近年來台灣政府積極推動「營造英語生活環境行動方案」，再加上「國小英語課程」的實施，使得國小校園中充斥各種英語印刷文字佈置。本研究旨在了解這些校園英語環境印刷文字佈置之設計與成效及如何有效運用這些英語教學資源。 本研究對象來自於台北縣一國小九位教職員(其中包括四位行政人員和五位英語教師)以及622位三到六年級的學童。資料收集主要來源為訪談及問卷。收集的資料(主要採用描述性統計及卡方檢定)分別進行分析比較。 本研究主要的發現如下: 1.校園英語環境印刷文字佈置設計規劃主要由教育主管機關以及學校行政人員決定和負責。 2.英語教師參與校園英語環境印刷文字佈置設計規劃的程度會影響她們是否使用這些英文印刷文字進行教學的意願。 3.80%以上的受訪學生都注意到校園中的英語環境印刷文字佈置，也顯示高度的學習意願。但是由於多數英語教師未使用這些英語環境印刷文字於教學，這些校園英語環境印刷文字佈置對於學生英語學習幫助不明顯。 4.大部分的受訪者贊同校園中英語環境印刷文字佈置的必要性，並提出建議。 本研究有助於初步瞭解校園中英語環境印刷文字佈置的設計使用情形和成效。文末作者進一步提供英語環境印刷文字佈置設計和應用之相關建議，作為未來校園英語環境印刷文字佈置設計之參考。 / In Taiwan, with the policy of creating an English-friendly environment and new elementary school English curriculum, different kinds of environmental print (EP) such as English signs and English learning related posters can be seen in nearly every elementary school. It is important to have a clear idea about the effectiveness of elementary school’s environmental print (ESEP) and how to make use of ESEP. The purpose of the present study is to investigate the design of the ESEP and its effect in language learning and teaching. Participants of the study were nine school staff and 622 students sampled from the third grade to the sixth grade in one elementary school in Taipei county. Two sets of interviews and questionnaires were employed to collect data. Both qualitative analysis of interviews and quantitative statistical analysis (descriptive statistics focusing on frequency and percentage examination, and chi-square test) of the questionnaire were employed. The major findings are summarized as follows. First, the design of ESEP is primarily a top-down process. The educational authority and the school’s administrative staff directed the design of ESEP. Second, the degree of the involvement of the design of ESEP influenced English teachers’ willingness to conduct ESEP instruction. Third, more than 80% of the students noticed the existence of ESPE and showed high interest in learning about ESEP. However, without English teachers’ instruction, the effectiveness of ESEP in students’ language learning was not obvious. Fourth, most participants appreciated the existence of ESEP, and they gave suggestions for future ESEP development. Finally, some implications and suggestions for future research were discussed.

字彙學習是語文能力重要的一環，許多教學也都是以提升孩童單字量之目的設計的，其中，故事閱讀活動就被推崇為是能以提供豐富情境的方式來增進孩童語文能力的有效策略。本研究主旨在探討繪本共讀對EFL國小學童字彙學習的影響，主要的研究方向有：(1) 圖文標指與引導問答教學對學童運用繪本學習字彙的影響; (2)不同教學引導方式對學生字彙保留量的影響; (3)不同教學引導方式對不同程度學生所產生的影響。 受試者為五十四位台北縣五年級國小學童，其字彙測驗成績則為資料分析來源。本研究主要發現有下列幾點。第一，圖文標指和引導問答教學對國小學童運用繪本學習字彙皆有助益。第二，圖文標指和引導問答教學對學童字彙保留量都有正面的影響。第三，英語學習高成就學生在運用繪本學習字彙上收穫比低成就學生多，其中，圖文標指教學對高成就以及低成就學生皆有助益；此外，總括來說，引導問答教學對高成就學生的字彙學習幫助最大。 最後，本文提供了教學者以及日後研究者相關建議，並期盼研究結果能帶給台灣英語老師一些字彙教學上的參考。 / Vocabulary plays an important role in children’s emergent literacy. Many instructions were developed to build children’s word knowledge. Among them, storybook reading is promoted to be an effective strategy that enhances children’s literacy by providing rich contexts. The purpose of the present study aims to examine the effects of the techniques of labeling (L) and labeling plus questioning (L+Q) for vocabulary teaching with storybook reading in EFL elementary school. The study is mainly concerned with three aspects: (1) the effects of L and L+Q on student’s vocabulary learning during shared storybook reading; (2) student’s retention of learned vocabulary affected by the two techniques; (3) the influence of the two techniques on students with diverse English proficiency. Participants were 54 fifth-grade elementary school students in Taipei County, and the data analysis was based on their performance of the Picture Vocabulary Test (PVT). The findings of the study are as follows. First, L and L+Q techniques were both beneficial for student’s receptive vocabulary learning during shared storybook reading. Second, both L and L+Q techniques were effective in retaining student’s word knowledge. Third, overall performance of students with high English proficiency (HEP) in PVT improved more significantly than that of students with low English proficiency (LEP). Besides, L technique was helpful for HEP and LEP’s receptive vocabulary learning, but not for HEP’s word retention. Moreover, HEP were most influenced by L+Q technique in vocabulary learning during shared storybook reading. Based on the findings of the present study, pedagogical implications and suggestions for future study were provided at the end of the thesis.

一國如在教育上過度強調以學業為導向，就會出現具有雙刃劍角色的補習現象通常會，一方面幫助學生在學術能力測驗中取得高成就，另一方面限制了學生的創造性發展。部分學生因為在普通學校中無法取得足夠的知識和技能，故而轉向補習班為測驗做準備。尤其在英語科目成為主要考核科目之後，補習班的項目也因此更加多元。本研究旨在關注台灣補習教育何以在1990年代教改之後，依然擴張的現況，補習班如何從日常學習的補充角色，轉向台灣中學生教育中的必要部分。研究者針對補習班英語教學方法進行探討，透過對補習班經營者、教師和補習學生進行深度訪談，來瞭解他們的相關經驗。研究結果發現，補習班經營者意透多元與另類等途徑，聘請英語教師，來提升教學的創意。至於教師的訪談發現，英語教師通過嘗試新的教學方法來幫助學生在學業方面取得更好的成績，但是這種方式存在一定的局限性。本研究印一步發現補習班教師包括來自英語國家的和非英語國家，即使某些補習班老師並未取得教師資格證書，但在學生看來比一般學校的英語任課老師更加優秀。值得注意的是，大多數學生認為補習班的教學方法與一般學校相差無幾，但是學生滿意度明顯高於主流學校英語教師。本研究進一步確認補習班因商業利益等考量，許多訊息備受保密，使得研究者難以獲得一套完整的教學方法和學生經驗。 / In an academically oriented nation, there is a realization that attending a cram school can be double-edged, as they often offer great outcomes in students’ academic achievements especially with their test scores but they can also limit students’ creative development. Unable to obtain sufficient knowledge and skills for tests in mainstream schools, students have commonly turned to cram schools for examination preparation. Educational reforms enforcing English as a main examination subject greatly diversified the possibilities for tutoring and in fact helped cram schools’ diversification. The study focuses on the phenomenon of the influx of cram schools, and how it’s no longer a supplement, but instead a necessity of a secondary student’s education in Taiwan. This study starts with investigating the cram school phenomenon, as well as to discuss the teaching methods used in English classes. Finally, data has been collected through in-depth interviews among cram school owners, teachers and former attendees to look at their experience in cram school . The results of the study shows that the cram school owners approved the necessity to enhance creative teaching through alternative methods so as hiring teachers with supplementary talents. The teacher interviews revealed that trying new approaches to teaching have helped students achieve better outcomes academically, but sometimes only to a certain extent that is why cram schools can be double-edged. The paradox of this study is the cram school teachers’ qualifications for both native and English speakers. In fact, even though they may not have any teaching qualifications, cram school teachers are described by students as being better teachers compared to the ones in regular school. Significantly, the study discovered that a majority of students find cram school teaching methods in general so as the overall experience to be more satisfactory than with mainstream school The study finally showed that gaining information about cram schooling can be difficult as there is some secrecy surrounding it. This prevented the researcher from gaining a complete picture of cram school teaching methods and students’ experience.

本研究設計了一個結合遊戲性及新型互動體驗的英語學習輔助玩具，目的是將英語學習帶入學齡前兒童的戲水情境之中，兒童可透過與玩具遊戲的過程，達到英語學習歷程的催化。本研究開發之數位互動玩具，可藉由手與尾巴做出不同組合的動作，以及眼睛可以投射出燈光圖案表達不同情緒。並透過語音播放出故事中的單字與句子，再藉由以上的功能會組成不同的回饋。小朋友能用摸與說話的方式，在與玩具之間的遊戲過程中，達到產生興趣的效果。 現階段本研究探討使用者經驗的分析，若要分析小朋友的正式學習歷程，就必須先了解小朋友的動機和使用後的回饋，以讓未來學習歷程中的研究作為基礎。因此，基於認知心理學家的理論討論幼兒學習的歷程，以及為了得知如何設計適合的玩具給小朋友，本研究提出設計時的原則以及使用者經驗與使用性，建構出互動玩具的雛形。實驗評估對象共為8位3~5歲之兒童(第一階段7位，第二階段1位)，以觀察的方式紀錄實驗過程，利用開放式問題詢問小朋友的回饋，並以進行整理與分析。總結，研究成果為： 1. 互動學習體驗：將科技結合一般戲水玩具，透過觸摸及語音的互動方式產生動作、燈光圖案、聲音等回饋，從戲水互動過程中給予兒童新的互動學習體驗。 2. 學習與探索的動機：本研究依據Skinner的操作制約概念制定互動流程，玩具經實驗發現透過觸摸及口說的互動，產生了多元回饋刺激，包含故事內容及卡牌的配合，讓小朋友在遊戲過程中能自行探索內容並在過程中學習。 3. 使用者經驗與使用性分析：從使用性五項指標分析情緒起伏歷程紀錄及分析使用者經驗，發現玩具容易讓小朋友操作且記憶玩具提供之內容，整體使用性是高的。但相較於觸摸的互動方式，說話的互動方式會讓小朋友在操作上使用性較低。 互動玩具的設計製作：以UCD的設計思維建構互動玩具外型設計、人機互動方式及內容設計，並再以Arduino為主要載體建構模組化之設計。 / This study designed an English learning toy that combined the game and a new interactive experience. This aim is to integrate English learning into the context of preschoolers playing in water and use the interaction with the toy to promote the English learning process. In this study, the digital interactive toy we made that can make different combinations of action by using its hands and tail, project out the lighting patterns to express various emotions by its eyes, and play out the words and sentences of the story by the voice player. According to the above functions, the toy forms different ways of feedback. It is effective that children can develop an interest in the toy by the ways of touching and saying in the process of game playing. At present, this study explored the analysis of user experience, if we want to analysis the children's formal learning process, we must first understand the child's motivation and feedback after use, so that it can be a foundation of the learning process in the future. Thus, the study is based on the theory of cognitive psychologists that discussed the course of early childhood learning. In order to know how to design a suitable toy for preschoolers, this study built the prototype of the interactive toy through presenting the design principles and user experience and usability. The subjects were 8 preschoolers (3-5 years of age) enrolled in the study (7 subjects in the first stage and 1 subject in the third stage). Researcher recorded the experimental procedure by the way of observing, inquired the research subjects to get their feedback by opened questions, and then digested and analyzed to the conclusion. Summary, the results of this research are in the following: (1) Interactive learning experience: The combination of technology and the general water-playing toys. The digital interactive toy let preschoolers get a new interactive learning experience through the way of touching and speaking to emerge action, light patterns, sound and other feedback. (2) Learning motivation and exploration: Based on Skinner's operational control concept, the research has found that the toy stimulates a variety of feedback through touching and speaking of the interaction, including the story content and cards. The preschoolers in the course of the game can explore the content by themselves and learning during the process. (3) User experience and usability analysis: According to the use of five indicators to analyze the course of emotional change and user experience, the research has found that the toys easily to be operated by children and made them keep memory of the contents the toy provided. The overall use is high, however, compared to the interactive way of touching, the way of speaking is lower in the children’s operation. (4) Interactive toy design: The toy is based on UCD design thinking to construct interactive toy exterior design, human-computer interaction and content design. The main carrier is Arduino to build out the modular design.

本文從中國精英政治的性別角度提出女性幹部遷調分析，並提供如何突破有關中國的政治體制內的女性棈英幹部被稱為“玻璃天花板”的資訊。本文意旨在專業鑑別女性幹部的特質或屬性，來找其可能的連結，如果有這些特質的話，如何在中國政治逐步制度化的範圍內，分析出這些特質和女性幹部的遷調速率之關係。 / This thesis is an analysis of mobility in Chinese elite politics from a gender perspective and provides information on the women who break the so-called “glass ceiling” within the Chinese political system. It aims specifically to identify the prevailing characteristics or attributes of female elite cadres to find possible links, if any, between these characteristics and their mobility rates, within the context of increasing institutionalization of Chinese politics.

本論文主要探討十六至十七世紀的仙境繪畫及其所反映的仙境觀念，並以歸入仇英名下的仙境圖為中心，通過分析畫中的內容意涵，藉以展現十六至十七世紀明人對仙境圖處理的多樣性。 / 基於現時傳為出自仇英手筆的仙境圖最多，仇英可以說是當時十六至十七世紀對仙境題材創作情況的一個縮影。加上，仇英作為十六世紀具代表性的職業畫家，其仙境圖很有可能是針對具體的「使用對象」而生產，迎合不同人的不同想法和需要。在這種前提下，本文將仇英以及託名仇英的仙境圖理解為十六至十七世紀藝術市場需求下的產物，並從剖析它們的題材和構圖入手，以揭示受畫人對於仙境畫作的情感寄託。 / 所謂仙境圖，即是描繪神仙所居的圖像。仙境圖可歸入山水畫科，而且與山水畫的界定比較模糊。就畫中不同的圖像表現，可將仇英名下的仙境圖分成五類：第一種是以個別神仙入畫的仙境圖；第二種是畫中出現道士煉丹場景的仙境圖；第三種是畫有等候飛昇的歷史人物的仙境圖；第四種是描繪「桃花源」主題的仙境圖；最後一種是懷有文人情調的仙境圖。 / 本文以其中三類仙境圖為例，指出時人對仙境的運用各有差別：以個別神仙入畫的仙境圖較適用於壽慶場合，畫有道士煉丹場景的仙境圖則似是作為當時追求長生的慰藉，而以文人形象入畫的仙境圖即蘊含隱世思想；從而說明這些仙境圖在明代社會中發揮不同的作用，傳達不同的信息，滿足不同的需求，反映出繪畫與使用場合及使用對象之間的緊密關係。 / This thesis attempts to study the immortal landscape paintings from the sixteenth to seventeenth century as well as the ideas on the realm of immortals embodied in these paintings. Focusing on the immortal landscape paintings attributed to Qiu Ying, this thesis analyses their themes and allusive meanings, and thus presents the diversity in the diverse approaches adopted in the immortal landscape paintings in the late Ming period. / Since a majority of the immortal landscape paintings survived today is attributed to Qiu Ying, his works can be seen as the encapsulation of the artistic creations on the theme of the realm of immortals dated in the sixteenth and seventeenth century. A representative professional painter of the time, Qiu Ying probably produced his works for a certain group of intended audience in accordance with a variety of ideas and needs. With this presupposition this thesis regards Qiu Ying’s works and the imitations of such as the products responding the demands of the art market in the sixteenth and seventeenth century. Through an analysis of the subject matter and composition of the paintings, this thesis reveals the sentimental values held by the immortal landscape paintings for their possessors. / Depicting the dwellings of deities, immortal landscape paintings can be identified as a sub-genre of landscape paintings and are hardly distinct from other landscape paintings. The immortal landscape paintings by Qiu Ying can be classified into five types in terms of visual elements, including: I) particular deities; II) Taoist adepts practicing alchemy; III) historical figures awaiting respectfully for ascending to celestial realms; IV) Peach Blossom Spring, the Chinese equivalent of utopia; and V) scenes imbued with literati spirit. / Of these five types of immortal landscape paintings, examples from three are selected to demonstrate their different functionalities in Ming society; immortal landscape paintings portraying particular deities were created for festive occasions, while those depicting Taoist alchemy and literati figures offered reassurance on the quest for immortality and implied reclusive spirit respectively. Through a detailed investigation this thesis illustrates that immortal landscape paintings were produced to serve a variety of functions, to convey different messages, and to accommodate various needs in Ming society, thus testifying the close association between paintings, objects of utility and the occasions they are created for. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊晉宜. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 105-122). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Yang Jinyi. / 內容摘要 --- p.i / 誌謝辭 --- p.v / 前言 --- p.1 / Chapter 一、 --- 研究動機與目的 --- p.1 / Chapter 二、 --- 近人研究概況 --- p.3 / Chapter 三、 --- 研究意義 --- p.5 / Chapter 1. --- 仇英仙境圖作為道教藝術的一個面向 --- p.5 / Chapter 2. --- 仙境圖作為十六世紀藝術市場需求下的產物 --- p.7 / Chapter 第一章 --- 研究對象的釐清與選取 --- p.9 / Chapter 一、 --- 仇英與仙境圖的關係 --- p.9 / Chapter 二、 --- 仙境圖的定義 --- p.16 / Chapter 三、 --- 仇英仙境圖比例分析 --- p.24 / Chapter 1. --- 數字統計 --- p.24 / Chapter 2. --- 歸納分類 --- p.31 / 小結、仙境圖類型與研究路徑 --- p.38 / Chapter 第二章 --- 仙境圖中的神仙與蟠桃 --- p.40 / Chapter 一、 --- 兩件畫作的產生情況 --- p.41 / Chapter 二、 --- 內容意涵的差異 --- p.44 / Chapter 三、 --- 為祝某人之壽辰 --- p.54 / 小結、神仙形象與仙境圖 --- p.59 / Chapter 第三章 --- 仙境圖中的道士燒丹場景 --- p.60 / Chapter 一、 --- 明代有關煉丹的畫作 --- p.61 / Chapter 二、 --- 燒丹與神仙的關係 --- p.64 / Chapter 三、 --- 煉丹對明人的意義 --- p.68 / Chapter 四、 --- 仙真與山水相融的構圖 --- p.71 / 小結、道士燒丹與仙境圖 --- p.74 / Chapter 第四章 --- 仙境圖中的文人雅趣 --- p.76 / Chapter 一、 --- 仙境圖中文人形象的顯隱差異 --- p.77 / Chapter 二、 --- 文人形象在仙境圖的其中一種作用 --- p.84 / Chapter 1. --- 以玉洞桃花造境 --- p.86 / Chapter 2. --- 人迹於仙山 --- p.90 / Chapter 3. --- 畫中人的真實身份 --- p.94 / 小結、文人形象與仙境圖 --- p.99 / 結論 --- p.101 / 參考書目 --- p.105 / Chapter 附表一、 --- 文獻著錄的仙境圖統計 --- p.124 / Chapter 附表二、 --- 仇英仙境圖列表 --- p.126 / Chapter 附表三、 --- 〈蟠桃圖〉各版本場景列表 --- p.128 / 圖版 --- p.131

Fiction has emerged as a major medium for modern Chinese to express their imagination and 'narrate' the country since Liang Qichao advocated the importance of 'New Fiction'. Over the past century, fiction (including both its form and content) has undergone various changes in response to the transformation of the modern Chinese society. In 1993, David Der-wei Wang initiated a discussion on 'Imagination of China', examining how Chinese people imagined the past, present and future of the country through fiction as a means of fabricated narration. While diegesis is a literary concept central to Realism and lyric constitutes a typical form of Romanticism, visual expression is the technique representative of Modernism. This method was first introduced to Shanghai by Liu Na'ou from colonial Taiwan and it exerted tremendous impacts on the works of Mu Shiying and Eileen Chang subsequently. The present dissertation sought to address two main questions pertaining to 'visuality'. First, how did the fictions of Liu Na'ou, Mu Shiying and Eileen Chang use visual expression for imagination of China? A related concern was how this approach reflected and molded the modern experience of China. Second, how was this particular mode of imagination related to other forms of imagination of the time? Also, what was its association with the politics and ideology in the arena of power? This dissertation did not only analyze the visual properties of this particular mode of imagination, but also examined the power issues underlying the technique, including colonialism and post-colonialism, literature and image, as well as man and woman. / There are five chapters in the dissertation. The first chapter introduces the framework, method, and background of the research. Chapter two examines how Liu Na'ou, Mu Shiying and Eileen Chang imported, migrated and mimicked the visual perceptions of colonists when expressing their imagination of China. On the one hand, this kind of imagination closely resembled the mentality of colonists such as France and Japan. On the other hand, the three authors strived to make modifications, formed critical judgments and reflected on the roles of the colonizer and the colonized during the process of imagination. All these were manifested in the changes in the form of presentation characterizing their fictions. As such, examination of these changes relative to the literature from the 1930s to 1940s is another focus of this chapter. Chapter three explores how Liu Na'ou, Mu Shiying and Eileen Chang incorporated the visual features of movies into fictions when expressing their imagination of modern China. The interaction between literature and image (especially the influence of movie on the presentation of fiction) inspired the three authors to come up with an alternative perceptive regarding imagination of China. The intersection of fiction and movie also allowed more room for fictitious creation, giving rise to a different mode of imagination beyond those featuring Realism and Romanticism. Some other issues covered in this chapter include why and how this approach guided the imagination of readers in designated time and space, as well as its relationship with the national discourse. Chapter four discussed the problems concerning imagination of China with reference to visuality and alternation in sexual subjectivity. Male vision could be identified in the fictions of Liu Na'ou and Mu Shiying. However, under the symbolic system of patriarchal culture, such male vision, when compared with the vision of the colonizer, is apparently less prominent in terms of male subjectivity. In their fictions, female characters are usually 'seen' through the lens of others and such female images are largely consistent with the male authors' perceptions of national subjectivity. This chapter also investigated how Eileen Chang used vision as a way to reflect on the male perceptions of female images, as well as how she was imagined and defined as a female author in the field of literature. Chapter five is the conclusion, which highlights the significance of visual expression in Liu Na'ou's, Mu Shiying's and Eileen Chang's fictions. / 梁慕靈. / Adviser: Hang Fung Carole Hoyan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 269-306). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Liang Muling.

政治代表著一種權威性的價值分配，政府的工作便是在制訂與執行這些價值分配的政策，其間必然牽涉到權力的形成、分配與運用，而菁英往往比一般人更有權力，因此菁英如何影響政策制訂是一個值得關注的問題。 而「國民身分健保合一智慧卡（簡稱國民卡）計畫」，從相關的報導中，筆者發現國民卡一案的決策過程乃是以菁英決策的方式出現，主要涉及行政菁英、立法菁英、知識菁英與企業菁英間的互動，因而希望藉由國民卡個案的探討，進一步對菁英理論如何應用於政策制訂過程有較為深入的了解。 本文係採文獻探討法與深度訪談法，首先對政策制訂過程與菁英理論進行探討，並將菁英分為行政菁英、立法菁英、知識菁英與企業菁英四類，進而就其角色、影響政策的策略進行說明，在獲得菁英理論如何應用於政策制訂過程的大致輪廓後，接著對國民卡政策制訂過程進行說明，並對國民卡方案中各類菁英運用策略進行分析，最後作出結論。 本文研究發現如下：一、國民卡方案的制訂，深受菁英理念之影響；二、社會大眾對國民卡方案制訂之影響有限；三、少數菁英對於政策有重大影響；四、權力由一元轉為多元。 在研究建議方面，本文除對菁英理論作出建議外，對於實務上亦提供相關政策建議，包括：一、政策綠皮書的公布；二、建立完善諮詢制度，善用吸納策略；三、採取漸進策略；四、強化政黨協商，適度滿足各方需求；五、健全資訊政策相關立法。

本文旨在探討英語人士在中文否定句的習得過程中，是否呈現系統性發展。本研究以訪問的方式進行語料的收集，以比較性問題引導語者產製否定句型。受訪者中八位在國立政治大學語言視聽中心學習中文，二位為長期居住在台灣之英語語者。十位語者的語言表現將視為一個整體，以Implicational Scaling的方法進行結果分析。 中文最主要的否定詞為「不」與「沒」。中文否定句不同於英文否定句在於中文否定句除必需考量句法結構之因素外，否定詞的選用尚必需考量語意因素。除傳統所認為「沒」乃由「不」所衍生出來，且「沒」適用於變化後的（inflected）動詞外，根據石毓智（1992）的分析，「不」與「沒」的使用，具有清楚的分工，「不」用來否定具「連續量」的字詞（word of continuous quantity），而「沒」用來否定具「離散量」的字詞（word of separate quantity）。此外，否定詞的使用，尚受限於被否定的字詞，其定量（fixed quantity）與非定量（non-fixed quantity）的約束。 就表面結構而言，受訪者總共產製了四十二個句型。將這些句型歸納成深層結構而後進行Implicational Scaling。研究結果顯示，英語人士依一系統性的發展順序習得中文之否定句。同時結果亦顯示學習乃由易到難，由普遍到特殊的發展順序。 / The present study aims to explore the developmental sequences of Chinese negation by adult English speakers. The study collects data by interviewing and uses comparative questions to elicit negative structures. Ten adult English speakers are interviewed in which eight study Chinese in The Language Center in Chengchi University and two work in Taiwan over ten years. It is hypothesized that most learners develop a language in a common sequence of steps even though there are deviations of individual speakers. Therefore, the ten informants are regarded as a whole to explore the developmental sequence of Chinese negation by Implicational Scaling. Two main negators in Mandarin Chinese are bu and mei. Traditionally, it is proposed that the two negators are in complementary distribution. Bu becomes to mei when the following verb is you or as an "inflected verb." Besides, according to Shi (1992), the two negators have definitely different functions: bu is used to negate words of continuous quantity and mei words of separate quantity. In addition, whether a word or a phrase is fixed-quantity one or non-fixed-quantity one also influences the occurrence with the negators. Accordingly, It is obviously that Chinese negative structures differ from English and is much more complicated than English. There are 42 surface structures of negation produced by the informants which are generalized into eighteen ones based on the rules of deep structures. And then they are scaled into an implicational ordering. The results are valid and we can infer the development of negation into several stages. Furthermore, it shows that negative structures which are specifically used in Chinese are acquired latter. Therefore, it is proposed that adult English speakers acquire Chinese negation in a common sequence, developing from general structures to specific ones.

本論文中，我利用雷蒙‧威廉斯的文化唯物論，來分析伊莉莎白‧蓋茲凱爾的第二本「社會問題小說」《北與南》中所呈現出的經濟制度、社會與文化間的關係，並進一步探討蓋茲凱爾對維多利亞時代的社會問題所提出的「解決方案」。 由於《北與南》這本小說的主要焦點在於工業化資本主義規章與生活型態的討論，故一直以來，《北與南》所接受的批評也多屬於社會議題層面，與其相關的解決之道，多數批評家，尤其是馬克斯主義的批評家，多半批評蓋茲凱爾試圖以「資本主義」架構解決當代的經濟與社會問題，但我則認為玆凱爾並非完全認同資本主義文化，而是藉由小說中所呈現出的各種衝突，塑造一種新興文化，=而威廉斯理論中有關「下層結構」與「上層結構」之間，以及殘留、統治、與新興這三種文化間的辦證關係，不僅能讓我門重新衡量經濟、社會與文化間的關係，更提供了閱讀蓋茲凱爾小說的另一種文化觀點。 / In this thesis, I apply Raymond Williams's theory of cultural materialism to analyze the relationships among the economic system, society, and culture presented by Elizabeth Gaskell in her second "social-problem" novel, North and South, and thus to examine Gaskell's "solution" to her contemporary social problems. With its focus on the dominant philosophy of industrial capitalism, North and South has received repeated criticism on several social issues and their related solutions. When most critics, especially the Marxist critics, attack Gaskell's "capitalist" solutions to economic and social problems in her society, I argue that Gaskell actually portrays an emergent culture within various conflicts in her novel. Williams's convepts of dialectical relationship between "the base" and "the super-stucture," and among the residual, the dominant, and the emergent cultures not only help to re-evaluate relations among economy, society, and culture, but also offer a cultural reading of Gaskell's novel.