本文以甲骨文中的氣象卜辭作為研究對象。 本文首先說明何謂氣象卜辭：商代農業活動已經十分興盛，而農業活動與氣象息息相關，同時又因為打獵、征伐、外出等日常活動，也與氣象關係密切，因此甲骨文中，就有一部分內容，是關於對氣象現象的記錄、對於風雨陰晴等氣象的占卜，這一類卜辭就可以稱為「氣象卜辭」。 接著本文依照現代大氣科學的分類，針對甲骨文中「雨」、「風」、「日」、「雲」、「申」、「雷」、「陰」、「晴」、「虹」等主題進行討論，同時由「氣象卜辭」延生出來的幾個課題，如「四方風名」、「帝五介臣」、「殷人的氣象崇拜」、「商代四方方位」等，本文也都進行探討。 本文一方面從文字學的角度來研究氣象卜辭，另一方面則參考了流傳民間的諺語、現代大氣科學，希望能夠對氣象卜辭有更深入的認識。

臺灣被國際視為「自然災害很多，極度高風險的地區」，其中的天然災害，包括颱風。由於臺灣位於颱風路徑要衝，每年飽受颱風的威脅，根據氣象局的統計，從西元1911年至2015年總計有360個颱風侵襲臺灣，平均每年有3到4個，颱風引進的西南氣流或是伴隨而來的強降雨，更經常造成許多脆危地區嚴重災損。 現今科技的進步，預報技術日新月異，讓民眾可提早得知颱風警報，尤其電視新聞中有氣象報告之後，氣象主播提供天氣、颱風動態和影響的解說，更成了民眾日常生活中獲得天氣資訊的主要管道，根據國外文獻調查，觀眾對電視新聞最感興趣就是收看氣象。 螢光幕前負責氣象報告的氣象主播可以說是氣象科學、電視傳播媒體和社會大眾之間的重要橋樑，面對全球極端氣候，災變性氣候頻率增加，有許多天氣的最新動態、科學方面的知識和氣象素養更需要詳盡的解說，氣象主播的重要職責就是做好氣象傳播，提供民眾預警訊息。 西元1978年開始，臺灣出現專業的氣象主播，電視產業從早年的三臺壟斷到現今有線電視蓬勃發展，競爭白熱化的電視新聞生態，氣象報告時間也成了新聞戰場，各臺氣象主播更是搶收視率的重，要利器。氣象新聞相互較勁，每一家電視臺氣象主播使出渾身解數並強調自己的解說最權威，最精準，但民眾怎麼看？氣象主播所播報的訊息對於民眾做好防颱準備真的有幫助嗎？為了收視率，播報颱風動態，氣象主播創造新用語或是誇大形容，強化預警效果，民眾認同度又是如何？面對災變性天氣，氣象主播在風險溝通過程中，怎麼看待自己的定位？ 當網路科技興起之後，電腦或行動裝置日益改變民眾接受訊息的習慣，收看氣象主播播報天氣資訊的觀眾，收視行為是否也會有所轉變？本文將以蘇迪勒颱風災害防救的個案分析角度，一來了解氣象主播在災害防救上發揮怎麼樣的關鍵影響力，同時也希望在氣象主播的主題上做先探性的研究。 / Taiwan has been regarded by international as a high-risk area where suffers a lot of natural disasters such as typhoons. According to the Bureau of Meteorology statistics, from 1911 to 2015, a total amount of 360 typhoons attacked Taiwan, with an average of three to four per year. The southwest air flow introduced by typhoons as well as accompanied heavy rains have contributed serious damage to many areas. Thanks to today’s technology and the rapid advance of forecasting technology, people can access the typhoon information in advance, especially from the TV weather forecast. The weather anchor provides information on weather, typhoon dynamics, and impact with the audience. Watching weather report has become part of many people’s daily routine. According to foreign literature survey, the audience is most interested in weather report when they watch TV news. The weather anchor can be viewed as a person who builds the bridge between meteorological science, broadcast media and the public. Due to extreme weather and climate change and the increased rates of catastrophic natural disasters, the audience gets an urge to learn more about the weather and knowledge related to meteorology. Thus, the major duty of a weather anchor is to provide accurate weather information to help prepare the audience for natural disasters. Since 1978, we have had professional weather anchor in the local broadcast industry. Taiwan’s TV industry has gone from the three television stations (TTV, CTV, and CTS), representing the central government’s monopoly on television broadcasting, to booming cable TV today. TV Weather forecasting has become a battlefield in today’s broadcast industry— every weather anchor is competing for the ratings. Every weather anchor claims that they deliver the most authoritative and accurate weather information. However, what does the audience think of it? Is the information provided by the weather anchor helpful for them when it comes to disaster prevention? For the ratings, most weather anchors create fancy words or rather prone to exaggeration, how does the public respond to it? Facing the extreme weather and climate change, how does a weather anchor identify themselves in the process of weather communication? Today the internet has changed the way people access information. Does it also affect people’s behavior when it comes to watching weather news on TV? In this paper, we aim to focus on what the role a weather anchor plays in disaster prevention using a case study approach. Also, we hope our explorations and insights will contribute to your understanding of the role of a weather anchor.

全球極端氣候、天災頻仍，氣象訊息與民眾生活息息相關，根據中央氣象局104年調查，民眾獲得氣象資訊的管道仍以「電視」占最多數，氣象傳播是科學傳播的一環，本研究以一個颱風從生到死為範圍，對四位電視氣象主播晚間新聞時段氣象預報，分訊息呈現、媒體設計、播報展演等三個層面進行內容分析，並輔之以四位主播的深度訪談，探討國內電視氣象主播在颱風警報發佈前、警報發佈期間與警報解除後，如何對閱聽大眾進行傳播。 近年來由於媒體競爭激烈，使得電視氣象預報從颱風還在一兩千公里外就開始眾聲喧嘩。本研究發現，氣象主播的科學背景會影響其颱風播報敘事結構，對於尚處遙遠的颱風，任立渝、林嘉愷用語比較保守，戴立綱語多暗示，王淑麗暗示性最強、使用篇幅也最多。在警報發佈期間，任立渝偏重颱風分析，林嘉愷擅長運用圖表解析即時風雨狀況，戴立綱敘事強調生活化提醒閱聽人防颱防淹水，王淑麗用語相對生動活潑、善用周遭事物比擬陳述颱風。在颱風警報解除後，任立渝、林嘉愷和戴立綱立即恢復平日氣象播報格式，惟王淑麗仍停留颱風訊息的陳述。在媒體設計上，林嘉愷使用的虛擬棚、鏡面和圖表，在視覺化的設計和呈現都較其他三人為佳。在播報展演上，四位主播各有風格，任立渝誠懇嚴肅、林嘉愷草根親和、戴立綱急切亢奮、王淑麗則走輕鬆活潑路線。手勢和觸控筆是氣象主播很重要的展演，手勢是一種肢體表演，觸控筆則是展現專業分析的工具，視覺性的動態展演是聚焦觀眾注意力的方式。 綜觀分析結果，本研究也提出颱風氣象播報準則，氣象主播的長期專業形象是其一，訊息呈現的敘事結構必須隨著颱風逼近而機動調整，當颱風地處遙遠時，對於颱風的敘事以「教育」觀眾大氣環境變化為主；當颱風逐漸靠近時，颱風動態路徑的解析說明展演能力，是氣象播報的決勝關鍵；當颱風警報發佈後，對台灣陸地影響的預估解釋能力則是觀眾收視關切的重點。至於搭配的氣象鏡面宜以視覺化為原則，追求圖表色調文字簡單明瞭且可視性高，並且讓觀眾熟悉且習慣這些圖表規格的呈現，惟須避免造成視覺疲勞。而展演方式則視個人風格特色而定，有些人適合沈穩嚴肅，有些人適合親切活潑，但考量電視是視覺展演的平台，動的畫面會比靜的畫面吸引觀眾，不論是眼神、表情、手勢、觸控筆、左右走動都是牽動觀眾視覺的重要元素，讓主播的講解、動作與鏡面三者在視聽感官上的互動，達到人機一體展演的效果。 氣象主播的個性發揮與風格確立，關係品牌形象與信賴感。專業氣象人有過實務或學術訓練，如果加上好的展演訓練及觀眾緣，或者是非氣象專業的新聞人，經由豐富的新聞訓練及額外自修，都能獲得觀眾的喜愛與信賴。本研究經由對四位氣象主播播報的分析與歸納，最後提出一套颱風氣象播報準則，俾以提供有志從事電視（影音）氣象播報工作者之參考。 / Since the world has experienced extreme weather and natural disasters constantly, weather information has been closely related to the lives of human being. According to the survey conducted by the Central Meteorological Bureau in 2015, TV is still the main channel for the public to access to meteorological information and meteorological communication is a part of science communication. Based on a typhoon from the birth to death, this study explores 4 weather presenters during prime time broadcasting by the use of content analysis which includes 3 aspects: message presentation, media design and performace. Also, by conducting in-depth interviews with the 4 presenters, this study examines how the domestic weather presenters communicates with the public before and during the authorities announces the typhoon alert, and after the alert is lifted. News media face fierce competition in recent years which leads to the rise of infotainment. For example, TV weather presenter starts to dramatize the strength of typhoon when it's just 1000km or 2000km away. This study found that presenter’s academic background in science does affect the structure of narration. When typhoon is still far away and the impact is variable, Ren Li-yu and Lin Jia-kai are more likely to present with a conservative tone while Dai Li-kang is more suggestive. Wang Shu-li has the strongest suggestive tone. During the alert, Ren Li-yu focuses on the typhoon analysis, Lin Jia-kai is fond of using charts and graphics to analyze the current wind speed and rainfall. Dai Li-gang puts more emphasis on reminding audience to be cautious and to do as much as one can to prevent the typhoon. Wang Shu-li’s style is relatively lively and she tends to make an analogy with surrounding things to describe the typhoon. After the typhoon alert is lifted, Ren Li-yu, Lin Jia-kai and Dai Li-gang resumes to the usual weather broadcasting style immediately. However, Wang Shu-li’s way of presenting stays the same. From the aspect of media design, Lin Jia-kai presents in a virtual studio with particular TV screen layout, charts and graphics which is clearer and better than the other three. When it comes to performace style, the 4 presenters have their own style, Ren Li-yu is sincere and serious. On the other hand, Lin Jia-kai is more approachable and affinitive. Dai Li-gang seemed to be more aggressive and provocative. Lastly, Wang Shu-li tends to present the program with a lively style. Gestures and stylus could be important tools while presenting. Gesture weighs during broadcasting while the stylus could be used to show their professionalism, attracting more viewers. From the results of the analysis, the study also proposed typhoon forecasting criteria, first of all, the weather presenter’s long-term professional image. The narrative structure of the message must be adjusted as the typhoon approaches. When the typhoon is far away, the narration should be focused on “educating” the audience the knowledge of the atmospheric environment. While the typhoon is gradually close, the capacity to analyze the typhoon is the key to prevail against others. When the typhoon alert is announced, the ability to explain how the typhoon would impact Taiwan is the concern of audience. The key principle for weather forecast's animated background is visualization. The graphics and texts should be simple and easily digestible. Also, the program should let viewers absorb and familiarize with these presented charts. One thing that needs be avoided is visual fatigue. In terms of performace, some presenters are calm and serious, some are cordial and lively. Since television relies heavily on visualization, moving pictures are more eye-catching than still images. Otherwise, both eye contact and facial expressions, gestures, the use of touch pen, or even the body movement all play a dispensable role. Combining weather presenter’s narrative, gesture and chart, can deliver the best weather forecasting performance. TV weather presenter’s personality and personal style establishment is helpful to build brand image and earn the trust of the audience. Professional weather presenter with practical and academic training, plus good performance training; or for journalist without meteorological background, through abundant professional news training and self-study, they can win audience’s heart and trust.

第一章結論，計三節，首先敘明研究動機、目的與方法，以及蘭陽地區自然環境與人 文概況，並分析本地區之氣象水文。 第二章計四節，論及水資源開發利用之現況，第一節探討目前治山防洪規畫，包括集 水區保育、防共工程、區域排水各方面；第二節敘述本地區水污染之現狀及防治方法 ；第三第四兩節則分析農業用水與公共給水之現況，並探討本地區農田水利組織與供 水系統之功能。 第三章則研究本地區水資源開發之途徑，首節敘述與建水庫與水力發電；第二節敘述 地下水之開發；第三節則作未來各標的用水量之推估，進而探討用水量標的轉換之可 行性；第四節提出游憩系統設計。 第四章為扼要性之結論與個人建議。

「人觀」注重「人」與「社會」、「自然」與「自我」之間的互動關係，以及依據不同脈絡下，如何思考「人」的意義與定位，進以建構「社會人」、「自然人」或「自由人」命題，形成「人觀」的理論體系。當中特別凸顯「人」所具道德、藝術、宗教、文化的多向度事實，注重諸向度間的相互作用，抉發「人」於此關係迴環下呈現的「形象」蘊涵，依此可作為體現人物豐富生命義蘊的方法。 　　在儒家「人觀」視域下，「好學進德」的顏回形象，可視作「君子之學」典範，豁顯「仁」「禮」修身的「具體實踐」內涵。《莊子》則建構「心齋坐忘」的「體道」顏回形象，內容多與「至人」身心修養和主體轉化相關，故顏回實為深入莊子「人觀」的「思想符號」。漢代揚雄、王充依「用氣言性」態度，創構「氣化大賢」的顏回形象，由是發展出「潛心學聖未至」的說法，又用「未達一間」詮釋孔顏聖賢位階之分，甚至將顏回短命早亡視作「性善命凶」、「以才自殺」的必然結果。魏晉南朝綰合「玄理思辨」與「人物品鑒」，如講求天資、智愚、識量、言語的觀人識鑒情境，對照「本末」、「形神」、「言意」概念的玄學《論語》詮釋，反映出會通儒道、玄化孔顏的聖賢觀，故有「玄化顏回」的特殊形象面目。就「玄化顏回」現象的實踐面觀，如黃憲「顏子復生」或謝尚「年少一坐之顏回」稱譽，背後便以「淵粹玄遠」、「天才神悟」的顏回形象為品鑒依據。待及唐宋，退之、習之、伊川皆據《中庸》、《易傳》立義，闡發「體道學聖」的顏回形象命題和「聖學」理論。如濂溪將「顏回之學」提升至「體天明誠」的「證體」超越層次。「顏學」與「顏樂」互相包含，「聖學」踐履以「學顏回」、「求至樂」為目標。明道則匯流「識仁」與「觀氣象」命題，塑造「體之而樂，反身而誠」的顏回形象，發揚濂溪「尋顏樂」的體道美學與聖賢觀，「體道」即含「樂道」，更是「觀聖人氣象」和「觀天地生物氣象」前提，也是探討明道孔顏觀的關鍵線索。 　　要之，本文認為，顏回「好學進德」、「心齋坐忘」、「氣化」、「玄化」、「樂道」、「學聖」諸「形象」，彼此相互作用與轉化之際，組織成儒道「人觀」體系圖像的運行圓周，「形象」與「人觀」猶如珠網牽連相即的共生關係。依此脈絡，不管是如詩劇美趣的玄化顏回觀到向上超拔的理學「體天樂道」顏回觀，當中包含身體與社會間的關係互動，名教與自然間的調和抗爭，道德相與超道德相的工夫分際，都是學者試圖還原與建構顏回形象的珍貴線索。故本文所論，實與採取「類型化」或概念結構理解模式的顏回形象研究有別，望藉此對顏回於儒道思想、身體觀、工夫論及人物品鑒學具有的關鍵意義，提出不同的理解視域和詮釋路徑。 / The “idea of the person” is a concept that centers on the interrelationship between “man” and his interaction with “society” and “the self” and its relation to “nature”. Different philosophical thought systems have differing definitions of “man”`, and use their specific definition of “man” as a basis for the development of their unique concepts of “man in society” and “natural man” or “free man”. These concepts together construct the philosophical system for the “idea of the person”. These philosophical systems place a strong emphasis on the interaction between virtue, art, religion, culture and the multiple aspects of man’s existence. Through the interaction between these different aspects of life, thus emerges the significance of the classical “images” or paradigms that serve as a concrete example of how these concepts are used in life. In the Confucian “idea of the person” the “virtue through learning” portrayal of Yanhui conveys the Confucian paradigm of “learning to be a man of noble character” and through this it can be known that Yanhui in the Confucian tradition is portrayed as a concrete personification of the cultivation of the self through “ren” and “li”. In Zhuang zi ,Yanhui is portrayed as the model of Zhuang zi’s “purification of the mind” and having done so portrays Yanhui as an exemplar of the Zhuang zi’s”the perfect person”. Through this it can be known that Zhuang zi uses Yanhui as a symbol for the “idea of the person”, thus highlighting the fact that the image of Yanhui is deeply engrained in the symbolism contained in Zhuang zi, During the Han dynasty, Yang Xiong and Wang Chong’s thought incorporated “qi” and used “qi” in particular in describing “nature”. In light of this, thus developing the idea of using “qi” to describe the image of Yanhui, as being the paradigm for the man of virtue. They also gave commentary and description of the difference between the levels of Confucius and Yanhui, describing Yanhui as having a”partial actualization of sagelypotential” and being ”slightly lower than a sage”. Lastly viewing Yanhui’s early death as the eventual result of a man having a “good nature but bad fate” and his practice of “self sacrifice”. During the Han dynasty Yang Xiong and Wang Chong’s usage of “qi” in describing “nature” thus developing the idea of using “qi” to describe the image of Yanhui as the paradigm for the man of virtue. They also gave commentary and description of the difference between the levels of Confucius and Yanhui, describing Yanhui as having a”partial actualization of sagely potential” and being “slightly lower than a sage”. Lastly viewing Yanhui’s early death as the eventual result of a man having a “good nature but bad fate”and “self-sacrifice”. The WeiJin and Southern Dynasty philosophers combined “Speculative Mystical Philosophy”with the “Examination of the character of cultural Figures”. They used natural endowment, wisdom/ignorance, capacity to use one’s abilities and language to analyze a historical figure. Also using these idea in concert with ideas such as: “beginning/end”, “Form/Spirit” and “language/meaning” , which then formed the essential concepts used in Xuan Xue’s commentary on The Analects. In using Daoist concepts to comment on The Analects, they combined Confucian and Daoist thought and through this mergence, the images of Confucuis and became mystified and through this creating the “Mystical Yan Hui」portrayal of Yanhui. The practical aspect of the “Mystical Yan Hui” is portrayed in the praise given to Huang Hui and Xie Xiang. Huang Hui was praised as being “Yanhui Resurrected” and Xie Xiang was said to be a “young Yanhui”, using the “mystical” and “gifted student” Yanhui as the basus for the praise given to these two philosophers. During the Tang and Song dynasties the philosopher Yi Chuan used The Doctrine of the mean and Yi Zhuan to develop the philosophical treatise for the “Practice of Dao and learning to be a sage”, and in this treatise thus using the image of Yanhui to signify these concepts. He then used this treatise to develop the “Learning to be a sage” philosophical system. For example, Lian xi elevated the idea of “The learning of Yanhui” to “actualizing the way of heaven in the self”, giving the image of Yanhui a transcendental aspect which can be specifically seen in Yi Chuan ’s concept of the “actualizing the essence of all”. Thus in his philosophy he merged the ideas of the “learning of Yanhui” and the “contentment of Yanhui” and used them both in concert, making the “learning of Yanhui” and the “pursuit of contentment” the goals of one who seek to learn to be a sage. Ming Dao used the topics of “understanding ren” and “observation of the disposition of the sages ”, two ideas that in antiquity are associated with Yanhui, to construct his image of Yanhui. He portrays Yanhui as the paradigm of “using practice to find contentment, internalize this practice and actualizing virtue”. Thus developing Lian xi’s “pursuing the contentment possessed by Yanhui” and its aesthetic description of the practice of dao and the concept of the sage and the man of virtue. In his thought, the “learning of Yanhui” encompasses the “Dao of contentment” and serves as the basis for the “observation of the disposition of the sages” and “observing the qi of heaven, earth and all things” , which serves as the quintessence of Ming Dao's treatise on Confucius and Yanhui. “Virtue through learning”, “purification of the mind”, “qi approach” ,“mystical approach” , “dao of contentment”, “Learning to be a sage” are the major portrayals of Yanhui. Through the inter use and melding of these ideals they became the structure of the Confucian “idea of the person” , thus melding the relationship between “image” and the “idea of the person”. From the artistic and mystical Yanhui to the transcendental "actualization of heaven and contentment in Dao" Yanhui of the li xue philosophers and in between, all conceptions of Yanhui incorporate a few major themes: the body and its interaction with society, the harmonizing of the relationship between ethics and nature , the differentiation between the practice of virtue and transcendental virtue . These are all the attempts of philosophers to construct the importance of the image of Yanhui. Therefore this paper discusses the difference between the historical Yanhui and the conceptualized Yanhui portrayal in the hopes of offering a new research direction and a deeper understanding of Yanhui's role in Confucian and Daoist thought, philosophical treatises on the body, treatises on practice and the character analyses of ancient figures.

本論文以中央研究院近代史研究所所典藏的「外交部檔案」為主，輔以聯合國年鑑與相關聯合國專門機構的資料，首先整理出中華民國喪失各專門機構席位的時序與過程，接著探討中華民國政府是否有何事前的應對策略，並嘗試探究中華民國政府在喪失聯合國中國代表權以後，面對專門機構席位問題的態度是否具彈性思維。 聯合國專門機構僅是一個代表性的名詞，本質上就是一個由各國政府代表組成的國際組織，一個國際組織與聯合國經濟暨社會理事會簽署合作協定後，就成為聯合國專門機構。兩者之間互不隸屬，是屬於合作的關係，意即一個國家若喪失聯合國的席位，並不代表同時喪失專門機構的席位，需再由專門機構討論之。現今聯合國共有19個專門機構，1971年時則是擁有13個專門機構。 中華民國在1971年喪失聯合國中國代表權之前，在13個聯合國專門機構中，除了聯合國糧食及農業組織(FAO)為觀察員外，其餘12個專門機構皆擁有會員國資格。而擁有會員國資格的專門機構中，除了4個金融性專門機構於1980年時才喪失席位，其餘8個專門機構則先後於1971年10月下旬至1972年5月下旬間陸續喪失席位，本研究探討的就是這一段時間。而由於資料與篇幅的限制，選擇世界衛生組織(WHO)、世界氣象組織(WMO)與國際電信聯盟(ITU)三個專門機構，深入探討中華民國喪失聯合國專門機構席位以及中華民國政府如何因應的過程。 由本文的討論可知道，聯合國大會396號決議案與2758號決議案與此議題息息相關，396號決議案決定了當一國政府的代表權發生爭議時，聯合國體系各組織應顧及聯合國大會的態度，而2758號則決定了聯合國中國代表權的歸屬。兩個決議案是專門機構處理中國席位問題的關鍵。而中華民國面對聯合國專門機構席位問題時，其態度是認為中華人民共和國的加入，並不能以排除中華民國為前提，但席位問題的屬性卻是聯合國中國代表權問題的延伸，也就是說，聯合國專門機構要處理的是機構內「誰來代表中國」的問題。事實上，在那段時間，立場較親近中華民國的國家曾推動類似於「兩個中國」或「一中一台」的提案，希望中華民國與中華人民共和國同時存在於聯合國專門機構之中，只是中華民國政府卻未主動與這些國家合作，使得相關議案未獲通過。 本論文另外發掘當時介於行政院與外交部之間的決策單位，此單位是由當時的行政院政務委員葉公超主持，邀請行政院各部會首長成立的跨部會小組，名為光華小組，運作時間起於1971年11月下旬，至1972年5月底結束，旨在因應中華民國喪失聯合國中國代表權後，所引發的後續外交鉅變效應，處理議題的內容亦包含專門機構的席位問題。 聯合國專門機構的席位議題，如同聯合國大會2758號決議案，只處理了「誰來代表中國」的問題，實際上台灣地位的議題並沒有被提及，留有彈性空間。而現今台灣的困局在於，要成為聯合國專門機構正式會員的條件必須是個國家，所以目前首要處理的，仍是國家定位的問題。從本研究中可知道，中華民國在聯合國專門機構的會籍問題，本質就是中國代表權問題，如果使用中華民國名義申請加入聯合國專門機構，無疑是抵觸1971年至1972年間各個專門機構的決議，這些決議已闡明「China」席位的歸屬，如此一來，其阻力只有更大而已。