武俠片是華人特有片種，擁有獨特文化傳統和藝術特質。武俠片在聲音和影像製作的藝術表現上都為人所推崇，尤其是李安《臥虎藏龍》一片贏得國內外眾多電影獎項後，再度漸受重視。有鑑於傳播研究重影像輕聲音已行之多年，且武俠片猶是一塊亟待深耕的領域，本文從聲音與影像結合的角度切入，探討武俠片如何同時運用以上兩者以達成傳播效果，並且比較兩部大師級作品之差異。 研究發現武俠片以「聲音劇情與畫面劇情同時」以及合於「聲音透視法」、「時空特性」之聲音處理，營造武俠片的真實感。另以「聲音劇情與畫面劇情非同時」之手法處理非寫實的回憶片段，藉以和其他真實劇情區隔。另外，刻意安排無聲的使用或是以音樂營造氣氛、描摹角色情感，帶領觀眾進入虛幻神奇的武俠國度。再者，研究還發現，《臥虎藏龍》自《大醉俠》傳承與學習不少優點，兩片於聲影結合手法上確實有許多相同之處。另一方面，兩片的差異表示武俠片三十多年後的轉變，也顯出《臥虎藏龍》於技法上的創新與進步。

論文架構――「詩人所處時代」、「作家身影」/作品面相、藝術風格/女性觀點/書寫策略、發聲的形式與焦點、書寫空間。 在寫作軸表上的橫向面為：日治時期女性教育與地位/三位女詩人書寫的聲音、視角策略、空間版圖/彼此的差異性、與男性詩家關注焦點的不同點。縱切面則以三位女詩人生命歷程、思維格局與作品題材、表現方式、藝術特色為第一層次的探究版圖。其中並以鉅視的角度就三位女詩人所處時代的集體意識、文化體系、價值觀、社會活動做為背景，進而以微視方式爬梳其作品，呈現其個人生命情境、行為模式、心理情感與思想。 是以在第一章緒論中，敘述研究動機、方式及回顧前人論述。第二章勾勒時代圖景，期標誌三位女詩人所處的舞台，進而以詩浮現詩人活動與生命風景，觀察其於同時代詩人中所凸出的風采。第三、四、五章分別就張李德和、石中英、黃金川詩集編排方式、形式、篇幅、取材與藝術特色說明其以詩建構自我的企圖與成就。除此之外，三位女詩人詩題表現的異同間，也反映出彼此的書寫習慣與意圖。再者，由存留刪易間的思維亦可窺探作者對於以詩發聲的慎重與自我形象表露的企圖，許多未收入集中的詩，如石中英發表於《詩報》有關第一次婚姻心緒及離婚事者、黃金川婚後寫個人心境之作。在集外集裡，我們聽見激動憤懣不平的呼聲，聽見她們從女性主體經驗，妻子角度呈現女性的掙扎、覺醒。張李德和作品雖有未見於集中與《張李德和詩文集》者，題材與內容與所見集作相近，但亦可由捕捉亙完整的面貌。 除此之外，鑑於性別意識乃政治文化的表露，女性在傳統價值觀下的掙扎猶豫、限囿思索，特別是三位女詩人因大家閨秀而接受嚴格禮教，她們一方面是禮教的實踐者，另方面因身受教育而晉身為知識份子，作為思考者、行動者的她們如何突破傳統角色？而三位女詩人以其生命與作品在實際上與思維上所顯露的轉折與困境，限制與越界間所隱現的女性觀、在男性標準下，運用的策略與展現女性的主體，所開展的生存空間與象徵空間，則為論文深層探索的焦點。其研究如下： 第六章透過三位女詩人在詩中所發出的聲調與情思，說明女性在接受—模仿---質疑--反抗---掙脫的路上的徘徊省思，目的在透過性別含意的稜鏡，在重構詩家人生風景的同時，也可對它作出重新闡釋，亦即以女性主義的視域來觀察其中的女性特色與主體意識形塑。第七章針對三位女詩人所顯現的女性集體書寫風格、寫作的企圖、結社唱酬間衍生的網絡所發出的聲音與寫作策略，說明三位女詩人以個人實踐，在傳統女性之中如何開創一種新的生活選擇的方式，確立自我身份認同與價值定位。而考察/行旅/留學所展開游移空間的越界、在大環境創造出生活空間的智慧、以及家國的政治想像空間所開展更廣闊的寫作空間，使其得以建立多重社會位置與主體身份。第八章總結本論文研究成果、研究價值，並展望未來研究方向。

本研究主要目的在探討外表、聲音與性別角色對異性吸引之影響，因此以呈現目標人物之照片、錄音帶及性別角色特質描述來操弄目標人物的外表吸引力（高、低）、聲音吸引力（高、低）及性別角色傾向（符合性別角色刻板印象、不符合性別角色刻板印象）三個獨變項，並以人際判斷量表為依變項，採用受試者間設計，請受試者對所呈現之目標人物作印象判斷，最後再將趼究結果進行統計分析，以了解受試者對異性吸引在此三項特徵上受影響的情形。 　　本研究之有效受試者為２８８位大專學生（包括政大與中國工商大專生，其男女生各１４４名），研究程序乃是請他們在看了目標人物的照片、聽了目標人物的聲音及看完同班同學對目標人物看法的描述後，以所發給的「人際判斷量表」對目標人物做一些印象判斷（實際目的則是測量其異性吸引程度）。 　　研究結果發現：（一）高外表吸引力或高聲音吸引力者較低外表吸引力或低聲音吸引力者顯著的引起男女生受試者較愉快的情緒經驗及較高的喜歡與交往的動機，亦即異性吸引程度較高。（二）「外表吸引力」與「聲音吸引力」有交互作用存在，且發現就男生受試者而言，「聲音吸引力」與「性別角色」二變項也有交互作用存在。（三）目標人物之不同性別角色特質描述對男女生受試者之情緒及異性吸引有不同的影響。就男生受試者而言，目標人物之性別角色特質描述符合性別角色刻板印象者較不符合性別角色刻板印象者引起受試者較愉快的情緒經驗及較高的喜歡與交往的動機；就女生受試者而言，則結果與男生正好相反，即目標人物之性別角色特質描述不符合性別角色刻板印象者較符合性別角色刻板印象者引起受試者較愉快的情緒經驗及較高的喜歡與交往的動機。（四）受試者的外表吸引力自評、聲音吸引力自評、性別角色刻板印象高低、是否已有男（女）朋友等干擾變項均不會影響目標人物之外表吸引力高低、聲音吸引力高低及性別角色傾向對異性吸引之影響效果。 　　本研究最後乃針對不符合假設之結之結果提出討論，並提出本研究之建議，以供未來研究、兩性關係的調適及教育輔導上之參考。 / This study examined the effects of physical attractive-ness,vocal attractiveness and sex-roles orientation on opposite-sex attraction. 288 subjects(144 male and144 female)were shown an opposite-sex target's photograph of high or low physical attractiveness,a tape of high or low vocal attractiveness,and a description of the target who appeared to be sex-role-congruent or incon-gruent in his(her) trait. Then subjects judged the target's attraction on the Interpersonal Judgment Scale. Result indicated that(1)high physically or vocally attractive evoked significantly more pleasant mood and greater attraction than low physically or vocally attractive target. (2)the interaction between physical attractiveness and vocal attractiveness was significant, and also found that the interaction between vocal attractiveness and sex-roles was significant for male subjects. (3)the target's different description of sex-roles evoked different effects for male and female subjects. For male subjects, the target's sex-role was congruous with sex-role stereotypes that evoked more pleasant mood and greater attraction than sex-role was not congruous with sex-role stereotypes. For female subjects, the target's sex-role was not congruous with sex-role stereotypes that evoked more pleasant mood and greater attraction than sex-role was congruous with sex-role ster-eotypes. (4)analysis did not reveal the impacts of self rating of subjects' own physical and vocal attractiveness, sex-role stereotypes, and whether had or not boyfriends (girlfriends) on opposite-sex attraction. The suggestions for further studies and implications of this study for our understanding of the effects of physical and vocal attrac-tiveness, and sex-roles on opposite-sex attraction are discussed.

本文旨從語用和語音方面，來探討中文「敘述性」言談(narrative discourse)對話中，說話者自然產生的節拍手勢。在語用方面，主要是觀察說話者使用節拍手勢表達前後景(Grounding)和新/舊訊息(Information state)的關係。研究結果發現，說話者較常使用節拍手勢來傳達前景(foreground)的新訊息，以提示聽話者注意。此外，說話者在敘述的過程中，常使用節拍手勢來預示前後景訊息的轉換。在語音方面，主要探討說話者使用節拍手勢時，其所對應的語句之音調高低及說話能量強度的關係。研究發現，語句的音高和強度無法預測這類手勢的產生；但是，當傳達前景的新訊息時，這類手勢的出現常伴隨著較強的語氣。此外，研究結果也顯示，說話者使用節拍手勢通常是有規律性的。 / This thesis investigates gestural beats in Chinese narrative discourse at both pragmatic and acoustic levels. The relationship among grounding, information state and beat gestures is examined at the pragmatic level, and at the acoustic level, the relationship among pitch, intensity, and gestural beats is analyzed. Moreover, whether there is a rhythmic pattern for beat gestures is further studied. The subjects were four undergraduates who were asked to view an animated color cartoon episode and then to immediately recount the events in it to a listener. The subjects were audio-video taped. They were not informed of the particular interest of the study. 291 beats were transcribed and analyzed. The audio data was analyzed on Praat and a Kay’s Model 4100. The continuous beats were further analyzed to investigate the rhythmic patterns and were annotated in Anvil, a video annotation tool. Gestural beats, narrative data, and the annotations were statistically analyzed and five phenomena for beat gestures were explored. First, gestural beats can appear in both foregrounded and backgrounded clauses. Second, the occurrence of beat gestures signals shifts between levels of the narrative structure. Third, speakers usually incline to utter new information in foregrounded clauses in Chinese narrative discourse with accompanying beats. Fourth, neither intensity nor pitch changes can predict and correlate with the occurrence of gestural beats in the relationship between beats and two acoustic factors. However, when grounding and the information state of the associated referents are considered, beats are produced for new information in foregrounded clauses with greater intensity. Finally, there is a rhythmic pattern in the production of continuous beats and the regularity of the patterns correlates with the clause boundary. A close relationship is revealed between speech and gestures in this thesis. The findings provide some linguistic details that may help explore the performance of gestural beats and speech in Chinese narrative discourse.

本研究針對我國學生學習日語發音進行相似度指標發展之初探，貢獻為針對目前日語發音提供一個相似度的指標可以和老師語音進行比較分析，找出分析日語發音相似度之模式。 研究從聲音數位化的角度切入，有別於過去研究使用語音辨識的方式來進行，聲音數位化後為數值的方式，因此使用指標來計算相似的程度。研究提出一套對應的聲音相似度指標，以電腦分析輔助日語學習者的發音練習。 指標建立過程由聲音取樣、正規化、端點偵測，到實際的運算，使用所蒐集的聲音資料來測試指標的穩定度與有效性，研究結果說明在以日語為母語者間的指標都很靠近，而不同日語腔調間會有一定的指標差異，對於一定日語程度的對象而言，指標落點很靠近，惟本研究此次蒐集到的聲音資料，其應用指標運算結果的分佈太過集中，如果能有更多樣化的聲音資料來測試指標應能有較漂亮的分佈圖形。 / This research includes developing a similarity index applies to the evaluation of Taiwan students learning Japanese pronunciation. The contribution of this research is that it provides a similarity index to the Japanese pronunciation comparing to the teacher’s pronunciation, finding the model of how to analysis the similarity of Japanese pronunciation. This research uses the digital audio processing to begin with, which is different from the other research that uses the speech recognition to evaluate the pronunciation. The audio will turn into numerical format after digitalize, so this research uses an index to calculate the similarity. By using this similarity index, the computer can become an assistant role that helps to analysis while learning Japanese pronunciation. The developing of index starts from audio sampling, audio normalizing, and end-point detection to the calculation of similarity index. This research collects audio data to test the stability and the validity of the similarity index. The result indicates that the similarity index of native Japanese speakers is very close；and the similarity index contains certain difference between different accents. For those Taiwan students who qualify with Japanese, their similarity index is close. Nevertheless, the result of the similarity index is too centralized, it would be better if there are more audio data to test the similarity index.

本論文基於具備捕捉影像深度的RGBD影音串流裝置－Kinect感測器，在簡報場域中，作為擷取簡報者肢體動作、表情、以及語言表現模式的設備。首先我們提出在特定時段內的表現模式，可以經由大眾的評估，而具有喜歡／不喜歡的性質，我們將其分別命名為Period of Like(POL)以及Period of Dislike(POD)。論文中並以三種Kinect SDK所提供的影像特徵：動畫單元、骨架關節點、以及3D臉部頂點，輔以35位評估者所提供之評估資料，以POD/POL取出的特徵模式，分析是否具有一致性，以及是否可用於未來預測。最後將研究結果開發應用於原型程式，期許這樣的預測系統，能夠為在簡報中表現不佳而困擾的人們，提點其優劣之處，以作為後續改善之依據。 / In this thesis, we capture body movements, facial expressions, and voice data of subjects in the presentation scenario using RGBD-capable Kinect sensor. The acquired videos were accessed by a group of reviewers to indicate their preferences/aversions to the presentation style. We denote the two classes of ruling as Period of Like (POL) and Period of Dislike (POD), respectively. We then employ three types of image features, namely, animation units (AU), skeletal joints, and 3D face vertices to analyze the consistency of the evaluation result, as well as the ability to classify unseen footage based on the training data supplied by 35 evaluators. Finally, we develop a prototype program to help users to identify their strength/weakness during their presentation so that they can improve their skills accordingly.

打造一個好的產品是所有早期新創公司的核心，然而如何將產品從構想到販售並取顧客喜愛，則是一個需要理論與實務結合、不斷實驗的過程。在本論文中，作者將過去三年實際帶領產品-Voltset從出生到成長的經驗紀錄下來並與理論相呼應，探討一個新產品如何透過不斷循環的迭代過程 (iteration process)增加其新產品完整度 (product readiness) 。這三年當中，作者歸納了 Voltset從初期抽象構想的形成，獲得第一位付費的客戶，到後期在全球最大的群眾募資平台上進行全球市場驗證的過程。本論文主要會針對兩大部分做深度討論: 第一部分著重於探討如何在各種實際市場驗證測試中增加產品就緒度，並點出在目前現有理論框架，如: 精實創業 (the Lean startup) 下可能與實際執行面不同之處。根據本產品的經驗，新產品第一次的迭代過程循環應該經由以下幾個步驟：產品目標市場願景、產品本身定義、最小可行性產品構築、意見領袖背書、市場驗證、市場測試與學習。第二部分則是討論當在定義一個新產品的功能與特徵時，如何正確地選擇性聽取以及以什麼方式來聽取目標客戶的需求。根據打造 Voltset產品的經驗，作者發現當潛在客戶聲音太廣泛時，應只聽取”已付費”客戶的意見，因為該族群的產生是藉由深入了解產品價值，並經歷認同與付費過程而形成，因此會在產品的功能與特徵上的需求較聚焦。 本論文藉由親身實務經驗與理論的對話提供深度的產品迭代過程探討，作者期許這樣的研究能對於縮小理論與實務的鴻溝做出貢獻。 / Product building is a core activity for any early-stage startup. However, there are still many gaps between literature to real world practice for successfully developing a product that is accepted by the market. In this thesis, the building experience of Voltset -- a one of the kind hardware and software integrated multimeter, is studied for its journey of product iteration process to increase product readiness. The cofounder of the startup as well as the author of this thesis, has reflected his firsthand experience with literature such as the Commercializing New Technologies and the Lean Startup to seek steps necessary to move the project from shaping an abstract concept, acquiring the first paying customer, and then campaigning a successful crowd funding project. The thesis focuses on answering two questions: First, what are the steps required to enhance product readiness through validation testing from the first business idea to receiving its first group of paying customers. Based on the experience of Voltset and the Lean startup framework, it suggests the first product iteration process should loop through the following stages: Product market vision, product definition, minimum viable product building, key opinion leader endorsement, validation sell, measure, and learn. Second, when a product specification needs to be pinpointed, who and how to listen to the voice of targeted customers (VOC) is the state-of-art question for early-stage startups. Within the scope of this experience, it indicates to focus only on paying customers since they understand the potential value of the new product and have similar needs compare to the wide range of feature request from the rest of potential buyers. This thesis provides the insights of product iteration from first-hand experience, enriching the knowledge gap between real product building and theoretic framework point of view.

歌唱選秀節目已蔚為全球風潮，亦於兩岸電視媒體、社會文化刮起流行旋風。本研究依據媒介生態系統將歌唱選秀節目劃分為外部生態系統（包含市場、政策／法規、社會等因子）、內部生態系統（包含製作方、廣告商、閱聽人等因子）等建立分析架構，探討兩者如何影響兩岸歌唱選秀節目發展。透過爬梳文獻、深度訪談學界和業界共計七名專業人士，輔以中國大陸燦星製作聯合浙江衛視開播《中國好聲音》和臺灣金星娛樂攜手中視推出《超級星光大道》為個案研究，比較分析兩岸歌唱選秀節目之異同並提出互為借鏡之處。 研究發現兩岸歌唱選秀節目外部生態系統之（1）市場：中國大陸早期傾向自製自播、借鑑、引進海外歌唱選秀節目模式版權，近期開始嘗試創新研發；臺灣面臨新、舊媒體競逐單一市場、分食廣告有限預算。（2）政策：中國大陸著重限縮引進海外歌唱選秀節目模式版權數量；臺灣聚焦管制廣告冠名贊助、置入行銷形式。（3）社會：中國大陸熱愛臺灣流行音樂；臺灣渴求優質新興節目內容。兩岸歌唱選秀節目內部生態系統之（1）製作方：中國大陸引進海外歌唱選秀節目模式版權初期雖廣受好評，後期卻因節目高度同質導致閱聽人陷入審美疲勞；臺灣面臨資金／資源匱乏和人才流失困境難以突破。（2）廣告商：中國大陸冠名贊助、置入行銷花招百出；臺灣逐漸放寬廣告冠名贊助、置入行銷，惟政策起步較晚且廣告商呈現保守觀望態度。（3）閱聽人：兩岸新興媒體蓬勃發展且型態百變，閱聽人亦隨之轉變收視行為，集中觀看線上影音內容。 整體而言，中國大陸仍渴求新興歌唱選秀節目模式版權，且配合政策逐年朝向自主創新發展；臺灣兼具創意及人才優勢，但亟待透過政策放寬輔助再次為電視媒體產業開源，以提升製播品質和研發原創歌唱選秀節目模式版權，重振旗鼓並力拓海外（華語）市場。