導引精靈(Wizard)是一種廣泛見於現有軟體系統，負責與用戶互動以蒐集資料的程式。其益處是能有效規範資料蒐集過程，並確保資料之完整性與正確性。導引精靈具備了上述種種優點，惟程式開發過程繁複、跨入門檻較高。因此若能快速產生導引精靈，將能提升開發者採用導引精靈意願並降低開發成本。 本研究室早先即遵循模型驅動架構概念，提出一套導引精靈生成系MoDWiz，可迅速在多平台上生成具相同功能的導引精靈。然而MoDWiz尚未實現資料驗證功能，並且只支援簡單的循序式導引精靈，因此應用範圍明顯不足。為了彌補MoDWiz的不足，本研究擴充MoDWiz而成為MoDWiz II系統。除了擴充MoDWiz原有的描述語言WDL之外，MoDWiz II還支援輸入文字資料之驗證功能，可經由開發者提供的正規表達式驗證輸入資料，確保其正確性。此外MoDWiz II也引入了更具實用性的條件式導引精靈結構，使得導引精靈可以根據使用者輸入的資料導引到不同的頁面繼續進行資料蒐集。MoDWiz II目前已經可以在Java與Eclipse執行平台上產生導引精靈，其效用將更勝於原有之MoDWiz。 / A software wizard is an interactive interface program used to collect data from the end user. It is widely used in software systems and forms a common part of most applications. Not only does the wizard modularize and simplify the complex data collection process, but it can also avoid data missing and ensure data integrity. It thus would be very profitable to use wizards in an application. However, the process of implementing a wizard from scratch is tedious and complicated, not to mention building same wizards on multiple platforms. Accordingly, if there is a tool to help rapidly construct wizards on multiple platforms, the developers would be encouraged to use wizards in their applications and at the same time the cost of their applications reduced. Before the inception of this thesis our laboratory had applied the MDA concept to the development of a wizard generating system called MoDWiz. MoDWiz enables the developer to quickly generate a wizard on multiple platforms by a simple declarative description of the target wizard. However, MoDWiz is still rather limited in that it leaves out the key component of data validation, and, more severely, it supports only sequential wizard structure, and hence cannot be used to generate most practical wizards in which nonlinearity is essential. In this thesis we extend MoDWiz to a new one called MoDWiz II. In addition to adapting the description language WDL on MoDWiz, MoDWiz II now support data validation by allowing the developers to provide input data format with regular expressions. Moreover, the most significant achievement of MoDWiz II is its ability to define branch wizards which allow different wizard pages to follow a given page depending on user input during the data collection process. MoDWiz II currently supports Java and Eclipse platforms and its application scope is apparently wider than the original MoDWiz.

進入20世紀後，文化經濟在現今常被討論與學術研究外，媒體發展進步的背景下，相關的文化產業嶄露頭角、在各個國家重視下以不同樣貌發展。 在日本方面，文化產業被稱為內容產業，而在此廣為人知的產業中從漫畫、動畫到遊戲等，皆擁有著高知名度，其中負責內容詮釋與表現的角色在日本國內更是自己擁有了穩定的市場，同時也是日本市場特殊的產業現象。另一方面，內容產業中媒體之間的聯繫亦十分成熟、以跨媒體為架構所策劃的企劃可以隨著一部作品的產生，便能立刻發展出各式各樣相同中心概念但不同詮釋方法的商品，達成不同層面的經濟利益回收。 在跨媒體與角色經濟等日本內容產業特殊現象生成以至於成熟的過程中，出現了一些足以代表產業運作的成功案例作品，其中以從遊戲為起頭，橫跨漫畫、動畫等多個產業領域的「精靈寶可夢」最為著名，不僅僅在日本，歐美國家對其的認知度也可做為對日本內容產業的印象代表。 本研究希望從理論定義到產業運作，梳理跨媒體在日本內容產業的變化以及角色經濟發生背後所支撐的架構，找出至今為止不同層面的分析，最後再透過案例分析的方式，探討寶可夢的成功及運作之中又與跨媒體、角色經濟之間存在著怎樣的關係。

導引精靈(Wizard)是一種用於收集用戶端資料的互動式人機介面程式，它是由一系列的對話框組成。使用導引精靈，可以避免資料遺漏、更能確保資料的完整性。由於方便好用，導引精靈不僅大量的使用在既有的電腦程式中，很顯然地，它也應該是許多新應用軟體系統不可或缺的一部分。 為了克服開發導引精靈過程的繁雜，瑣碎與費時，我們曾開發一套遵循MDA架構的多平台導引精靈快速開發系統，稱為 MoDWizII。利用MoDWizII，我們只要輸入高階的平台無關精靈描述，系統即能自動產生各支援平台的對應導引精靈實做。目前系統支援的平台包括：Java、Eclipse 以及Web 應用。 隨著手機與平板電腦的普及與無所不在，其應用系統顯然亦有收集使用者資料的需求。相對於傳統電腦，行動裝置的先天限制並不適合傳統的編輯輸入，因此導引精靈顯然是一種更值得考量的替代選項。此一因素，促使我們考量將MoDWizII的支援對象擴充至行動平台。 本研究的主要任務是擴充MoDWizII的支援對象至行動平台。新系統名稱為MoDWiz3，目前選擇的唯一支援平台是市佔率最高的Android平台。據IDC報告，至2013年第三季時Android的行動裝置佔有率達81%。 為了使得ModWiz3得以產生Android平台的精靈實做，我們在此研究中，貢獻了一套針對Android平台特性而設計的精靈程式Android平台專屬超模型(PSMM)。除此之外，我們亦實做了在MDA架構下，針對Android平台的必要M2M與M2T轉換工具。利用這些工具鏈，我們即能將高階的平台無關精靈描述轉換成Android平台的導引精靈實做。和以往支援平台有一個顯著不同之處是，Android平台本身並無提供立即可用的導引精靈API可供實做時使用，因此本研究的另一貢獻是使用Android fragment機制設計、選用和實做所有系統所需的精靈元件。 / Software wizards are interactive programs consisting of a series of UI dialogs aimed to acquire responded data from the users. Using wizards to collect data has the advantage of ensuring the completeness and integrity of the collected data. They are not only pervasively found in existing computer systems but apparently would also be an indispensable part of many software applications to be developed. In order to overcome the shortage of developing wizards from scratch, which are complicated, tedious and time-consuming, our lab has developed a system called MoDWizII, which can produce multi-platform wizards from a single declarative wizard description by following OMG's MDA approach. Currently the supported platforms include Java, Eclipse and Web applications. With the explosive popularity of mobile phones and tablets, the need of complex data input using mobile devices increases. However, due to the size limitation, it is very inconvenient to use traditional editing approach to input large amount of data on these devices. In contrast, wizards in these use cases seem more suitable. This motivated the inclusion of mobile platforms to the supported platforms of our system. In this research we extend MoDWizII to a new one called MoDWiz3 with the goal of supporting also mobile platforms. Currently the only selected platform is Android, which is used by most people as indicated by a report of International Data Corporation (IDC) that the market share of Android platform was 81% in the 3rd quarter in 2013. To enable the support of Android platform, this research created a definition of PSMM (Platform-Specific MetaModel) for wizards on the Android platform; standard M2M and M2T toolchain was also developed and can be used to generate practical Android wizard applications from a platform independent wizard description. While previous supported platforms have well-established wizard API, it is not the case for Android. We thus included in the research also the design, selection and implementation of all required wizard components for the Android platform.

導引精靈(wizard)是一種用來收集用戶端資料的互動式使用者介面應用程式，常被廣泛的使用在軟體系統裡，也是大多數應用程式常見的功能之一。導引精靈的使用不僅簡化了複雜的資料收集過程，也可以避免資料的遺漏以確保收集資料的完整性；此外在資料收集的過程中導引精靈所提供的適當提示與即時資料驗證，還可以提高資料收集的正確性，所以導引精靈對於應用程式的資料收集是相當有用的。 本研究的目標是開發一個模型驅動的導引精靈開發系統，希望能在相同或不相同的時間裡快速建構多平台導引精靈程式。我們提出的系統稱為MoDWiz，它實現了應用「模型驅動架構(MDA)」於多平台導引精靈開發的所有工具支援。為了讓使用者建構自己的(平台無關)導引精靈模型，MoDWiz不僅提供了用以規範導引精靈的超模型，還制定一個特定領域語言WDL以作為此超模型的具體語法。此外，由於WDL的制定，我們得以提供專屬的編輯器以輔助使用者進行導引精靈模型的編輯。目前MoDWiz支援三種執行平台的導引精靈開發，分別為網頁應用程式、Eclipse與Java。而根據MDA理論，我們必須制定的三種平台超模型均已內含於MoDWiz。除此之外，MoDWiz的工具鏈還包括用來將平台無關導引精靈模型轉換成符合每一個特定平台導引精靈模型的M2M工具，以及將每一個特定平台導引精靈模型轉換成相對應實作的M2T工具。所有MoDWiz的工具與WDL編輯器程式均實作為Eclipse 外掛程式，因此能夠與Eclipse平台高度整合。當利用WDL編輯器完成導引精靈模型的製作之後，使用者只需透過簡單的滑鼠點擊就可以完成導引精靈程式的實作。 / A wizard is an interactive user interface program used to collect data from the user. It is widely used in software systems and is a common part of most applications. Not only does the use of wizards modularize and simplify complex data collection process, but it can also avoid data missing and ensure data integrity. Furthermore, during the process of data collection, since a wizard can provide tips and instant data validation it can also improve the correctness of collected data. As a conclusion, it is very beneficial to use wizards in an application. The goal of this research is the development of a model-driven wizard generation system (MoDWiz) that can be used to help rapid construction of multi-platform wizards to be developed at different or the same time. MoDWiz is our solution to the problem of applying OMG's model-driven architecture (MDA) to the development of multi-platform wizards. In order for the user to construct his (platform independent) wizard model, MoDWiz provides not only a wizard metamodel but also a domain specific language (DSL) called WDL as a concrete syntax of the metamodel. Owing to the availability of WDL, we are able to provide also a friendly editor to help the user to edit his wizard models. MoDWiz supports at present three platforms: eclipse platform, web application platform and plain Java platform. Accordingly metamodels of wizards for these platforms have to be defined and indeed have been provided in MoDWiz. Apart from these, MoDWiz's tool chain includes also M2M tools, which could transform every platform independent wizard model into a corresponding PSM model for each platform, as well as M2T tools, which could transform every platform specific wizard model into a corresponding implementation. All of MoDWiz's tools and wizard editor are implemented as eclipse plug-ins and thus are highly integrated with eclipse. As a result it is very easy to get a wizard implementation by simple mouse clicks once its model has been constructed using MoDWiz.

《奧菲歐爵士》(Sir Orfeo) 是一首十三世紀晚期至十四世紀初期的傳奇敘事詩，其中重複出現的時空特性強調出奧菲爾斯傳統中「失去」的主題。克服失去的難題顯示了在無常的世界中維持恆常的困頓—如何在娑婆的世間找尋精神的寄託所在，以解失去對於個人時空感受所造成的罣礙，體驗生命的當下？於多數奧菲爾斯版本之中，到冥界挽回尤瑞柢思 (Eurydice) 的旅程是一個重要的場景，其突顯了在無常之中對於秩序與生命延續 (continuity) 的訴求。這首詩中，不同的延續觀出現於聽覺導向的人間王國與視覺導向的精靈王國，再再顯示了維持恆常的重要性。作為重回秩序的工具，奧菲歐的豎琴為此議題提供了重要的線索。問題的重心在於音樂中協調時空的力量，也就是所謂的共時性，其中蘊涵了奧菲爾斯文本中自身與世界的關係，及其與變動時空，延續感，以及重建秩序的關聯。 奧古斯都 (St. Augustine) 的《音樂論》(De musica) 從八世紀晚期到十五世紀以來一直都是一部影響深遠的著作，為音樂中的時間經驗提供了完整的哲學分析。從奧古斯都的音樂時間觀所呈現的先驗及秩序概念出發，此論文目的在於檢視奧菲歐的豎琴中所顯示出中古時期對於無常 (temporalia) 與先驗(transcendence) 的關懷主題。此項研究在於一種經由音樂與時空所協調出的經驗感受。除了探討人類王國與精靈王國之間的辯證關係，也揭示了《奧菲歐爵士》對於存在、當下、以及人類價值 (humanity) 所表現出來的核心態度。誠如奧菲歐與野外動物們共享短暫的和諧經驗所示 (272-80)，奧古斯都的先驗及永恆觀與奧菲歐豎琴中變動的感官特性並不相符。儘管如此，他對於靈魂律動所提出的解釋，以及記憶是一種出於心智印象 (phantasiai) 的看法，為我們提供檢驗精靈王國時空感的理論基礎。 為了解釋音樂中的和諧如何經由時間經驗讓奧菲歐在變動的世界中維持恆心，此篇論文分成四個章節：第一章介紹相關主題及評論。第二章介紹 中古時期與奧菲爾斯神化相關的音樂理論背景並且闡釋奧古斯都音樂論中的時間觀。在第三章中，我將進一步分析《奧菲歐爵士》中的時空觀。奧菲歐的豎琴所帶來的和諧經驗將會以個人內在與變動外在的互動回饋機制來檢視。這樣的內外交流呈現出一種變動的先驗觀，將永恆寄託在一種有機變動中所體驗的延續感。 其同時也揭露了自身與世界互動的關鍵模式，透過精神蛻變 (metamorphosis) 和冥界之旅等面向，增進我們了解失去及無常的主題。最後，我將在第四章以豎琴的社會意義作結，解釋其對於口說傳統的文化傳承帶來什麼樣的影響，並提供其他奧菲爾斯文本一個不同的角度來觀看自身與世界的關係。 / Loss, the dominant theme in the Orphic tradition, is accentuated by the recurring issue of temporality in Sir Orfeo, a late thirteenth or early fourteenth century romance. The difficulty of overcoming loss posts the question of finding spiritual residence and maintaining spiritual progress in the temporal world. The underworld journey to retrieving Eurydice, as a major scene in most adaptations of the myth, signifies the quest of order and continuity through changes. Such an issue of maintaining constancy is highlighted by the different features of continuity appearing in the hearing-oriented human kingdom and the sight-oriented fairy world. Orfeo’s harping, as the means for recovery, offers a significant clue in viewing this issue. The question falls on the meditative power of music itself, i.e. the contemporal experience of sentiments, which reveals the particular self-world relationship embedded in the Orphic texts and its relation to temporality, duration, and the restoration of order. Augustine’s De musica, which had been an influential work from the late eighth century to the fifteenth century (Fitzgerald 575-76), provides an overall philosophical illustration on the experience of time in music and its relation to maintaining order. Deriving from Augustine’s idea of how the experience of time in music contributes to an understanding of transcendence and order, this thesis aims to examine the medieval concern of temporalia and transcendence manifested in Orfeo’s harping. It is a study of a relationship in space and experience of time that is negotiated through music, which explores the dialectic relationship between Orfeo’s kingdom and the fairyland, and also reveals essential attitude toward existence, presence, and humanity in Sir Orfeo. Although Augustine’s conception of timeless transcendence does not match the temporal and sensual nature of Orfeo’s harping, as seen in the temporary harmony Orfeo shares with the wild animals (272-80), his exposition on the movement of the soul, together with the explication of memory as images (i.e. phantasiai) operated in the motions of the mind, provide us a theoretical basis for examining the temporality of the fairy world. To illustrate how the harmonic order generated through the experience of time in music contributes to the maintenance of internal consistency within the temporal world, this thesis is divided into four chapters: Chapter one introduces relevant issues and literary criticism. Chapter two offers a detailed explanation of the historical background of medieval music theories, the associated allegorical readings of the Orphic texts, and Augustine’s conception of time in the experience of music. In chapter three, I further analyze the temporality of music in Sir Orfeo and distinguish two types of temporality, that of Orfeo’s court and that of the fairyland. The harmonic relationship maintained by Orfeo’s harping is examined in terms of the reciprocal interaction between the inner self and the operating world, which prescribes continuity in temporal transcendence and reveals a significant mode of self-world relationship. Such a study contributes to our understanding of the theme of loss and change in relation to spiritual metamorphosis and the underworld journey. Finally, I conclude in chapter four with the social significance of the harping in order to examine the cultural legacy of the bardic tradition. Through the examination of the mediation of music, I offer an alternative view on the self-world relationship in the Orphic texts.