無

No description available.

本研究嘗試由「生活風格」觀點探討彩券消費者對公益彩券新聞的解讀。在理論部分，一方面希望能夠深入瞭解閱聽人個別的解讀情形，而不擬將閱聽人的解讀結果簡單分類；另一方面，也將探討閱聽人的生活風格與多重主體性，對閱聽人的彩券消費與新聞解讀情形之關係，以替代傳統接收分析的做法。 研究結果發現，彩券消費者對彩券新聞的解讀情形多元豐富，除了意義解讀尚包括各種「踰越」意義場域，自行進行的想像、遊移、情緒感受、愉悅等。研究並發現，彩券消費者的生活風格與多重主體性確實與其彩券消費與新聞解讀結果有關。但生活風格與閱聽人解讀的相關程度，似乎又與台灣社會的現代性與議題相關。

兒童的電視暴力行為模仿是存在的，常人由個人經驗和媒體的顯著個案報導對此現象建立表象的印證；而學者透過研究也證實電視暴力具有不良示範作用，和閱聽人─尤其是兒童─日常生活的攻擊行為脫離不了關係。但學界卻忽視了兒童的認知節目能力與電視暴力訊息的互動關係：兒童看過有暴力訊息的節目後，電視暴力訊息在兒童腦海裡會留下什麼印象；並進一步告訴常人如何扼止這些印象可能引起的不當後果。 　　本研究企圖應用故事基模理論於電視暴力訊息的研究，探討電視暴力訊息如何透過故事基模的運作，在兒童腦海中留下何種的印象。研究方法為場地實驗法配合問卷調查及深度訪談等多重方法設計。 　　研究發現，兒童的電視故事基模具有層級效果，愈上層回憶愈抽象。電視暴力訊息的高低和呈現方式，對兒童組織故事的方式沒有顯著的影響；但視覺呈現的高暴力訊息會使兒童對故事產生較多的推論；如果故事一開始就出現大量的高暴力畫面，則能強化兒童對故事開始情節的記憶。年齡和先備知識是有力的解釋變項。年長的、先備知識豐富的兒童電視故事基模較強，回憶數多、理解高、偏差少、推論多，顯見故事基模的形成一方面是自然的成熟因素，同時也受環境經驗因素的作用。 　　然而年幼兒童對於最易產生暴力訊息的反應和企圖事件的回憶數及詳細層次，與年長兒童無顯著差異，但對行為後果（施暴下場）記憶較簡略，可能因此產生施暴並無不可的解禁心理。此外，父母教育程度高、社會成績好、電視知識豐富的兒童故事基模亦較佳，尤其是男生可能因興趣使然，對本研究的故事記憶更好，且詳細記得反應和企圖事件。 　　根據研究發現，本研究建議未來電視暴力研究觀察互動情形、加強實驗設計、進行特定對象研究、進行長期研究；並對電視節目製作者提出加強故事張力減少暴力情節、不得不保留的暴力情節應淡化處理、發展電視識讀材料等實質建議。 / This study applied story schema theory to understand how children decoded the violent messages in television cartoon by a multi-method design. in-depth interviews were conducts with 60 subjects immediated after watching a TV cartoon with different violent level and media presented in a experiment. The same interviews were conducts again after one week. 　　The study demonstrate the 'effect level'in childern's TV story schema and find the top recall level is more abstract. No significant relationship between story schema and violence decoding were found, but visual-presented high violence may increase inferene and enhance memory on the beginning episode. These results correlated closely with age and story-relevant previous knowledge. Finally, the author make some suggestions to TV program producedr.

企業全球化趨勢的日亦普遍，致使全球化的行銷成為必須。廣告為行銷不可或缺的一環，因此，廣告的全球化勢在必行。近年來，全球化企業在台灣使用「全球化廣告」的情況愈來愈頻繁，無論其所使用的全球化廣告類型為何，閱聽人對這些全球化廣告的看法才是最重要的。 因此，本研究以不同類型的全球化廣告為研究主體，依據外國學者對不同類型全球化廣告的六種定義，使用其中的「完全標準化」、「半標準化」、「因地制宜的執行元素」，以及「概念在地化，執行全球化」等四種全球化廣告類型，從「接收分析」的角度出發，探討閱聽人面對不同類型全球化廣告文本時，他們如何解讀這些廣告文本。在探討解讀型態的同時，並設法了解閱聽人的「開放性人格特質」、閱聽人的「媒介依賴程度」、閱聽人對全球化企業所知覺到的「品牌形象」，以及不同類型的全球化廣告文本等概念，是如何影響閱聽人的解讀型態。 本研究透過「符號學」的分析方法，針對不同類型的全球化廣告做文本分析，同時運用「實地問卷調查法」的研究設計，對受訪者蒐集資料。除藉以了解閱聽人與不同類型全球化廣告文本間的互動關係外，並嘗試驗證變項間的因果關係。 研究結果發現，閱聽人對不同類型全球化廣告的認知程度愈深，愈容易對全球化廣告採取優勢型的解讀型態；閱聽人對電視的依賴程度愈高，愈容易對全球化廣告採取優勢型的解讀型態；閱聽人所知覺到的品牌形象愈趨近於正向，愈容易對全球化廣告採取優勢型的解讀型態；閱聽人的開放性人格特質程度愈高，愈容易對全球化廣告採取優勢型的解讀型態。 / With more and more global corporation widespread in the world﹐global marketing becomes necessary. Advertising is an essential part of marketing﹐therefore﹐the globalization of advertising have to be imperative. In recent years﹐the situation of global corporation in Taiwan uses global advertising becoming universal﹐no matter what type of global advertising they used﹐the most important thing is the viewpoint of audience. Therefore﹐the material of this study are different types of global advertising. In accordance with six different definitions of global advertising from foreign researchers and I selected four types from them﹐they are“Fully Standardized.”､“Semi–Standardized.”､“Varying Standard Executional Elements.”﹐and “Act Global﹐Think Local.”The study started with the approach of“Reception Analysis.”To investigate how the audience interpret different types of global advertising. Meanwhile﹐try to recognize how the audience’s personality trait of openness﹐degree of media dependency﹐cognition of brand image of global corporation﹐and the different types of global advertising itself influences the audience’s interpretation pattern. The present study uses“Semiology”to analyze the content of different types of global advertising﹐simultaneously﹐using the research design of“on–the–spot questionnaire”to collect the respondents’ data﹐in order to understand the relationship between the different types of global advertising and the audience﹐and try to examine the variable causality. The results of the study are﹕when the audience have deeper cognition of different types of global advertising﹐their interpretation pattern of global advertising tend to be more dominant. When the audience’s degree of media dependency is higher﹐they well take the dominant interpretation pattern of global advertising easier﹒When the audience’s cognition of brand image is more positive﹐their interpretation pattern of global advertising incline to be more dominant﹒When the audience’s degree of personality trait of openness is higher﹐they well adopt the dominant interpretation pattern of global advertising easier.

全球的經營環境詭譎多變，對企業而言「變」是唯一的不變。在競爭環境中，大者恆大，資源集中在強勢企業身上，而弱勢企業只能以手邊僅有的資源去面對困境。過去的隨創(bricolage)文獻多半是分析資源匱乏時，如何重新拼湊而找到創新方案，以扭轉局勢。可是我們卻忽略，在獲取、拼湊或重組資源時，弱勢企業正遭遇重重的制約，使得資源拼湊的過程面臨各種障礙。當企業身處動盪的環境中，如何以不足的資源翻轉局勢，是劣勢創新的新課題。本研究將由人力資源的情境中去分析這個新課題。人力資源的重點是找人才、留人才、用人才，讓企業能於競爭中存活，或幸運勝出。在太平盛世時，企業會祭出各種誘因去吸引人才；可是在亂世時，強勢競爭對手各出奇招，以重金禮聘英雄，弱勢企業的誘因就不再誘人。此時，弱勢企業應如何突圍。本研究分析一家位於深圳的互聯網新創公司，在遭遇到「搶人才」的環境中，如何憑藉著有限的資源而發展出一套組織作為因應。在學術貢獻上，本案例分析企業解除人才制約的作為，跳脫誘因設計的理論，思考如何由制度的設計去產生延攬人才的激勵因子。同時，理解隨創過程中，資源拼湊之前弱勢者是如何有嶄新的角度去解讀制約，思考出化阻力為助力的解決方案，設計出回應制約的組織作為。在實務貢獻上，本研究提出在身處動盪環境之際，如何以不足的資源設計出創新的人才管理機制，由選才、育才和評量等層面去設計留才的機制。這些作為不但能做為人力資源管理的參考，其因應制約的方式更可為各類型身處劣勢的企業提供創新的思路。 / Nowadays, the global business environment becomes more and more complex and changeful. For business, ‘change’ is the fact of constant. In the competition environment, the big ones get bigger. Most resources are centralized in a few of powerful enterprises, and vulnerable others can only use less resource at hand to face the difficulty. In the past, bricolage literatures were mostly talking about how to break through dilemma and reverse the status under limited resources. However, we overlook those weak enterprises which encounter constraints when trying to obtain, integrate, or reorganize resources. That makes them confront various barriers when getting piece of resources. When the enterprise is in a turbulent situation, how to turn the tables with limited resources is a new topic. This study would analyze this new theme through the context of human resources. The key point of human resources is to find the talents, retain the talents, and assign the talents, so to make enterprises survive or lucky win from the competition. In the times of peace and order, the enterprises resort kinds of incentives to attract the talents. However, in the troubled times, strong competitors would leave no stone unturned, pay high for hiring hero. Therefore, weak enterprises’ incentives are no longer attractive. At this point, how vulnerable enterprises break through? This study analyzes how a new Internet company in Shenzhen they rely on the limited resources to develop an organization action in the "headhunting” environment. In the academic contribution, this case analysis of how the enterprise remove human resource conduct limitation, get rid of the incentive design theory, and then thinking about how to encourage the talents through the system programming. Meanwhile, to understand in the process of implement create, before piece of resources putting together, how the weak explain the constraints with a new perspective, thinking of the solution by transforming obstacles into benefits, and designed an organized behavior to respond the constraints. In the practical contribution, this study presents how to design an innovative human resource management via selecting, training, and assess employees with insufficient resources when in the turbulent environment. Not only can be the reference of human resources management, these ideas can also bring the innovative thoughts for all types of disadvantaged enterprises

廣告的目的，是用來與「目標消費者」進行訊息溝通與傳達，而不是自我藝術美感的創作與表達。廣告的內容，是將「廣告訊息」，藉由編碼，正確的傳遞給目標消費者（閱聽人）。而有說服力的廣告，就會是可以幫助銷售的好廣告。在消費者對於廣告解讀的論述中，出現了許多影響訊息說服與溝通的閱聽人的心理意識，包括了消費者的特質、生活型態、價值觀，文化、社會認同、社會地位、群體同儕、品味、成就、以及夢想等。越能以這些因素，引起閱聽人共鳴，就能夠越容易完成訊息傳遞的目的。 而這些心理意識，就是「內團體意識」中，區分內、外團體的歸因要素。有了情感上的歸屬，訊息傳遞就可以比較容易。電視廣告在「內團體意識」的包裝下，消費者（想要）及（接受）的心理因素不斷的被提到，被群體「認同」的需求，一再的被滿足，期望一再的被塑造。隨著「內團體意識」的表現，在經歷了認知、情感、行為三個階段後，溝通目的才開始清楚的完成。 　　為瞭解「內團體意識」如何建構電視廣告訊息？有何表現上的可歸納的操作指標，本研究以內容分析法，選擇自1980年～現今2009年之間，具有「內團體意識」表現方式的電視廣告影片110支，以年代別及FCB模式商品分類別兩種方式，進行包括表達元素、表達形式、背景歸因、社會歸因、文化歸因、生活風格歸因、個體歸因等相關要素的表現分析與研究。 研究整理後發現，「內團體意識」在電視廣告訊息的表現中，以「情感認同」為核心，藉由「滿足需求」、「消費描述」及「建構想像」做為基本創意概念。另外，電視廣告片中大多必要且慣用「內團體意識」，甚至在許多的電視廣告中，會有一個或多個內團體意識的歸因元素同時存在。部份內團體意識，只是創意與橋段的表現，與原本要訴求對象的「團體意識」並不會衝突。最後也發現，似乎越是特殊的商品或勞務，就越需要使用「內團體意識」，來做為電視廣告中重要溝通核心。 關鍵字：內團體意識、廣告表現、團體認同、廣告訴求、團體偏私、核心概念、訊息解讀、情感認同、歸因要素、背景歸因、社會歸因、文化歸因、生活型態、個體歸因、廣告創意、訊息策略、說服理論。 / The intention of advertisement is to provide a message to the targeted consumer and communicate rather than a presentation of individual expression and creativity. The core meaning of an advertisement is to transfer a key message embedded with advertising means successfully to its target receiver; furthermore, an outstanding advertisement will be able to fulfill the intention of marketing and sales. An exposition regarding consumer advertisement decoding denoted numerous variables that potentially alter the protocol of message receiver and his way of interpreting a message. This includes an individual consumer’s characteristic, lifestyle, value, culture, social acceptance, social status, social circle, taste, accomplishment, and vision. Messages embedded with such variables tend to create sympathy between the message and the receiver; as a result, creates a psychological bonding in which grows more powerful whenever a new variable reaches its echo with the receiver. Such psychological behaviors are the essential attributes differentiating the in-group consciousness from out-group consciousness of an individual. With a sentimental bonding, messages can be transmitted more accurately and efficiently. Television advertisement exercise constant implicit of this in-group conscious behavior, by repeating intimation of “desire” and “acceptance” to the receiver, continuous fulfillment of ones the necessitate aspiration, and constant creation of expectation. As the realization of the in-group consciousness continues, the purpose of communication is only fully accomplished after an individual have gone through acknowledgement, emotion, and into action. To understand how in-group consciousness establishes and executes television ad messages and its protocols. This research suggested using content analysis; by selecting 110 Television ad clips that possesses in-group consciousness implementation in between 1980 to 2009 and analyze them in two ways–era differentiation and product type under FCB protocol. This study focused on observing and analyzing the performance of variables such as expressing element, expressing form, background, social, cultural, lifestyle, individual attributes, and other related elements. 　　After the compilation of results, this research suggests that most television ads exercise in-group consciousness intentionally to create a common attribute among its listeners. By establishing sensational acceptance as the core criteria, advertisements then elaborates on other attributes such as satisfying needs, consuming behavior, and image establishment to create the basic concept of creativity. Furthermore, this research shows that a large number of advertisements exercise one or more in-group consciousness attribute within them. Some of the in-group consciousness exercised in ads is portrayed simply due to creative and plotting needs and doesn’t actually create a conflict with the central in-group consciously. This research also found that the more unique or special a product or service is, the more dependant its advertisement will be on in-group consciousness. Keywords: in-group consciousness, advertisement performance, group acceptance, advertisement requirements, group favoritism, core concept, message interpretation, emotional acceptance, attributes factor, background attribute, social attribute, cultural attribute, lifestyle, individual attribute, advertisement creativity, message tactic, persuading theory.