本論文對當代美國的法律解釋發展做初步的探討。美國聯邦最高法院近30年來有意識地使用二種法律解釋方法來確認具歧義的法律條文的文義。第一種方法是立法目的主義，它主張法院可以使用各種立法史資料來探究立法者的原意與立法目的，以確認法律的本義。第二種方法是強硬文本主義，它主張法院只能通過法律制定當時的公民對法律的通常理解來發現法律的一般與客觀意義。在過去三十年，當處理不明確法律意義的問題時，這二種方法支配了美國聯邦最高法院的法律解釋論證。 由這二種方法所引發的論爭不僅涉及法律解釋，還涉及立法學與權力分立，這是為什麼它們會成為過去30年間美國法學者間持續爭論不休的議題的原因。我在這篇論文將展示這段論爭，也就是關於聯邦最高法院的判決發展史中的法律解釋的種種爭論，以及它們與立法學和權力分立問題的關聯。本論文使用二種分析方法來釐清以上立法目的主義與文本主義的論爭，它們是聯邦最高法院的判決發展史分析以及法律解釋概念發展史分析。此外我在分析過程中還加入了當代最具爭議的Chevron U.S.A., Inc. v. NRDC案，使我的論證能夠將立法目的主義與文本主義的不同特性放大，並因而能清楚揭示它們之間的關聯。 在本論文第一章，我將提出二個案例，以說明立法目的主義與文本主義對於法律解釋如此重要的理由。在第二章，我介紹1980年代的制定法解釋發展史。我在第三章說明Chevron案，以及圍繞著Chevron案進行的法律解釋論爭。在第四章，我根據先前的分析成果對法律當代法律解釋論爭提出批判。而在作為結論的第五章，我指出強硬文本主義和強硬立法目的主義無法自足地解釋不明確法律，而對於這二個基礎主義法學，我們都應該謹慎看待，不要懷著不切實際的信心。 / The thesis provides a preliminary inquiry for statutory interpretation in modern America. In recent decades in America, Supreme Court of the United States (SCOTUS) intentionally used two types of statutory interpretation to ascertain the meaning of the ambiguous text of a law. The first is moderate purposivism, which contends that the court could use several materials of legislative history to confine the intent or purpose of the legislature so as to ascertain the appropriate meaning of a law. The second is textualism, which argues that the court could only find the ordinary and legitimate meaning of law from the perspectives of citizens when the law enacted. These two approaches have dominated the arguments of statutory interpretation at SCOTUS when she dealt with the cases which involved law with ambiguous text for more than thirty years. The debates caused by these two approaches are not only on statutory interpretation but also legislation and separation of powers. This is the reason why they became the most controversial issues among the legal scholars of American for recently 30 years. In this thesis, I will present the debates of statutory interpretation at SCOTUS, and their connections with problems of legislation and separation of powers. The thesis uses two analytic approaches to clarify the debates of purposivism and textualism. These two approaches are the history of related decisions at SCOTUS and history of concepts of statutory interpretation. In addition, I add the most controversial case Chevron U.S.A., Inc. v. NRDC around the 1990s into the last analysis. Through Chevron, the thesis could amplify the different characters of purposivism and textualism, and hence to disclosure the correlations among them. Chapter I proposes two examples in Taiwan to explain why purposivism and textualism are so important to statutory interpretation. Chapter II mentions the history of statutory interpretation at the 1980s. Chapter III resorts to Chevron and the debates about statutory interpretation encompass Chevron. Chapter IV offers some critical comments on above achievements of analysis. In the conclusion, I argue the hard textualism and purposivism are not self-sufficient to interpret the ambiguous text of a law, and we must carefully consider any version of foundationalism and its impacts.

這篇論文聚焦在考察戰國秦漢文本中的黃帝形象，而非其人之真實事蹟。從戰國到秦漢，黃帝具有多元的形象。作者試圖探詢的問題如下：戰國秦漢文本的黃帝形象為何？這些形象如何演變？演變發生的原因何在？期望這一研究能夠促使我們反思相關歷史的一個起點。 　　黃帝在血緣與文化方面的重要性，長時間以來都是中國民族主義史學中的重點。不過，並不是每一種黃帝形象都得到歷史學家同等的關注。純從現代人的角度進行研究，可能使研究者忽略，或扭曲另一個時代的人對黃帝形象的想像。本篇論文的目的即在全面探索黃帝在戰國秦漢政治、文化、民生、信仰中的多元角色及其受重視的程度。 　　戰國秦漢時期，人們對黃帝已經推崇備至。然而，當時人對黃帝形象的認識卻和今日有著微妙的差異。舉例來說，古人以黃帝為共祖的行為，除了表示血緣上的聯繫之外，也可能根基於當事人在所屬情境下，對歷史的解釋與認同感。作為聖王，黃帝受到學者讚揚與統治者效法；但是對於其人之成就與發明，仍然處於眾說紛紜的狀態。當時人的日常生活與信仰可能時常接觸黃帝之名，但其形象並不統一，有時甚至相互矛盾的。令人好奇的是，這些不一定都彼此吻合的形象，卻又不約而同地給予了黃帝正面的評價。 　　環繞黃帝形象的爭議並不罕見，尤其是在漢代。學者與朝廷對於整理與過濾相關史料的工作有過許多嘗試，《史記‧五帝本紀》是其中的代表之一。儘管當時學者可能有不同看法，由於能夠跨越大、小傳統之間的界線，多元形象對傳播黃帝故事或許是有利的。 / This thesis is a study of the images of Yellow Emperor in the texts from Warring States to Han, not his true deeds. The author tries to inquire following questions: what images of Yellow Emperor were depicted in texts of that period, how did those images change, and why did those changes happen. I hope that this study could eventually cause me reflex our understanding of relevant historical subjects. Since the turn of twentieth century, the positions of Yellow Emperor in the genealogy of kinship / culture have been one of the major concerns of Chinese national historians. However, not all kinds of images were concerned equivalently. Besides, those images of Yellow Emperor in ancient Chinese texts were sometimes neglected, or even distorted by modern historians according to their contemporary needs. Consequently, I try to rediscover the images of Yellow Emperor in the ancient Chinese texts as it were and try to explore their political, social, cultural, and religious implications in their own term. Though the images of Yellow Emperor had already enjoyed high profile from Warring states to Han dynasty, they were different from the modern popular knowledge and were shaped in different historical contexts. For example, the image as a common ancestor of ancient people is a fabrication / construction based upon the different needs of historical explanation and family identity. The images as a sage king, though admired by ancient scholars, imitated by ancient rulers, never reached consensus. People in that era might highly appraise his images in daily and religious life, but those images were far from consistent. Interestingly, though inconsistent they were, they gave him positive evaluations. Disputes about images of Yellow Emperor were not rare, especially in Han Period. Scholars and royal court kept on trying to rearrange and filter the historical status of Yellow Emperor. One of the representative works is the “Basic Annals of the Five Emperors (五帝本紀)” by Ssuma Chien (司馬遷). However, those versatile and vivid images could not be regulated, by royal court or by scholars, into a unified one, they were able to stride over the barrier between grand and little tradition, and help to spread those legends of Yellow Emperor.

俄國後現代主義雖接受大部分西方後現代主義的特質，然俄國後現代主義卻擁有異於西方後現代主義本質上的特點，包括俄國歷史發展由社會主義過渡到民主政體的獨特性，社會價值､意識形態實質上的危機，先前神話與意識形態的膨脹導致「真實」的消逝，以及蘇聯烏托邦的瓦解所帶來的「歷史終結」。所選四篇彼列文的短篇小說表現出特定的相似點:諷刺手法，「真實」的問題，文本互涉手法，對知識論的不信任，去意識形態化，哲學思維方法。本論文嘗試將當代受歡迎之彼列文的短篇小說中所蘊含的後現代特點系統化，並依據這些特點具體分析《透明世界》《維拉•芭芙洛夫娜的第九個夢》《隱士與六指》《妮卡》這四篇短篇小說。彼列文以去神話化､去意識形態化､去象徵化､去隱喻化､悖論､雙關語､矛盾修辭法等文藝手法具體表達「諷刺敘述模式」。本文列舉並評論在短篇小說中文本互涉之引喻､玄秘情節，聖經､神話､社會的象徵意義，同時也分析研究文本片段之修辭､語言對比差異。

科技媒體看似創新，實際上卻不斷重拾基本人性與感官習慣，人類文明演進因而呈現永恆回歸的螺旋。十九世紀末的電影發明似乎新穎，但實際上卻是利用新技術來重現人們眼中的「自然」。電腦網絡彷彿是嶄新概念；然而虛擬空間卻源自對現實空間的複製、強化與變形。網絡文化日新月異，最後脫穎而出的卻是部落格、影像分享或播客。高度複雜的媒體演化，最後竟整合了各種傳統媒體的特色，並且重拾了最簡單的表達與溝通模式。媒體重建視聽感官，不斷貼近符合自然的環境。 文學創作的演進，也與媒體科技共同演化，而走向「回歸」之路。看似以線性發展的文類，其實不斷環繞著「口語回歸」的中心，以螺旋方式演進。在這樣的螺旋中，經典內容不斷被吸納進入新的媒體，形成文化演進的動力。從戲劇、詩詞到小說，似乎從口語推進至書寫與印刷；但二十世紀的廣播、電影與電視，乃至於電腦網絡，卻將文學重新帶回口語場域。這不禁讓人思考，創新並非進步的真正動力；反倒是新舊混雜、多元流動的媒體整合，才能在跨越文類疆界後，重新尋回最貼近人性的藝術表現形式。 類似的跨文類與媒體整合現象，可從狄更斯作品在不同媒體的流動中見到端倪。狄更斯不但是位傑出的小說家，同時也是出色的演員以及雜誌經營者。他那跨越文類的創作活力，使其作品於媒體演進的過程中，不斷被吸納更新。狄更斯的跨文類網絡提供了一個具體而微的模型，足以檢視媒體整合的歷史演進，以及科技重拾人類自然溝通模式的不同階段。本論文旨在研究狄更斯小說與媒體整合之間的微妙關係，藉此觀察媒體整合感官的進程。論文將分為四大部分。 首先，狄更斯深受劇場傳統影響，而他的小說也經常被改編成為維多利亞通俗劇，這反映了經典內容於書寫（小說）與口語（戲劇）間擺盪的流動性。在小說興起的時代，書寫作品經常被搬上舞台，回歸最直覺的視聽環境，而一般大眾不但熱衷劇場，同時也習慣以劇場經驗來閱讀小說。這種「書寫」與「口語」相互滲透的現象，證明了口語文化的強韌性，也反映出「口語回歸」的趨勢。 其次，狄更斯大眾說書的空前成功，不但說明了觀眾對於視聽表演的熱愛，也暗示著作者試圖從書寫形式外尋求更多創作可能的嘗試。更重要的是，這代表了作者從十九世紀書寫印刷技術回歸吟遊詩人傳統的潛在慾望。透過反覆刪編與練習，狄更斯無須像史詩吟唱者般口頭記頌，而得以藉文字幫助強化表演的變化性與靈活度。透過舞台符號的暗示，狄更斯同時又策略性維護了自身「文化菁英」的形象，在口語與書寫間，取得了策略性的平衡。 第三，狄更斯小說被改編成為電影的過程，顯示了文字被搬上螢幕時所產生的複雜文類互動與媒體間的交互滲透，而作者的敘述技法，則直接影響了許多電影先驅的運鏡與影像語言。攝影機實現了文字藝術所無法表達的事物，然而文字卻馳騁想像，啟發了電影場面調度的概念。本文將觀察狄更斯小說於十九世紀連載時，小說與插圖間的微妙關係，以及小說敘述中的視覺元素，檢視其對於二十世紀電影改編的影響。然而，文字述刺激想像；但電影卻直接將影像呈現於眼前。倘若文字的「留白」是意猶未盡的空間，那麼過於露骨的影像，卻可能剝奪想像的彈性，這是媒體創作必須省思的課題。 最後，本文將研究狄更斯於網際網絡上以不同形式出現的現象，並解讀其在媒體整合中所代表的意義。除提供狄更斯資源的學術網站外，網絡上的電子書與有聲書也同時可見於網絡資源中，甚至許多部落格也提供個人製作的狄更斯改編影片。邇來盛行的「播客」，將數位科技帶往了口語表達的方向，傳統的文字創作開始成為有聲媒體的重要內容，經典作品被數位化、有聲化、影像化，朝更加貼近人性以及自然溝通環境的方向發展。。 狄更斯小說的跨文類網絡提供了一個具體而微的跨媒體網絡模型，透過此模型，我們可以更清楚地觀察媒體整合與演進的歷程，並觀察其不斷回歸的螺懸。近年來文學研究日漸偏向科際整合、媒體整合的文化研究發展，然而也因此不免陷入了自我定義的危機。狄更斯的跨媒體現象足以提供文學研究者一個未來文學與文類發展的可能方向，並於此機械複製的時代，為文學的發展提出可能的解答。 / Media never really innovate; they actually restore the natural balance of human eyesight and earshot with the hybridization of various perceptive elements. For instance, cinema was regarded as an invention in the late nineteenth century, but it only reflected the natural environment people observed with their pre-wired biological perceptions. Cyberspace may appear innovative to us, yet the “Virtual Reality” is still the duplication, amplification or transformation of the nature. The Internet optimists had once dreamt about immense possibilities; the real application of blog, video sharing and podcast, however, merely hybridizes the existent audio and video media. The most sophisticated technologies always aim to approximate the natural mode of human perception, which makes the evolution of media more a spiral that constantly returns to the natural habits than a linear progress into the future. Similarly, literature co-evolves with media to restore the most natural elements — the oral tradition, primary or secondary as it may be, is thus perennial in all literary genres. The evolution seems to advance in a linear pattern; it, nevertheless, revolves around the center of orality and progresses in an anthropotropic spiral, where the classic motifs in various works are sucked and hybridized. Although the canonical transition from drama, poetry to novel sacrifices the natural oral-aural environment to the stable storage in words, the twentieth-century literary representation on radio, film, television and the Internet eventually restore the classic contents in the audio-visual environment. Such a spiral invites us to speculate an essential question: the technological innovation may not be the only dynamic to propel the evolution; instead, it is the restoration of the human-friendly environment that validates the value of the new media. Similar restoration and hybridization can also be observed in the transformation of Charles Dickens’s works into various genres. Dickens is not only an outstanding novelist but also a brilliant performer and an influential magazine entrepreneur. The vitality of his works transcends varieties of literary genres and is absorbed into innumerable modern media as the technology advances. Dickens’s transgeneric network provides a model to observe the transition of media hybridization when the modern technology restores the human natural communication. This dissertation aims to analyze the delicate relationship between Dickens’s novels and the continuous consolidation of human sensory perceptions in various media. My research will be divided into four main categories: First, it will study Dickens’s indebtedness to the tradition of theater and the nineteenth-century melodramatic adaptation of his works to see how the contents of the classic literature oscillate between the pure written form (novels) and the residual of the oral performance (melodrama). The study of such a complicated relationship helps clarify Dickens’s transgeneric metamorphosis profoundly influenced by the social milieu and the mass entertainment in the Victorian period. Second, the success of Dickens’s Public Readings not only epitomizes the audience’s craze for the audio-visual performance but also suggests the author’s endeavors to seek more creative possibilities besides the writing format. More importantly, this singular phenomenon represents the social collective unconsciousness, though repressed by the dominant culture of typography, to return to the ancient tradition of minstrels and bards. Through meticulous editing and intensive rehearsal, Dickens was able to perform with more improvisation and higher accuracy. Furthermore, with a series of symbols onstage, he strategically maintained his identity as a cultural elite and meanwhile enjoyed the ecstasy of orality. Dickens’s unique strategy to reach the equilibrium between orality and literacy will also be analyzed in the dissertation. Third, several film and television adaptations of Dickens’s works will be examined to show the modern transition of his stories from the written genre to the audio-visual media. Dickens directly influenced many cinematic forerunners, and the film fulfills the imagination of the author, which could not be realized on the written page. Furthermore, the cooperation of the novelist and the illustrators in the Victorian magazine serialization will also be analyzed to see how the illustrations inspire the later design of movies on screen. However, the “un-represented” may more often than not be more pregnant with meanings than the explicit representation on screen. Therefore, it will be an important issue to re-consider the meaning of recollecting the natural environment in the literary creation. The final analysis concentrates upon Dickens’s works in the cyberspace, monitoring his afterlife in this cutting-edge medium. Besides the websites that contain the scholarly resources, the old radio clips that recite Dickens’s works and the hypertext reproduction of the novels are all juxtaposed in the virtual space. Moreover, many personal blogs provide their own video adaptations, and the other productions such as the podcast become popular on the Internet. The reincarnation of Dickens’s works in the cyberspace represents the novelist’s unique status as the “cultural modem” that bridges the gaps separation the past, present and future. His works epitomize a clear lineage of the technological transition that endeavors to recollect the most instinctive pattern of human cognition. The transformation of Dickens’s works into so many genres forms a transgeneric network that could help envision the hybridization of media in the literary history. When literature tends to include all media into its field of study, it sometimes undergoes a severe crisis of self-definition. Dickens’s model may provide some clues to envisage the future development of the literary genres in the age of mechanic reproduction.

本研究採實驗研究法，旨在探討電子童書中，動畫與文本一致性及年齡對幼兒閱讀理解的影響。實驗採用的研究工具為Living-books系列之「小馬斯特上學去」的電子童書，研究樣本以台北縣市四所公私立幼稚園中大班幼兒為實驗對象，中班受試樣本30人，隨機選取各班人數分派至實驗二中；大班受試樣本60人，隨機選取各班人數分派至實驗一與實驗二中，實驗一分為實驗組（30人）與對照組（30人），實驗組閱讀動畫與文本一致之電子童書，對照組閱讀動畫與文本較不一致之電子童書。 本研究之實驗研究分為實驗一與實驗二，實驗一旨在分析大班幼兒閱讀動畫與文本一致性與否對閱讀理解的影響；實驗二旨在探討中班與大班幼兒閱讀電子童書時，其閱讀理解的差異。 閱讀理解評量以個別施測方式進行故事回憶測驗及故事理解測驗，其中故事理解測驗分為文意理解測驗及推論理解測驗。將所得的資料以單因子變異數及二因子混合設計變異數進行統計分析，以了解研究之結果。 研究結果顯示： 一、在閱讀動畫與文本一致性高之電子童書時，對於故事回憶測驗的得分，實驗組得分顯著高於對照組得分。 二、在閱讀動畫與文本一致性高之電子童書時，對於故事理解測驗的得分，實驗組不論在文意理解或推論理解上，得分皆顯著高於對照組得分。 三、大班組幼兒在故事回憶測驗上的得分顯著高於中班組幼兒的得分。 四、大班組幼兒在故事理解測驗上的總分顯著高於中班組幼兒。在文意理解測驗中，大班組得分顯著高於中班組得分，而推論理解的得分則未達到顯著性的差異。 五、故事回憶與故事理解的相關，在實驗一與實驗二中，不論是文意理解或推論理解，與故事回憶皆呈現顯著正相關。換句話說，閱讀動畫與文本較不一致之電子童書時，故事回憶量低，故事理解得分亦較低；而閱讀動畫與文本一致之電子童書時，故事回憶高，故事理解得分則較高。 研究者根據研究結果與限制，提出對教師、父母、出版商及未來研究方面的建議。 關鍵字：閱讀理解、動畫與文本一致性、電子童書、幼兒 / This study has two parts: one is to research the impact of coherence between text and animation on children’s reading. The other is to analyze the effect of ages on children’s reading comprehention while they read electronic story books. The research adopted one of a series of Living-books, called Little Monster At School. 30 aged 4 and 60 aged 5 children from public and private kindergartens of Taipei city and County participated in the study. There were 2 tasks. Tesk one was coherent text for experimental group. Task 2 was incoherent text for control group. The content of the two tasks was the same. After reading the electronic book, all children took memory test and comprehension test which was devided into 2 sub-score: fact comprehension and inference comprehension. Results are: 1. Memory test’s scores of experimental group is obviously higher than that of control group. 2. Reading comprehension scores of experimental group is also higher than that of control group. 3. Memory test’s scores of age 5 children is higher than age 4 children. 4. Age 5 children get higher total reading comprehension scores than age 4 children. Furthermore, they get higher score on fact questions. Scores of inference questions however, do not show age difference. 5. Memory and story reading comprehension scores have positive correlation. It reveals that children reading coherent animation and text have higher memory scores and higher comprehension scores. On the other hand, children who had the incoherent text had poor scores of both. Based on the results, researcher provides suggestions for teachers, parents and book publisher. Key words: reading comprehension, animation of electronic storybooks, coherence of text, kindergarten children.

本論文以《交換日記》前十一集為研究對象，分別就外緣與內容以及當中所呈現的文化現象作探討。 第一章分為三小節，分別對本論文的研究動機與目的、研究範圍與方法及前人研究等內容作一說明。 第二章就《交換日記》外緣的文本類型與編排設計作探討。第一節先就繪圖部分的定位作分析，與漫畫、繪本相比較，確立其插圖的定位。第二節就文字部分與日記、散文相比對，界定其為隨筆。第三節則就文本的編排與設計入手，觀察此文本特殊的風格、隨性的書寫與繪畫風貌。 第三章就《交換日記》中的主題內容與多向文本的敘述方式作探究。第一節的主題內容首先歸納出愛情、親情的話題；其次梳理出與異地見聞相關的話題；再其次對與生活省思有關的論述作一整理。在不同的話題範疇中，可以看見當代人們生活的現象、矛盾與進步。第二節以多向文本的敘述方式加以探討，可以瞭解《交換日記》無始終、去中心、非因果、非線性、互動開放的書寫風格如何擄獲讀者的喜愛。 第四章針對《交換日記》文字與圖像二者，瞭解在大量插圖的隨筆敘述中，圖畫與文字的互動關係。第一節對插圖的形式與功能，分別就敘事性質、抒情性質與幽默嘲弄等三方面作分析，瞭解插圖在此文本中不可或缺的地位。第二節，就文字與圖像二者的互文關係進行討論，可以看出文、圖互足的敘述方式、藉圖畫改變敘述的氛圍、以及藉由圖畫來區分現實與想像。 第五章進入閱讀心理的討論，藉以了解讀者在閱讀過程中的接受反應。第一節討論此文本中獨特的現象－－作者／讀者的重疊，在此重疊、開放的空間下呈現的特殊景觀。第二節則以讀者的一般性心理現象為討論焦點，分別就窺視心理的動機與滿足；閱讀行為中涵蓋的交換行為與作者與讀者密切互動的行為等三方面進行討論。 第六章針對《交換日記》與文化消費作討論。第一節探討《交換日記》呈現的後現代現象；第二節探討《交換日記》中呈現的消費文化；第三節則探討存在於《交換日記》中的次文化現象。 第七章對本研究提出總結論述。 當前的文學研究不斷朝向東、西方的對話、多學科的融合發展，並轉移到以讀者為中心的觀點。文學研究也從傳統的文字閱讀、解釋層面，衍生為對整個文本在社會的作用與地位的關注，這正是本研究從各種不同角度對文本及其所呈現的文化現象進行分析的出發點，希望藉此對書寫文本的變化作一觀察，在當代眾多文本形式大量出現的世代中，記錄其一斑，以填補文本創作改變歷程的一角。

俄國作家伊凡‧布寧（Иван Алексеевич Бунин, 1870-1953）的《兄弟們》（Братья, 1914）、《從舊金山來的先生》（Господин из Сан-Фраициско, 1915）以及《阿強的夢》（Сны Чанга, 1916），被稱為「藝術哲學三部曲」。 / 論文作者從傳記相關資料以及小說的內容推論，這三篇作品雖然都有死亡情節（或死亡主題），然而作品主旨卻在於探討生命，亦即布寧的死亡詩學著眼於存在的價值與意義。作者將透過分析小說的藝術形式，指出對比辯證是作家「言說不可言傳之物」的敘事策略，作品以此呈現難以窮盡的人生道理。 / 作者首先以文本分析法、細讀法、敘事話語分析與敘事時間分析等途徑，說明對比形式是這組作品的共通特點，在陳述各種類型的重複與對比之後，將說明此一形式具有強化作品主題的敘事功能。 / 接著，論文作者指出三篇小說的細節描寫具有「忠於視覺生理現象」的特點：布寧描寫的是「所見」，而非「所知」。此外，這個部分也將說明包括「動態性」、「精確性」在內的幾項文字藝術特徵，並論述這些細節描寫在小說裡發揮如下的功能：作家透過具有動態影像特徵的敘事，導引讀者的關注焦點，這些敘事內容本身即隱含作家意旨；而忠實反映視覺生理的、精確的細節描寫，能夠讓讀者在感同身受的基礎上，把信任感延伸至作品的內容，作家藉此達到加強作品藝術效果的目的。 / 這組作品的共同形式基礎在於對比，論文最後也將以對比的形式呈現作品的重要內容──存在的多重矛盾，並總結這組小說的藝術形式與思想內容之間的對應關係。

本研究透過哈伯瓦克的集體記憶理論作為出發的基礎，觀察三立電視台『福爾摩沙事件簿』節目如何生產與製作記憶，並且分析節目產製的文本內涵。透過產製端與文本端之間的分析與對話，發現電子媒體做為一個歷史的敘事者，生產記憶的作業流程是來自極度有限的經費與時間；更發現影響記憶的形構要素來自於人為偏好的影響力、話題是否具有新聞性、記憶屆滿周年的儀式作用、與影音元素是否充足等外力因素，此外來自媒體外部的政治力量與商業力量也會對於記憶篩選與製作產生影響。透過文本端的探究則發現媒體對於歷史的詮釋過程過於粗暴，簡化了歷史資料的比較與探究繁複的步驟，只以個人片面的價值判斷作為歷史詮釋的憑據，相對造成許多說法失落，此外媒體在有限的工作經費與時間裡，採用粗劣的拼接影像手法完成文本產製，閱聽眾則以媒體重構的記憶版本來理解過去的台灣歷史事件。

有鑑於近年台灣出現一系列以小品模式呈現之同志題材電影，且能與社會情境多方呼應，本研究遂擬由類型（genre）的觀點，借用「青春系列」之名，探討此一類型究竟呈現出哪些樣貌特徵，如何演變？是否具備做為一種電影類型的要素？而其特徵與演變反映、關聯到什麼樣的社會文化等情境因素？類型特徵與社會脈絡間如何互動？是否呼應吻合，抑或有落差不一之處，又各如何詮釋？ 在研究方法上，本研究挪用J. Swales「文本∕情境導向類型分析程序」(text-driven/situation-driven procedure for genre analysis )，試圖結合二者，除選定《藍色大門》、《十七歲的天空》、《盛夏光年》以及《渺渺》等四部範例文本，整理其「內容」、「風格」、「結構」與「目的」外，也指認出特定傳播情境，探討此類型的生成因素，以期能夠在雙向考量下，呈現出文本與情境間相互作用的連結關係，亦即類型的動態本質。 研究析論結果確實指向類型與情境脈絡之間的緊密構連。「青春系列」同時受到外來作品在概念手法上啟迪，又承繼著在地同類作品的核心傳統主題，成就出兼容並蓄的特殊風貌。而台灣社會對於同志議題在公私領域不同層次上，既開放肯定又有所保留的態度，也恰能解釋類型社群基礎。另外此類型於台灣電影工業低潮應運而生，低迷的產業活動召喚了像「青春系列」這樣具有彈性、定位明確並可預期回收成本的小品，系列作品的成功也帶動整體產業谷底反彈，更反映出台灣電影工業發展方向轉變的時代意義。 / In view of a series of Taiwan’s gay themed films appearing in a sketch mode in recent years and their topic have always responded to the social contexts in multiple ways. Thus, this study adopted the point of view of “genre”, borrowed the name of “Young Line”, and then to explore what appearances and characteristics this kind of films had presented, how they would change in the future, and whether they possessed those elements to be a genre of films. Moreover, what kind of contextual factors such as social cultures that the characteristics and changes of those films reflected and had been related to? How did the characteristics of this genre interact with the social contexts? Whether they responded to the coincidence or there were differences between each other? Then how to interpret each kind of these situations? This study adopted J. Swales’ “text-driven/situation-driven procedure for genre analysis” as the research methods, and attempted to combine these two procedures together. “Blue Gate Crossing”, “17 Formula”, “Eternal Summer”, and “Miao Miao”, these four films were selected to be the exemplary texts and to systemize their “content”, “style”, “structure”, and “purpose”. In addition, particular communication situations were also identified to probe into the generating factors of this genre of films. With the two-way considerations, this study expected to present the relational connections which interacted between the texts and the situations, and that is the dynamic nature of the genre. According to the results of this study, there was a tight articulation between the genre and the situational contexts for a certainty. “Young Line” series are inspired by the concepts and techniques of foreign films; at the same time, they also inherit the core traditional themes of local films of the same genre. Therefore, the series have achieved a particular inclusive style. With regard to the gay issues, Taiwan society has possessed a positive but also reserved attitude toward the public and private levels, and this can precisely explain the community base of this genre. Furthermore, this genre of films came with the tide of fashion when Taiwan’s film industry was at low ebb. The depressed industrial activities elicited those sketch films which were flexible, clear-targeted, and expected to have cost recovery such as “Young Line”. The success of this series was one of the forces which leaded the whole industry rebound from the bottom, and this reflected the significance of the time of the change of Taiwan’s film industry’s development direction.

不同於一般學術文獻在研究中共的Soft Power時，多習於從Nye的敘事體系出發，本論文則是直接從文本分析進入中共的系絡，探究問題之所在。 本論文所欲探討的問題意識包括：Nye 的Soft Power究竟是放諸四海皆準的真理，抑或是鑲嵌於某一特定歷史系絡中的特殊存在？若為後者，則屬於此一系絡之問題意識與政策建議為何？其是否同樣適用於其他行動者身上呢？其次，作為Soft Power的主要引介者，中共知識份子究竟係以何種方式承接此一概念？是全盤接收之，抑或是採批判方式引入Nye的觀點？倘若為後者，則其批判的部分為何？改造的部分又為何？進一步言，中共知識份子所建構的「軟實力」，究竟與Soft Power有何不同？第三，就官方的角度來看，中共領導人是如何看待「軟實力」？特別是「軟實力」對其而言應定位在何處？其所指涉的意涵又為何？而此是否與學術界存在著認知上的差異？第四，在中共的系絡中，其對「軟實力」一詞係以何種傳統承接之，甚者，其又是以何種未來戰略想定對此加以定位？第五，對中共而言，「軟實力」的具體內涵為何？有哪些具體政策或措施有助於提升「軟實力」？又，這些政策或措施的成效應如何衡量？ 本論文不在證明或否證某個理論或論述，亦非志在建構一個放諸四海皆準的社會科學理論；甚者，作為一個開放的文本，本論文更非旨在宣示另一套絕對的「客觀」或「真理」。透過對「軟實力」之「建構的建構」，本論文期望呈現的是「語言／文字／符號」表象下的權力關係網絡，以及這些「能指」(signifying)對中共自我建構的意義。 / A way of seeing is a way of not seeing. Those who study Chinese soft power usually accept the legitimate of the narrative system of Joseph Nye's soft power theory. But the Chinese do not tranlate it that way. China has its own distinctive history, context, political economy system, and national grand strategy. So, it is dangerous and harmful to view the young rising global power as the same as the current dominant global power---USA. Obviously, China is marching on a very path to construct its soft power compared to the U.S.. Through the analysis of meta-narrative, the author find many interesting espects that cannot be seen via Nye's theory. These espects are in-ward dimension, highly connected with propagada and united front, mainly focus on Chinese characteristic culture . The CCP take the Chinese culure as its outside appearance and socialism value system as its guiding core. This dissertation is not intended to construct a grand theory or something. All it want to do is to disclose the hidden dimension of the Chinese characteristic soft power.