本研究擬對侯孝賢的電影《好男好女》做電影風格與電影語言的進行分析，針對的主題為在於影片真實與虛構的畫分界線、身份認同的困惑、多義與多義，研究中主要利用的理論有三，分別是後設理論、眾聲喧嘩與互文性、敘事理論中的觀點與認同。透過電影內逐場逐鏡分析，本研究發現侯孝賢以其豐富的電影語彙，模糊了真實與虛構，並且也利用影片中角色的角色扮演，讓劇中主角—梁靜的身份認同變得不固定而流動，而劇中主角身份認同的變動，也帶著觀眾穿越古今，穿越虛實;同時帶給觀眾出戲疏離與入戲認同的可能。另外，影片中的影像、音樂與語言，相互配合，發散著種種不可化約於一的訊息，帶給電影更多層的意義。 / This thesis analized the style and cinematic language of Hou Hsiao-hsien’s film Good men, Good Women. Three issues are discussed : the difference between reality and fiction, confusion of identifications and heteroglossia. The main theories being adapted in the thesis are meta-theory, heteroglossia, intertextuality and narration in the film . With a close analysis of scenes in the film, the author shows how Hou manipulates the cinematic lexicon to blur the line of reality and fiction. Liang Jing, the leading actress in the film , is performing Jiang Biyu and she feels that hereself is becoming the woman she interprets. Self-identity of Liang Jing is changeable in the film .Viewers experience engagement and detachment through watching performance which lies between reality and fantasy. In addition, contesting ideological languages, songs and images express multi-vocalization and polysemy in the film.

本篇論文旨在探討譚恩美小說《接骨師的女兒》中女性自覺與 不可說的特性之間的相互關係。書中三位女主角都面臨各自的言語困難，然而，他們卻透過另類的語言方式，例如鬼魂的糾纏、阿茲海默氏症的副作用、沙盤上的書寫、甚且是保持沉默等管道，來為自己發聲。這些另類的發聲方式，說明了意義的展現是無法被永遠壓抑的，儘管是沉默無聲，也是語言的一種面向之呈現。書中女主角經由另類的語言方式，以及自傳式的書寫，三代不同時空中的兩段破碎母女關係，得以修補並縫合，並在發聲過程找到了屬於自己的女性自覺。 / This dissertation explores the relationship between the female self-consciousness and the characteristic of “unspeakability” in Amy Tan’s The Bonesetter’s Daughter. All of the three heroines in the novel have their own difficulty in speech acts: the grandmother is mute and later becomes a ghost; the mother is facing language gaps and is suffered from Alzheimer’s disease; the daughter has no direct access to Chinese language, so that makes her alienate from her mother. Suffered by their own linguistic problems, the three heroines thus develop their own alternative methods of articulation: the ghost haunts the living ones, and articulates through sand-tray writing with the help of her granddaughter; the by-effects of dementia allow the mother to speak the truth of the past; remaining silent makes the daughter hear her true intentions and reevaluate the difficulty that she is facing. Finally, the three heroines all dedicate themselves to autobiographical writings, for it is the only way to make the truth known and last. Through the help of alternative ways of articulation and autobiographical writings, the three women have opportunity to reexamine themselves and reshape their own self-consciousness.

本文將以目前台灣最大的網路新聞時事討論區──PTT Gossiping看板（以下簡稱「八卦板」）為研究對象，分析透過BBS媒介所形成的網路群眾文化，並探究其民主意涵。有別於一般網路公共領域的研究，本文將由「對抗性公共」與「狂歡節」這兩個概念切入，並借鏡俄國文學批評家Bakhtin所提出的「眾聲喧嘩」與「公共廣場」等說法，嘗試論證透過網路媒介所形成、並帶有集體性狂歡節色彩的社會互動空間，如何落實異於Habermas菁英式公共領域的公共生活想像。 就內容而言，本文可粗略區分為兩部分：首先我們將以Gossiping看板為例，從集體性的角度描繪網路群眾文化的樣貌（第二、三章），接著再進一步說明其民主意涵（第四章）。在第二章當中，我們將藉由回顧八卦板的看板歷程，說明本文所討論的八卦板「網路公眾」，在評論新聞、針砭時事的表面下，其實潛藏著某種不同於理性個人交往的社會關係形態；對於這樣的現象，我們可以暫且稱之為「網路起鬨」。在第三章，我們將透過集體亢奮與狂歡節的概念，進一步擴充網路起鬨現象的抽象意義，並嘗試說明：即便到了今天，人們透過網路媒介進行的互動，仍然表現出「非凡、例外」的強烈集體情緒；這樣的集體性，既不同於公共領域理性論辯的互動方式，亦無法簡單斥之為「非理性」的劣質文化。以此種互動關係樣態為背景，在第四章我們將著重討論帶有狂歡節特質的網路群眾文化，如何透過語言的運用，體現Bakhtin強調多元觀點的「眾聲喧嘩」概念；此種狂歡節語言，能夠跳脫代表語言中心化力量的Habermas公共領域設想，從而落實「公共廣場」概念所描繪的、強調對話而不強加共識的公共生活。最後在第五章結論當中，本文除了對全文進行簡要總結之外，並討論了「社會關係／mob-ility」、「遊戲」以及「日常生活」等等概念，嘗試為網路文化的進一步研究，提供可能的參考方向。 / Taking Taiwan’s largest internet news forum “PTT Gossiping” as research object, this thesis analyses the culture of internet crowds formed through the medium of BBS (Bulletin Board System), and explores its democratic implications. Different from existing researches of “internet public sphere”, this thesis set out its arguments by resorting to concepts of “counterpublics” and “carnival”, and concludes with the notions of “heteroglossia” and “public square”, both proposed by Russian literary critic Mikhail Bakhtin, to demonstrate how a collectively carnivalistic social space of interaction, formed by internet, can provide us with an alternative imagination of public life that is different from Habermasian (elite) public sphere. This thesis consists of two parts: firstly, it analyses the culture of internet crowds from the sociological perspective of collectivity, taking PTT Gossiping as example (Ch. 2 & Ch. 3); secondly, it elaborates the democratic implications of this culture (Ch. 4). In Ch. 2, we review the historical development of PTT Gossiping, in order to demonstrate that the “internet public” constituting this news forum shows a non-personal as well as non-rational mode of social interaction, which we can provisionally describe as “internet mobbing”. In Ch. 3, we elaborate the sociological meaning of internet mobbing, by resorting to concepts such as “collective effervescence” and “carnival”, arguing that the “extraordinary, exceptional” feature of strong collective emotions can still be observed nowadays in internet interactions. This collectivity is neither similar to rational, reasoning mode of interaction proposed by the idea of “public sphere”, nor can it be denounced simply as “irrational” or bad culture. Based on this kind of social interaction, in Ch. 4 we explore how the using of carnivalistic language by internet crowds can embody Bakhtinian heteroglossia. By emphasizing the value of multiple perspectives, the carnivalistic language use of internet crowds breaks away from Habermasian public sphere, and helps to bring about a public life depicted by Bakhtinian “public square”, encouraging dialogue rather than forcing consensus. Finally, in Ch. 5 we sum up the thesis, and discuss ideas such as “social relationship / mob-ility”, “game”, and “everyday life”, which can serve as possible directions for further studies on internet culture.