本文旨在比較台灣閩南語常人、弛緩型(flaccid dysarthrics)、與痙攣型(spastic dysarthrics)神經性構音障礙病患子音絕對及相對音長之差異，並探討此病態語音在了解說話運動系統之特徵以及了解語言產製過程上可能的暗示。 結果顯示神經性構音障礙病患的子音絕對音長顯著長於常人受試者，但兩組病患延長的型態並不相同。首先，弛緩型病患子音音長顯著長於痙攣型病患；再者，以子音的帶音與否、發音位置、發音方法這三個向度來看，弛緩型病患之子音音長展現了全面性的延長，而痙攣型病患則產生了選擇性的延長，其子音之延長，大多集中在有聲子音上，這些差異乃因兩組病人病理狀況不同所致。 另一個結果則顯示，雖然神經性構音障礙病患，在子音音長呈現了延長的狀況，但在子音間相對音長次序上，仍保持到某種程度的完好，可是，子音雖保持一定的次序，但彼此間音長的差值及比值卻也發生了改變。而子音在音節中的所佔比例卻又和正常人無異。 因此，本文推斷，在常人子音的產製上，是要求精確的絕對音長，而且子音間音長亦要保持一定的相對關係；但若因病變致使說話者無法同時兼顧二者時，說話者會選擇犧牲絕對音長，而仍保持子音音長間的相互關係。這可能是語言產製與感知的一些經濟原則(principles of economy)互動所導致的結果。此外，構音障礙病患表就子音在音節中的相對時長這個向度上，和常人無異，這可能是語言文法與生理限制二項因素互動所致。 / This study aims (1) to investigate the absolute and relative timing of consonant duration in Taiwanese neurogenic dysarthric speech by means of acoustic measurements, (2) and to explore their implication on the characteristics of motor system and on the status of timing control in speech production. The results show that absolute consonant duration in flaccid and spastic dysarthric speech are significantly longer than that in normal controls. However, the "lengthening" phenomena display different patterns in flaccid and spastic groups. First, for the patients with the same degree of muscular dysfunction, the flaccid dysarthrics lengthen the consonant duration significantly greater than the spastic ones do. Second, whereas absolute consonant duration in flaccid group shows overall lengthening regardless of voicing state, stricture type, and place of articulation, that in spastic group displays selective lengthening. Besides, though the absolute consonant duration is lengthened in dysarthric speech, the durational opposition between consonants is more or less distinct. However, only the durational ranking between consonants (external timing relation) is maintained in dysarthric, but the durational distance or ratio between consonants (internal timing relation) is modified. Relative timing of consonant duration, that is, the consonant-to-syllable ratio (cs-ratio) within a syllable remains intact in dysarthric speech even though the segmental duration is lengthened. Lengthened absolute consonant duration in dysarthric speech is accounted for by the neurological deficits and compensatory effects. Longer absolute consonant duration in flaccid than in spastic speech is attributed to slowness and weakness without spasticity of speech musculature in flaccid dysarthria. Overall lengthening of consonant duration in flaccid group results from the entirely-impaired cranial nerves innervating speech musculature, whereas selective lengthening of consonant in spastic group is ascribed to spasticity and the selective pattern as well as directionality of neuromuscular impairments in spastic dysarthria. The reserved durational ranking between consonants in dysarthric speech may result from the compromise of principles of economy in speech production and perception. The normal-like CS-ratios in dysarthric speech stem from the interaction between biological constraints and the grammar of a language. Based on the data collected from dysarthric speech, this study discusses the temporal variance as well as invariance in speech motor system and the status of timing in the grammar of a language. The importance of principles of economy in speech production and perception is also indicated.

「當代的教育有被多數人當成一項藝術來實踐嗎？我們的教育有美嗎？教育如何成人之美？我們又如何觀看教育之美？」本研究採用藝術家、教師與教育研究者三位一體的研究取徑a/r/tography（art-based forms of educational inquiry）並混合多元研究方法、跨領域理論交互辯證以及表達性藝術實踐行動，旨在試圖超越目前科學家、藝術家、心理分析學家與教育家各自觀看世界的方式。本研究戮力創新教育美學研究取徑，以跨領域對話回應研究提問。 本研究借喻近代攝影史上最重要的變革演化：新紀實（The New Documentary），將其預設並倡議為一種後現代背景下之教育美學的多元視野（長鏡頭），以做為「教育的生命（神經性）、生成（藝術性）、生態（靈性）」的觀看之道。研究者並創作一系列新紀實攝影作品，期以多元真相涵化單一紀實的缺陷，改以不完美的長鏡頭與檔案的中性特質，一方面認清教育紀實的虛妄無明，另一方面則從教育的限制裡生出另隻眼。 教育美學所揭示的實踐智慧，大多來自「人如何描述眼前的世界」，故本研究深入梳理近二十年的神經科學對於視覺腦（visual brain）與靈性冥想（meditation）活動的研究成果，探究藝術家的實踐歷程以及進行藝術評論文本分析，並依多年田野經驗重新設計了一系列合作式彩繪曼陀羅（Cooperative Mandala Coloring）表達性藝術活動，以求能更充份反映榮格學派（Jungian Psychology）之共時性（synchronicity）理論與推演新時代靈性生態觀點，最終援引本質直觀的現象學（phenomenology）進行詮釋。 本研究成果特別關注青少年處於神經美學、藝術實踐與靈性成長之間精神流變（spirit flux）歷程，建議首先提供真誠友善的安全空間（safe space）、引入神馳（flow）的靈性體驗、以藝術活動滿足個體化的表達性需求（expressed needs）、在人我關係中創造利他的美感經驗。新紀實視野下的後現代教育美學倡議「自我陶養」、「德美一致」與「三性一體」，教育必需讓人有力量、有光芒、有夢想，始能真正啟動教育最美的樣子。 / This study borrows ‘the New Documentary’, the most important evolution in the photography history, as a metaphor to presuppose and advocate ‘the Lens’ as a diverse vision of education aesthetics under its post-modern context. It is utilized as a way to perceive the life (Neurological), the formation (Artistic), and ecology (Spiritual) of education. In this study, a series of the New Documentary work has been created. Two decades’ research on visual brain and meditation in neuroscience has been reviewed. The researcher also inquired into the artists’ journey of praxis and criticized numerous art reviews. Moreover, a series of Cooperative Mandala Coloring work has been redesigned based on the researcher’s years of practical teaching experience. This Cooperative Mandala Coloring, an expressive artistic activity, is adopted in present study to reflect Jungian Psychology’s theory of synchronicity, deduce the spiritual and ecological perspectives of new age, and interpret the phenomenology. The results of the present study particularly focus on adolescents’ spirit flux in neuro-aesthetics, art praxis, and spiritual development. The researcher proposes friendly safe space and spiritual experience in flow. It is also suggested that young individual’s expressed needs be fulfilled through artistic activities and altruistic aesthetic experience be created through relationships with others.