或故事性愈強時，對應的廣告態度、品牌態度、購買意願皆愈佳。且當消費者認知的廣告故事性愈弱時，廣告嘻哈性與廣告態度之正向關係愈強。亦即當廣告的嘻哈性或故事性同時增強時，對廣告態度的正向影響會有飽和的效果。 2. 廣告嘻哈性與故事性對廣告效果的影響，會受到消費者嘻哈偏好的干擾。消費者的嘻哈偏好程度愈高時，廣告嘻哈性與品牌態度、購買意願的正向關係愈強。而當產品傾向於感性時，消費者的嘻哈偏好程度愈高，廣告故事性與廣告態度之正向關係愈強。此外，消費者的嘻哈偏好程度愈高，廣告故事性與消費者對產品回憶的正確程度的正向關係反而愈弱。 3. 廣告態度不具有廣告嘻哈性與品牌態度關係間的中介影響力，亦即提高廣告嘻哈性，可直接對品牌態度產生正向影響。此外，當消費者的嘻哈偏好低時，廣告態度會扮演廣告嘻哈性與購買意願的中介角色，但是當消費者嘻哈偏好高時則否。表示嘻哈性強的廣告，可以打動嘻哈偏好高的消費者，讓他跳過廣告態度而直接提高購買意願。 4. 廣告態度在消費者的嘻哈偏好程度低時，是廣告故事性與品牌態度的中介變數。表示只有在消費者的嘻哈偏好程度高時，提高廣告故事性才能直接對品牌態度產生正向影響。此外，廣告態度也是廣告故事性與購買意願的中介變數，表示提高廣告故事性對購買意願產生的正向影響，其實是先影響廣告態度而後才影響購買意願的「兩段式」影響，作用有限。 關鍵字：嘻哈、故事、廣告效果、中介效果、品牌態度、購買意願、次文化

在這個資訊大爆炸的時代，想要讓人們認識你就需要推廣你自己或你的商品。櫥窗展示便是一種常見的推廣方式。而在這樣大量的推廣需求及網路發達時代，櫥窗網站也應運而生。在這篇文研究中，櫥窗網站指的是以推廣自己為目標的網站。時代的潮流下，每種應用都愈來愈注重它的體驗。而使用者體驗應用在網站領域上，越來越多研究與將其與使用者介面的美感做連結。 基於以上，此篇研究將範圍縮小，希望以臺北故宮的櫥窗網站iPalace Channel為例子，目標是探討櫥窗網站視覺介面設計特色（美感與故事性）的使用者體驗及使用者滿意度。透過三種不同的iPalace Channel視覺介面設計，分為高、中、低程度的故事性與美感，比較三者不同的使用者體驗與使用者滿意度。最後在以問卷的方式做調查，而問卷統計結果是在櫥窗網站這個範疇下，高度美感與故事性的視覺介面相較於中度及低度的美感與故事性會得到最好的使用者體驗（美感、教育及娛樂的體驗）與滿意度。 / In the age of information explosion, promotion is one way to let people know you. And window displays is a way to promotion. Under the huge demand of promotion and Internet generalization, promotion website gradually emerge as the times require. Promotion website is just like window display. Hereby, the promotion website is a kind of website aimed to promote something. As the trend of our times, experience is more and more important in every application. And apply in the website domain, many researches connect user experience and aesthetic user interface. Base on previous mention, this study narrow down the scope, taking iPalace Channel, a promotion website of National Palace Museum (NPM), for example. This study aims to explore different aesthetic and storytelling levels of visual interfaces affect user experiences and user satisfaction on promotion website. Through questionnaire survey and compare three different visual interface designs to get the result. The result of this study find that for promotion website, High aesthetic and storytelling truly get best user experiences and user satisfaction.

東方朔為西漢時期漢武帝人臣，因其博聞閎覽、言詞敏捷、機智聰穎又性格滑稽，而於史籍留名。自漢魏六朝小說文人藝術加工後，其形象漸趨轉變而為天上仙人。今民間傳說中，除了既有的形象延續外，還增添了民俗的色彩，而與民間信仰及節日風俗產生聯繫，豐富了東方朔的傳說體系。據東方朔的形象特質，可將相關傳說分作「機智型」、「博物型」、「神仙型」三類；以故事類型分類，則有「不死酒型」、「推遲死期型」、「神奇受孕型」、「見屈原型」、「老頭子型」、「石子變銀子型」等六類。 結合了文人敘事與民間敘事的東方朔傳說，其敘事型態具有穩定模式。各類型傳說的角色多具備「給主人公出難題」、「難題被解答」的角色功能，而情節皆以「起因──過程──結果」的序列，依時間先後排列，形成單線式、對立式等情節類型。而透過傳說中的環境特質，可反映出求仙風氣鼎盛、迷信讖緯流行、佛教道教大興等社會的時代與風俗背景。 此外，東方朔傳說還照應了民間信仰與節日風俗，如歲星、太白星等星辰的崇拜，算卦、盲藝人、相聲界等行業祖師的信奉，又與元宵節的由來有所依附，則東方朔傳說實豐厚了中國文化特質與民俗風貌。 / Donfang-Shuo, a Western Han Dynasty scholar-official in Emperor Wu period, left a glorious reputation in history for his erudite knowledge, glib tongue, many smart conversations and humorous words and deeds. During the Six Dynasties period, the image of Donfang-Shuo was gradually transformed into the Daoist immortal in Chinese mythology by the literature and arts; he became an immortal legend who had miraculous birth and supernatural powers. Nowadays, along with the continuation of Donfang-Shuo’s existing image, these folktales have been added more connections with folk customs. The connections with folk beliefs, customs and festivals enriched the integrity of the folktales system of Donfang-Shuo. Folktales about Donfang-Shuo could be categorized into six types, including the types of ‘the immortal wine’, ‘changing other’s destiny ’, ‘the unusual phenomenon of birth’, ‘meeting Qu-Yuan’, ‘elders’, and ‘the Midas touch ’. Combining intellectual narration and folk narration, the narrative pattern of the folktales of Donfang-Shuo had certain modes and features. First, most characters in the six types of folktales above had common functions in the plot, including giving tough questions or solving the questions. Second, from the perspective of plot, the stories basically developed by the timeline, following the order of ‘cause-process-consequence’ and then forming the plot of one-way type or confronting positions. Through examining the background features provided by these folktales, the author found the folktales of Dongang-Shuo could reflect the social circumstances and custom background during the Han Dynasty age, the age which was filled with superstitious beliefs, folk customs and the Chinese mythology about Buddhism and Daoism. In addition, Dongfang-Shuo legends also had important influences on folk customs and some festivals. For instance, the belief of his embodiment of ‘Sui’(歲,or Jupiter) and ‘Taibai’(太白,or Venus) led to the worship of the stars, even Donfang-Shuo himeslf was worshiped by lots of fortune tellers and was believed to be one of the earliest ancestors of Daoism. His humorous and wise legends were highly praised by many Chinese story tellers and who worked in Chinese comic dialogues as well. Moreover, Donfang-Shuo had deep relation with the origin of Lantern Festival. To conclude, the folktales system of Donfang-Shuo truly nourished the Chinese culture and enriched the style and features of folk customs.

隨著情緒消費時代的來臨，感性品牌的出現，已成為21世紀的發展趨勢。消費品購買產品背後的動機，已不僅僅是解決問題而已，而是滿足心靈深處情感波動之需求及渴望。感性品牌在本世紀所造成的影響力，已引起許多企業注意，而要成功地打造品牌，除了以品牌文化及品牌故事所培養出的品牌感性力為基底之外，企業更要輔以同具感性力的品牌推廣策略，在兩者相輔相成地作用下，才得以更成功地推廣品牌所欲傳達給消費者之感性思維，深入消費者的心中，創造品牌影響力及好感度。 本研究欲以個案研究之模式為主，用文化、故事及策略的脈絡及思維來深入探析企業用感性力打造品牌之過程及策略發展。利用兩個在台灣頗具知名度的感性品牌—阿原肥皂及肯夢AVEDA的品牌歷程，從中分析及歸納這兩個具有獨特文化特色，且在短期內得到消費者認同及信任之感性品牌，是如何經由感性力量的發揮，從無到有打造品牌，以及發展品牌推廣策略，並對兩者之企業個案進行對比與分析，找出其在發揮感性力上之關鍵成功因素，以提供給後續欲發展品牌之本土自創品牌業者參考。 / With the coming of emotion consumption era, the appearance of emotion brands has been the newest trend of 21st century. Consumers’ motivation of purchasing is not only for solving problems but also for satisfying the needs in the deepest mind f consumers. Emotion brands have influenced the world so much and it has attracted many organizations. In order to create a successful brand, we have to use brand culture and brand stories as the foundations of the brand. Furthermore, we have to develop some brand strategies with emotion power so that we can use the brand power to transfer the emotional concept of the brand and win the consumers’ heart and trust. This study used case study as the primary research method, and used culture, stories, and experience marketing as the concept to analyze the branding strategies of the two Taiwanese emotion brands—Yuan Soap and Canmeng AVEDA. This thesis tries to analyze and induce how the two special brands did to cultivate the distinguishability and trustworthiness. This study also tries to find out the key successful factors of the two brands and the “know-how” of building an emotion brand.