本研究以《詩經》、《楚辭》、《全唐詩》、《全宋詩》及《全宋詞》等，數位化的文本資料作為基礎，運用資訊技術，建構分析文獻間借鑒的工具。工具採用字串或詞彙比對的方式，使用者可以透過設定，過濾出可能的對應關係，特別是《全唐詩》、《全宋詩》和《全宋詞》間字面上的類似之處。本研究參考人文領域的研究，用以評估工具的效果。同時，我們也藉由資訊科學的角度，統計如唐詩和宋代詩詞間的對應關係，亦透過如《詩經》和《詩經》、《楚辭》和《楚辭》、《全唐詩》和《全唐詩》、《全宋詞》和《全宋詞》、《全宋詩》和《全宋詩》的對應關係，挖掘同一時代文人作品的對應。另外，本研究也嘗試中國古典詩歌的斷詞，以及分析詩歌中詞彙的語意，未來也希望能夠透過語意進行詩歌比對。本研究雖不如傳統方法的人文研究深入，但提供從大量的語料中去蕪存菁，以及統計等相關服務，節省人文研究分析整理文本所需的時間，用數位的力量輔助人文領域的相關研究。

本研究以「社會物質政治性」觀點主張Facebook的人際監控是由人／物共構而產生的政治性現象。Facebook所打造的物質展現，因無法避免地鑲嵌了「連結」意圖，以及由「人」集體構成的「分享」規範，在人與物的互動交引纏繞之下，而意外構成了人際監控。 本研究透過綜合式研究方法，包括田野觀察、半結構式深度訪談以及自我經驗書寫與分析，檢視Facebook使用者與Facebook之物質展現的互動關係如何構成監控與抵抗發現，人與物所產出的「網絡」及「個人脈絡」不但讓人們所設下的各種界線被無限擴張而構成了「無限擴張的網絡」、甚至因為「網絡」當中未曾消弭的各種權力關係，以及揭露人們所思所處所做的「個人脈絡」構成了「個人脈絡之曝露」，而成為了助長人際監控最重要的元素。 因此人們針對「網絡」的抵抗進行了「多重舞台隱藏設定」，以及針對「個人脈絡」進行了「展演式公開演出」抵抗。由於在強調互動與分享的Facebook當中，人與人之間形成的「監控」已不再扮演以往的霸權角色，而是形成了溢散的一種可被意識的力量之時，人們的「抵抗」亦脫離規避強權之目的性，並成為「抵抗者」為了保持自身的可視性以創造與維持社會關係，而策略性地透過Scott（1990）提出的「公開文本」進行「展演式公開演出」，以及透過「隱藏文本」進行「多重舞台隱藏設定」規避式抵抗。因此，人們在社群媒體的「抵抗」為一種挪用「公開／隱藏文本」不斷進行切換與游移的抵抗演出，進行部分的掩蓋、部分的揭露來達到人們預期目的，藉以尋求不那樣地被牽制的可能性。 透過「社會物質政治性」這樣的視野，本研究並非如以往具有科技決定色彩主張「物」牽制了人，也並未擁抱社會建構觀點，而是試圖提出由「人／物共構」的互動關係之下，因為意想不到的政治性例如物質的展現與特性、還有人們的互動實踐，皆可以扮演構成監控與抵抗的角色。 / Based on the perspective of “sociomaterialitics” this study argued that Facebook interpersonal surveillance was the political result of co-construction of human and material. Connectivity intention that hide beneath the material presentation of Facebook as well as the collective sharing normativity, entangled through the interactivities between human and material have resulted the unintentional construction of interpersonal surveillance. By using field observation, in-depth interview and analysis of self-experience, this study is able to explore the interactive relationship between human and material to find out how surveillance and resistance are co-constructed in Facebook. Network(ed) and personal context are found to have damage various boundaries of users which caused them to face “unlimited network expansion”, and because of the “underlying still-existence of power relations” in the network(ed), as well as “personal context” that caused “exposure of context”, are believed to have augmented surveillance in Facebook. People resist to network(ed) with “hidden setting of multi-stages”, and resist to exposure of personal context with “official performance”. However, as resistance was no longer the direct opposition to the oppression of dominant power in Facebook, hence “resistors” maintain their visibility and social relations strategically through the performance of “official transcript” and hiding themselves from surveillance through the “hidden transcript” in order to avoid unwanted results simultaneously (Scott, 1990). Therefore resistance in social media has transformed into “official/hidden transcripts” in which people switching their “official/hidden transcripts” constantly, continuously and strategically in order to partially performance and partially hiding themselves. As Facebook is a place that people voluntarily disclosed themselves, and hence interpersonal surveillance is seen as a conscious force in diffusion form, and people’s resistance is a self-reflexive strategic actions in liquidity form. People appropriated resistance to achieve intentional goals in order to explore possibilities of less containment derived from the co-construction of surveillance in social media. Through the perspective of “sociomaterialitics”, this study is able to escape from technological determinism and social constructionism, in order to embrace the idea of co-construction.

人類書寫歷史，可視為文本不斷細小分割重組的過程，這種斷裂與重組的現象，及至超文本應用後臻至高峰。「超文本」並非單純將書寫媒介由紙張移植至螢幕，而是利用電腦「斷裂」、「交錯連結」、「非線」、「多向」等特質，營造與印刷技術截然不同的文本。它提供文本無比的可塑性，更具體實現了解構理論對「文本」的各種假設。 小說家波赫士曾於1962年假想一種混沌、斷裂、多向、非線性的小說型式;而德勒斯亦於1987年提出「遊牧」理論與「無中心」、「無階層」、「隨機組合」等概念。然而要在印刷小說中建構這種「歧路花園」，無非是緣木求魚，充份切割的傳統文本，充其量只是一堆碎紙片而已。墨梭則成功地以超連結整合碎裂辭片，具體在《勝利花園》中塑造了真正的「歧路」。在其獨特斷裂結構中，不但每個角色都擁有對等獨立的發聲空間，讀者更不再只是聽眾，而可以參與對話，平等發聲。 本論文分為四章，第一章專論超文本定義與演進；第二、三章試從「介面」與「情節」兩方面切入，分析墨梭超文本小說《勝利花園》如何實現德勒斯遊牧敘述與巴赫汀複調理論。最後則就當前超文本研究發展，提出未來展望。 / The history of human writing is a continual process of decomposition and re-permutation, and the process reached its climax after the application of hypertextual technology in the late twentieth century. Hypertext is not the simple transplantation of text from page to screen but an innovative technology which is fragmentary, interconnected, nonlinear and multidirectional. It provides an environment of incomparable textual malleability and further fulfills many deconstructive hypotheses about text. In 1962, Jorge Luis Borges suggested a fragmentary, chaotic, nonlinear and multidirectional narrative for the novel. In 1987, Gilles Deleuze presented the theory of nomadism and suggested the a-centered, non-hierarchic and randomly permuted structure. It was impossible, however, to create such a “Garden of Forking Paths” in the printed novel. The thoroughly decomposed text is nothing more than a heap of contradictory segments of paper. It is Stuart Moulthrop who successfully consolidated the fragmentary lexias with the hypertextual links and created a genuine “garden of forking paths” in Victory Garden. The fragmentary structure of Victory Garden helps the characters in the novel articulate themselves equally and independently, and the reader, the formerly auditor of the dialogue, can participate in the hyperfiction, too. This thesis is divided into four chapters. The first chapter introduces the rationale and the history of hypertext. The second and third concentrate upon the interface and the “plots” of Victory Garden respectively to see how it better fulfills Deleuze’s nomadism and Bakhtin’s theory of polyphony. In the final chapter, the future of hypertextual studies are discussed.

彈幕（Danmaku, danmu），是一種評論分享系統，原生於日本線上影音交流平台，其直接覆蓋在影視文本的文字符號文化展現特殊觀影型態。隨著影片播放過程以及彈幕隨機出現，使用者於觀影當下必須隨時改變閱聽焦點來理解瞬間變化的內容，意義生產更加複雜。 彈幕影片呈現出高度流動的觀影文本與觀影狀態，然則現行分析影視文本、媒介、閱聽人研究尚未針對三者變動交互關係－亦即彈幕與影視文本交疊的型態，及閱聽人的接收歷程與反應進行深入分析。Deleuze和Guattari的塊莖思維強調物質與概念的生成（becoming）與裝配（assemblage），以力量的關係作用構成動態的世界觀。據此，本研究設計一個詮釋「流動性」的研究架構，用以同時探究彈幕文本的瞬間形變與使用者觀看影片的瞬間審美體驗。 本研究將彈幕文本與使用者視作兩部「機器」，透過情動力（affect）串聯彈幕、影像內容、使用者異質感受交雜變動的歷程。研究最後提出「嬉遊文本」與「文本人」的概念來說明塊莖式審美的意涵，以及未來的可能應用。 / Danmaku, or Danmu, is a comment-sharing system originating from Japanese online video-streaming platforms. It constitutes a specific viewing state. Videos are covered with texts and symbols, which keep varying and breaking the connotation and denotation of meaning. Danmaku also complicates the perception of the audience. However, such frequently changing viewing contexts have never been studied thoroughly.To illustrate the interrelation among media, texts and audience, this study aims to develop a “fluxional” research framework. To interpret “sudden” metamorphoses of clips and “sudden” visual experiences while people are viewing Danmaku films, this study takes Deleuze and Guattaris’ figurative concepts of rhizome as main research perspectives. Rhizomatic thinking focuses on the “assemblages” of physical objects and metaphysical concepts as well as how they are “becoming,” which all together constitute a dynamic worldview. In this study, Danmaku films and the audience are both seen as “machines”, through which the “affect” flows. The “affect” forms various rhythms, which energize the constant changing of the content in a video, arousing instant sensation and comprehension. In the end, this study brings up “collective play script” and “text-er” to conceptualize the context of Rhizo-aesthetic experience, in a hope to offer a new approach to understand new media interface and content design.

晚明受到政治、經濟與文化思潮多方因素所影響，男男同性情欲關係興盛一時，並展現在商業文本創作中，而出現以此為題材的小說專書。這樣具有先驅意義的作品所涵蓋的時代價值在近代研究中已經受到關注。諸多學者在歷史背景釐清與部分內容均有重要的成果呈現，但有鑑於在文本結構探討上的空缺，以及現有研究中對於「男色」、「同性戀」、「同性情欲」語彙指涉上的歧異，乃引發本論文進行分析討論的主要動機，並成為研究的課題。 本文藉由Greimas結構分析與兩書文本分析相互結合，對於包括文本結構、男色態度、審美與情欲書寫等面向展開探討。從中明瞭：男色態度取決於文本結構主軸的男男合理化要素，也就是與男色性質有密切關聯之所在。這樣不屬於本質性的固定態度，同樣反映在審美與情欲書寫的建構上，並由男色文本內化女性審美觀、戲擬異性情欲關係等樣貌反映出晚明男風的時代特徵。 論文的討論，最終得以確認：晚明男色活動尚未建構出二元對立的性向區分，也不存在同性戀╱異性戀概念的認知。它是眾多情欲活動的一環，與異性婚姻體制共同並存。也顯見出，同性情欲在不同時空背景下，具備不同的界定範疇與社會評價。無論是中世紀的同性情欲有罪論或近代同性戀的精神病理化，皆無法作為絕對的準則。因此，在探討同性情欲文化的歷程中，必須跳脫出本質論的侷限，才能夠以較為客觀的態度，在此類議題上尋求更適切的理解與評價。

《神隱少女》是宮崎駿少數以日本本地為背景的故事，極富日本文化色彩，且連連獲獎，文化獨特性似乎成為它致勝的元素之一。宮崎駿曾提到：「《神隱少女》與其說是一般描寫異世界的故事，還不如說是日本『昔話』中出現的『麻雀之家』(雀の家) 或是『老鼠的宮殿』(鼠の御殿) 的『直系子孫』」。日本「昔話」乃為日本文化重要的一環，以日本「昔話」為參考文本的《神隱少女》，必然包含了豐富的日本昔話與日本文化元素。此外，日本學者間宮史子曾提到，日本昔話中的主角出發前往的地方，最常見的就是「異界」；而《神隱少女》即是一段人類踏上「異界」所發展的故事。因此本文將以日本民間故事的「異界」作為分析項目，分析《神隱少女》動畫文本中的「異界」形象意義，以及與日本民間故事的連結關係。

本論文試圖從文化及歷史的角度切入，介紹莊園的概念、其歷史的演變及在十九世紀文學中的反映，再以文本分析（имманентный анализ）、比較分析（сопоставительный анализ）、傳記分析（биографический анализ）等方法論述契訶夫及布寧作品中的莊園形象。 論文第一部分緒論，論述研究動機、文獻述評、研究目的、研究途徑與方法、研究架構及章節說明。第二部分分為三章。第一章「俄羅斯莊園現象與莊園文本創作」，從文化及歷史的角度出發，闡述從十八世紀中葉開始到二十世紀初貴族莊園代表的文化概念，再以史料為依據，敘述莊園的歷史演變，並概述貴族莊園在十九世紀俄國文學中的反映。第二章「契訶夫作品中的莊園形象」分析契訶夫短篇小說及戲劇作品中的莊園形象。除了以傳紀分析法，探討契訶夫對莊園的態度與看法外，並分析短篇小說中傳統貴族莊園的特點與對莊園現象的觀察，以及戲劇作品中貴族莊園神話的幻滅。第三章「布寧作品中貴族莊園形象的演化」分析布寧中、短篇小說中的貴族莊園形象。除了以傳紀分析法，探討莊園在布寧心中的地位外，更以1917年俄國革命為界，分析革命前期及流亡時期貴族莊園形象的演化。第三部分結論則運用比較分析法，綜合歸納第二、三章的論點，針對兩位作家筆下莊園形象的異同做綜合歸納。

本研究共涵蓋三個主要的學科領域：學習理論、媒體與教學設計。其焦點在於透過對於建構論、超文本以及教學設計的剖析，勾勒出本研究題目所揭示之「建構論之超文本教學設計」。在理論上藉由文獻分析的方式，分析詮釋理論的內容，此外在應用上提供一個簡單的教學模型，做為理論上的實踐。 本研究首先透過對於媒體的探討，重申近來做為教學科技的媒體不僅式侷限於以往傳輸資訊的功能，此外更進一步協助學習者監控、調節認知活動，並使得學習者主動投身於深度的資訊處理過程，當媒體能夠符合以上的敘述時，其本身即是一種認知工具(cognitive tool)，而超文本即具備這樣的潛能。認知工具是必須奠基於建構論的基礎上，才能夠有效地促進學習，因此在學習理論上進一步廓清建構在哲學知識論及學習理論上的意涵，做為從事教學設計時的理論基礎。之後，從教學設計的歷史發展，澄清建構論教學設計之適當性問題，主要從 Merrill 等人所倡導之第二代教學設計，與建構論教學設計之衝突上著手，並且從一個教學者的立場提出建構式教學應有的策略及其可能的限制。最後提出一個教學系統的雛形以供未來發展之用。 / The research contains three main subject matters; they are learning theory, medium and insturctional design. By analyzing constructivism, hypertext and instructional design, the researcher wants to make the topic clear, the application of constructivism on hypertext mediated instructional design. Concerning the research methods, the researcher adopts document analysis to analyze and interpret the thesis. In addition, a simple instructional model is provided for the realization of theory.

本文嘗試透過社群媒體微博進行憂鬱書寫識別，主要期望回答兩方面的問題：（一）中國憂鬱人群之社群媒體書寫特質為何？（二）如何透過該書寫特質識別更多的憂鬱文本？ 透過對十位已確認之憂鬱症患者之微博關係圈進行滾雪球，發現 127憂鬱傾向者，共爬取憂鬱傾向者之微博文本20748則，作為文本分析之數據集，並運用內容分析、質化分析、詞頻分析及詞語共現等多種方法分析文本。 分析結果顯示：(1)透過對文本進行語調、情緒、主題及憂鬱程度的編碼後，我們發現憂鬱傾向者在微博之書寫含62%的負面語調及25.1%的憂鬱文本，其中，負面及憂鬱程度較高的書寫主題是「自我」、「親情」、「自殺」及「睡眠障礙」。(2)深入對「自我」及「親情」憂鬱書寫的質化分析後，發現他們不同於一般人的心理特質，其中，「自我厭惡」及「不被理解」是他們心中最難以釋懷的角落。(3)由於「自殺」、「睡眠障礙」屬於憂鬱人群特徵，經過分析發現透過主題關聯詞的共現詞組有助於辨識憂鬱人群，其中，「睡眠障礙」共現詞的憂鬱文本辨識度達74%，「自殺」共現詞的憂鬱文本辨識度達34%，未來透過機器的方式，可進一步優化該方法，提升憂鬱文本的辨識度。 / This research aims to answer the following questions:(1)What are the characteristics of micro-blog writing by the depressed tendency people? (2)How to identify the text in social media? Ten Wei-bo users with identified depressed tendency were chosen as starting points of snow-ball searching, and 127 users were located. A total of 20748 messages from this group of the users was collected as the dataset. Multiple methods were applied to analyze the texts: content analysis, qualitative text analysis, word frequency analysis and word co-occurrence. The result indicated that: (1)Through the coding of the text tone, mood, theme and degree of depression, we find out that in micro blog writing, the depressive tendency uses 62% of the negative tone and 25.1% of the blue text. Among them, higher negative and degree of depression of writing subjects are "self", "family", "suicide" and "sleep disorder". (2)Through deep qualitative analysis of "self" and "affection" depressed writing, the "self loathing" and "don't understand" in their mind are the most unforgettable. (3)Because the depressed people have the features of "suicide" and "sleep disorder", through the analysis, we find that through theme related words, it is helpful in the identification of the depression text. Among them, the "sleep disorders" co-occurrence words depressed text identification is up to 74%, and "suicide" co-occurrence words depressed text identification degree is 34 %.In the future, through the computer, we can further optimize the method, and enhance the degree of identification of depression text.

英文介系詞在句子裡所扮演的角色通常是用來使介系詞片語更精確地補述上下文，英文的母語使用者可以很直覺地使用。然而電腦不瞭解語義，因此不容易判斷介系詞修飾對象；非英文母語使用者則不容易直覺地使用正確的介系詞。所以本研究將專注於介系詞片語定位與介系詞推薦的議題。 在本研究將這二個介系詞議題抽象化為一個決策問題，並提出一個一般化的解決方法。這二個問題共通的部分在於動詞片語，一個簡單的動詞片語含有最重要的四個中心詞（headword）：動詞、名詞一、介系詞和名詞二。由這四個中心詞做為出發點，透過WordNet做階層式的選擇，在大量的案例中尋找語義上共通的部分，再利用機器學習的方法建構一般化的模型。此外，針對介系詞片語定的問題，我們挑選較具挑戰性介系詞做實驗。 藉由使用真實生活語料，我們的方法處理介系詞片語定位的問題，比同樣考慮四個中心詞的最大熵值法（Max Entropy）好；但與考慮上下文的Stanford剖析器差不多。而在介系詞推薦的問題裡，較難有全面比較的對象，但我們的方法精準度可達到53.14%。 本研究發現，高層次的語義可以使分類器有不錯的分類效果，而透過階層式的選擇語義能使分類效果更佳。這顯示我們確實可以透過語義歸納一套準則，用於這二個介系詞的議題。相信成果在未來會對機器翻譯與文本校對的相關研究有所價值。 / This thesis focuses on problems of attachment of prepositional phrases (PPs) and problems of prepositional suggestions. Determining the correct PP attachment is not easy for computers. Using correct prepositions is not easy for learners of English as a second language. I transform the problems of PPs attachment and prepositional suggestion into an abstract model, and apply the same computational procedures to solve these two problems. The common model features four headwords, i.e., the verb, the first noun, the preposition, and the second noun in the prepositional phrases. My methods consider the semantic features of the headwords in WordNet to train classification models, and apply the learned models for tackling the attachment and suggestion problems. This exploration of PP attachment problems is special in that only those PPs that are almost equally possible to attach to the verb and the first noun were used in the study. The proposed models consider only four headwords to achieve satisfactory performances. In experiments for PP attachment, my methods outperformed a Maximum Entropy classifier which also considered four headwords. The performances of my methods and of the Stanford parsers were similar, while the Stanford parsers had access to the complete sentences to judge the attachments. In experiments for prepositional suggestions, my methods found the correct prepositions 53.14% of the time, which is not as good as the best performing system today. This study reconfirms that semantic information is instrument for both PP attachment and prepositional suggestions. High level semantic information helped to offer good performances, and hierarchical semantic synsets helped to improve the observed results. I believe that the reported results are valuable for future studies of PP attachment and prepositional suggestions, which are key components for machine translation and text proofreading.