本研究以 2014 年台北市長選舉期間的政治 KUSO 創作為研究對象,採用網 路民族誌為研究方法,深度訪談四位競選期間 KUSO 作品知名度、人氣皆高的 KUSO 創作者。從創作方式、創作動機與目的、創作與自我展演三大面向探究台 灣政治 KUSO 創作與創作者之關係,研究結果發現: 一、政治 KUSO 創作者是「反輔選」之「分身」:創作者將自己視為政治人物的 「分身」,把自身對社會議題的省思以娛樂包裝,透過反輔選的方式表達立 場,體現了 Bakhtin 的「狂歡化」語言。 二、創作動機是不滿政治環境:幾乎所有 KUSO 創作者都認為受到 2014 年「太 陽花學運」的影響,並以娛樂、抒發個人意見及獲得認同為主要創作目的。 三、政治 KUSO 創作者不在意反對之社群聲音:創作者雖然創作目的之一是獲 得認同感,但面對對立黨派支持者的反對聲浪不在意。 四、KUSO 只是工具,創作者意在參與、表達意見:KUSO 本身是一個傳遞資訊 的工具,在政治議題之下產生的 KUSO 就是創作者參與政治、表達意見的 方式。 五、KUSO 創作者選擇匿名以避免社交障礙:在全新的匿名身份保護下,創作者 可以暢所欲言,不用擔心自己的政治立場被眾人審議,政治性言論也不會影 響到真實生活的人際關係。

網路世界眾聲喧嘩，臉書(Facebook)平台以其社群形式，全面改寫了傳統大傳媒體的閱聽人的角色，並賦予其更多傳播、新聞再製、重製的權力。事實上網絡的每個節點與另一個節點之間，都透過分享、評論與按讚等行為，而呈現有機變化。 本研究以臉書社群上之使用者為研究個案，透過模擬帳號於臉書平台上複製出使用者平時會看到的內容與情境，透過受訪者對於網路即時事件的回應行為進行觀察，歸納出個文章主題之偏好程度與性別、年齡、職業別是否有差異性；而後，再透過一對一的訪談方式，以進一步理解每一位受訪者對臉書貼文之回應行為動機，以及於臉書中自我展演行為之看法。 根據本研究之發現，得出四項成果: 1. 臉書文章主題之閱讀偏好與使用者性別、年齡、職業別有關。 2. 閱聽人之自主性展演表現於「略過」行為。 3. 閱聽人之自主性展現，對於研究設計內容及其回應之關聯性，難以脈絡化。 4. 閱聽人之觀展行為，使得虛擬與實境間的界線消失。 / The Net world is full of sounds and noises. Taken its format of social networking, Facebook radically rewrites the role of spectator used to be designated by traditional mass media. Nowadays the spectator is given the power of transmitting, rewriting, and remolding any social event when surfing and browsing Facebook. As we look at each spectator as a node in the Net world, the relation between one node and many other nodes has become organic as they perform the actions of “share”, “comment”, and “like” on Facebook. This study aims to analyze how and why Facebook users react to certain articles as they browse through a specifically designed Facebook account, in which articles of various themes and topics are posted. It also tries to differentiate those Facebook users according to gender, age, and occupation, in order to understand their personal preferences toward different articles. The methodologies of this study include participation and observation, and one-on-one in-depth interview, so that motivations of each study subject’s responses to those articles can be found. The study findings are as following: 1. The preferences of certain article correspond to gender, age, and occupation of study subjects. 2. The self presentation of study subjects is reflected through the “skip” function. 3. It is difficult to contextualize the relationship between the self presentation of study subjects and those chosen articles. 4. The surfing and browsing action performed by study subjects on Facebook elimate the line between virtual world and real world.

在大多數人的日記經驗中，藏匿、上鎖、被偷窺後的憤怒總是如影隨形，因為所有說不出與不能說的秘密，都被寄情於日記之中。然而隨著網路普及，越來越多的基本生活需求可藉由網路滿足後，傳統的紙本日記也開始轉以網路作為記載與儲存的媒介，成了任何人都可公開遊賞的園地。 / 本文基於研究者本身在網路日記社群三年來的親身書寫參與經驗，以「愛情國小」作為主要研究場域，除了以日記作為文本分析的對象外，並深入訪談重度使用者以及退用者，以瞭解使用者如何處理既公開又私密的網路日記書寫。本文自日記在東西方的歷史發展出發，先行定位私密在日記中扮演的角色，再輔以從社會心理學層面對秘密本質的探討，來重新探討公開與私密的問題。最後以Goffman分析日常生活之人際互動的戲劇理論為本，佐以社會學中的陌生人理論，解析人們如何在公開的網路日記裡進行表演，其間的變與不變。 / 顛覆了傳統紙本日記之私密形式的公開網路日記，之所以能為日記書寫者接受或喜愛，無非是它既能滿足日記書寫的基本需求，同時又能在日記書寫之餘創造與他人社交互動的樂趣。雖然紙本日記「自我忠實紀錄」之要素，必須仰賴將他人隔離的秘密形式才得以達成，但日記書寫者仍是企圖向日記中想像的對象揭露公開，解決秘密無處可訴的焦慮。而網路日記不僅隔離了現實生活中的親友熟人，更進一步為日記書寫者帶來了能提供積極聆聽，並能給予回應互動的具體觀眾。這些網路上似近實遠、似遠實近的陌生人，讓網路日記書寫者願意公開與之分享私密自我，並且無須擔憂網路日記紀錄的後台面向會對現實生活之前台演出造成破壞。換言之，網路日記既有公開面對觀眾、在意觀眾反應的前台特性，亦有自現實生活前台角色解放、呈現私密自我的後台性質，實則為一結合了公開與私密、前台與後台之「私密自我的展演」的中間地帶。因此，網路日記書寫者只能透過訊息管道的操弄與分寸拿捏，隨著與不同觀眾間親疏遠近的關係變化，揭露不同層面或程度的私密，且更進一步控制與不同觀眾間的心理距離。 / Diaries, on which personal matters are inscribed, are defined as a literary form that is written for oneself and therefore are kept privately, some even locked up, to avoid prying. However, the privateness, the distinguishing characteristic of diaries, has abated since the prevalent internet has become one of the media of storing content of diaries. The study is to investigate how diary writers coping with the conflict between the privateness and publicness in online diaries. / This study is based on the personal online diary writing experience of the author for three years in "Love School" ( http://love.youthwant.com.tw), the field of this study. The interviews with nine persons, including heavy users and dropouts that had ever been indulgent in Love School, are the main qualitative analysis material with some online diaries for textual analysis. / Beginning from exploring the changes in the nature of diaries both in eastern and western history, the study proceeds with probing to the characteristic of secrecy to comprehend that diaries inherently are both public and private. Moreover, Goffman's theory of human interaction in daily life and Simmel's of strangers offer steppingstones to detail the features—interacting and sharing intimacy with others unknown—of writing diaries on public internet. / Briefly speaking, the prevailing phenomenon of online diaries reveals that making diaries public can satisfy the needs of recording private life and of social contact simultaneously. Despite that traditional diary is kept away from anyone to ensure frankness, all the diary writers indeed still reveal themselves in it to some object(s), real or imaginary. Online diaries not only can exclude, if writers want, people who know them in person, but also bring in the unlimited audience with real feedback. Since the audience is composed of strangers, somehow far enough not to reach online diary writer's everyday life but virtually close to see his/her innermost, the online diary writer doesn't have to be anxious about the destruction of frontstage performances in everyday life, caused by backstage behaviors in diary being revealed. In other words, online diary is a frontstage as well as a backstage, that is, a middle region, where the division of the public and private is blurred. In online diaries, diary writers are able to disclose private selves hidden from frontstage role playing while audience¹s gaze and applause, absent in backstage, is all around. To reconcile the conflict between publicness and privateness, online diary writers master in manipulating information accesses and discretion. Therefore, they can disclose different aspects and degrees of privacy to various audiences according to various relationships, and can be the dominators subsequently to control psychological distances between them.