本論文分析劇作家馬汀麥當納的劇本《枕頭人》中的「說故事」與「自我欺騙」，論證「說故事」提供本劇四位主要角色自我欺騙式的慰藉，使其得以處理創傷和逃避現實。說故事行為裡的想像和詮釋給說者及聽者／讀者機會去重新建立和詮釋悲慘過去，但同時也讓他們陷入自我欺騙的狀態及真實虛幻交錯的混亂，因為說故事可能使他們開始否認進而承認某種身分，甚而處於特定的故事情節結構，即使面對創傷也能獲得自我安慰。論文第二章檢視卡初利安的自我欺騙。卡初力安是劇中的主要說故事者。此章剖析他如何埋頭於自己創造的想像空間，並將過去的傷痛回憶轉化成自己能接受的故事情節。第三章剖析其他三位聽故事者——麥可、塔帕斯基，和艾瑞爾——的自我欺騙。此章論證聽／讀故事亦造成自我欺騙式的安慰。這三人靠詮釋故事為創傷取得自我安慰的解釋，雖然此舉仍然只是對過去的自我欺騙和逃避，但讓他們可以稍微諒解過去，面對現在。說故事行為和自我欺騙深深影響劇中四位角色，並成為他們自我安慰的方法。雖然自我欺騙蒙蔽他們，使他們無視真正的現實，當他們往回看不忍卒睹的過去時，自我欺騙卻可以稍微抒解他們的傷口。 / This thesis analyzes storytelling and self-deception in Martin McDonagh’s The Pillowman, contending that storytelling provides the four main characters in The Pillowman with self-deceptive relief of dealing with their traumas and evading the reality. With the potential of imagination and interpretation, storytelling not only grants storytellers and story-listeners/readers a chance to reconstruct and reinterpret their distressing past, but it also throws them in a state of self-deception and confusion of the interpenetration of reality and fiction when they start to disavow and avow a certain type of identity and live in a specific plot structure that can soothe themselves from their traumas. Examining Katurian, the main storyteller in this play, Chapter Two of the thesis argues that as a storyteller/story-writer, Katurian falls into self-deception which buries himself into an imaginary space he creates and which consoles himself by transforming those agonizing recollections into the versions he can accept. Chapter Three tackles the other three story-listeners, Michal, Tupolski, and Ariel, to argue that in a way, storytelling leads to self-deceptive relief because it provides them with self-consoling explanations for their past to face with their present even though the three characters are trapped in their self-deception and self-evasion in the confrontation with their traumas. Thus, storytelling and self-deception deeply affect the four characters and serve as self-consolation for them. Although self-deception blocks their eyes to see reality, it comforts them to some degrees when they look back to their past.

本研究希望以鄂蘭的政治思想的研究途徑作為討論的對象，試圖從方法論的角度循著鄂蘭自己的反思歷程，來釐清鄂蘭對政治理論的貢獻。首先在第二章中說明她在極權主義的研究中所產生的理解問題，以及鄂蘭如何對政治哲學傳統以及現代社會的科學化努力進行強烈地批判。第三章我們將看到鄂蘭對實踐生活的重新考察，藉由重新找回政治行動的意義與重要性，鄂蘭同時也發現了行動難以消解的困境，成為了新的政治思想亟需克服的重要問題。第四章則是聚焦「說故事」（storytelling）的討論上，將討論說故事的主要功能以及以說故事為政治思想途徑的一些問題。

本研究的主要目的是探討「創意數位說故事課程」對故事創作的品質、創造力、和作文態度是否有幫助，並瞭解此類課程應用於國小高年級作文教學的可行性及侷限性。研究者採準實驗法之「不等組前後測設計」，以高雄市某國小五年級兩個班級的學童為樣本，安排一班為互動組，另一班為欣賞組，分別接受十二單元共60堂課的實驗課程，互動組接受「創意數位說故事」的課程，著重電子腦力激盪及故事分享等互動歷程；欣賞組接受「欣賞故事並將故事數位化」的課程，著重故事示範與欣賞。 本研究的研究工具為「新編創造力思考測驗」及研究者自編的「數位故事評量表」和「作文態度量表」，並蒐集質化資料（包括數位故事作品、學生課程反應的感想、趣味創作練習的資料等）。以獨立樣本單因子共變數統計以及相依樣本t考驗來進行分析，質化資料則是用來輔助量化結果的解釋。 研究結果顯示： (一)在數位說故事的製作上，互動組與欣賞組有顯著差異，且欣賞組優於 互動組。 (二)新編創造思考測驗的結果：在語文流暢力、語文變通力、語文獨創 力這些變項上，互動組與欣賞組有顯著差異，且互動組優於欣賞組。 但在圖形流暢力、圖形變通力、圖形獨創力和圖形精進力這些變項 上，互動組與欣賞組並無顯著差異。 (三)在作文態度改善的結果上，互動組與欣賞組無顯著差異。 (四)無論在數位說故事的製作上、新編創造思考測驗以及作文態度的結 果發現，互動組和欣賞組的後測皆高於前測。 (五)創意數位說故事作文教學在國小階段是值得推行的。 研究者根據上述的研究結果提出建議，以作為教育應用及未來研究的參 考。 / The main purpose of this research was to explore whether the 「creative digital story-telling course」 can help to improve story quality, creativity, and writing attitude, and understand the feasibilities and limitations of teaching similar courses to higher-grade students in primary schools. The researcher adopted 「nonequivalent pretest-posttest designs」 as a quasi-experimental study. Two classes of fifth grade students from a Kaohsiung school were selected as study samples; one class was assigned as an 「interactive group」, the other as an 「appreciation group」. Both respectively accepted twelve units in a total of 60 experimental courses. The interactive group took the lessons of 「creative digital storytelling」 that emphasized the interaction processes during electronic brain-storming, story sharing and so classes. The appreciation group took the courses of 「appreciating and digitalizing the stories」, which focused on story demonstration and appreciation. In this study, the research instruments comprised 「tests of creativity thinking in composition 」, the researcher’s self-created 「digital story rating scale」 and 「writing attitude rating scale」, and also the collections of qualitative data covering the digital story works, students』 reflections in response to the teaching courses, and the data of funny creation exercises. The analyses were conducted by one-way analysis of covariance for independent samples and dependent samples t-test. The qualitative data were used as supplementary explanations for the quantity results. The research resulted in the following findings: 1. In respect of the production of digital storytelling, there were significant differences between the interactive group and the appreciation group; obviously the appreciation group performed better than the interactive group. 2. In light of the results from the tests of creative thinking in composition, there were remarkable differences between the two groups in respect to linguistic fluency, flexibility and originality; the interactive group was better than the appreciation group in the results. Nevertheless, it showed no much difference between the two groups in graphic creativity in terms of fluency, flexibility, originality and elaboration. 3. In respect of writing attitude improvement, there was no much difference between two groups. 4. The posttest scores were higher than pre-test scores for both interactive group and appreciation group in all experiments, including the production of digital storytelling, tests of creativity thinking in composition and writing attitude. 5. It is worthy to promote the creative digital storytelling in composition teaching for primary school educations. The researcher made suggestions in accordance with the above research findings, and served as a reference for educational applications and future studies.

隨著經濟的快速成長，產生了各種社會問題，而為了解決這些社會問題，許多社會企業隨之出現，這些企業希望在改善社會問題的同時，能透過盈利的方式，使組織永續經營，而本研究欲探討社會企業如何取得資源，換言之，哪些因素會影響資源擁有者提供資源的意願。 本研究參考過去的文獻資料，整理出三項會影響社會企業獲取資源難易度的因子，分別為「社交連結」、「品質信號」與「說故事」，並透過個案研究的方式，透過深度訪談及次級資料的蒐集，探討各個因子是否對社會企業取得資源有所影響。研究結果顯示，在三項因子中，社會企業最常使用說故事的方法來獲取資源，最少透用釋放釋放品質信號，然而，若社會企業有一個很強的品質信號，便會被大量的使用。最後，社會企業若有好的故事，且主動聯絡，透過多樣化的媒體管道，也能更有效的吸引資源擁有者的注意，增加獲得資源機會。 / With the rapid development of economy, a variety of social problems have arisen. As a result, many social enterprises have emerged in order to solve these social problems. These enterprises attempt to help solve social problems and meanwhile, they want to make the enterprise sustainable by making profit. This study wants to explore how social enterprises acquire resources. In other words, this study examines the factors that will affect the willingness of resource owners to provide resources. Referring to past literature about how social enterprises acquire resources, this study categorizes them into three factors that may affect the accessibility of resources for social enterprises, which are “social ties”, “quality signals” and “storytelling.” This study uses the method of case study. Through in-depth interviews and secondary information, we examine how each factor may affect social enterprises acquiring resources. Results show that among the three factors, storytelling is being used the most often to obtain resources. On the other hand, quality signals are used the least often. However, if a social enterprise has a very strong quality signal, it will be widely used. Finally, if a social enterprise has a good story and takes initiative to contact media, it can attract more media attention. Through various media channels, more resource owners will have the chance to know this social enterprise; therefore, the chance of acquiring resources may increase.

國內公共圖書館近年來致力充實館內電子資源，提供豐富的資料庫資源給予大眾閱讀分享與選擇。北市圖擁有豐富的中文繪本資料庫，但林老師說故事團隊鮮有使用電子繪本進行說故事活動。因此，本研究為探討電子繪本融入林老師說故事活動的可行性與實施方式，採用行動研究方法，進行二階段十場次的行動研究，兒童參與活動共有89人次，從行動研究的實施來評估電子繪本說故事活動是否提升兒童閱讀興趣、改善紙本說故事的限制，並提出活動實施程序，以利活動設計與實施。 為能讓行動方案的實施更符合說故事活動需求，本研究提出「電子繪本選擇的原則」，協助說故事人進行繪本的選擇，並發展「電子繪本說故事行動方案」從活動目的、活動資源取用、活動作業程序、活動方式與獎勵、活動實施注意事項等要點來說明行動方案，提供給林老師執行活動的參考，並邀請林老師實施活動，藉由訪談方式了解林老師對於活動實施的看法與建議。 研究結果歸納：(1)行動方案可以幫助林老師實施活動以及選擇電子繪本；(2)電子繪本的特性可以改善紙本說故事的限制；(3)兒童參加電子繪本說故事活動興趣提升；(4)非線性閱讀的選擇自由之特性適合中年級以上兒童；(5)電子繪本適合應用在林老師說故事活動並值得推廣；(6)電子繪本的優勢使得說故事活動更具豐富性。 最後，本研究提出研究建議，供相關單位參考：(1)增購中文繪本資料庫；(2)辦理電子繪本利用教育研習，招募林老師加入；(3)開放權限，協助林老師取用電子資源；(4)解決線上閱讀數位版權數問題；(5)增購電子白板設備以促進林老師說故事效益；(6)辦理電子繪本的說故事活動觀摩會；(7)善用資料庫介面特性以進行活動設計；(8)要了解電子繪本內容才能進行活動設計。 / Rapid developments in digital information technology and Internet communication have changed the ways to retrieve information, and increased the demand for information. For modern Digital Natives, the establishment of reading promotion for children in a library should adopt diverse methods to promote reading. Aside from printed books, public libraries in our nation have recently been devoted to enriching their electronic recourses to provide diverse reading databases for the public to choose from. In Taipei Public Library, there are rich databases of Chinese picture books; however, these books are rarely used by the storytelling team, Teacher Lin. The present study therefore aimed at exploring the feasibility and execution of the adoption of electronic picture books in Teacher Lin’s storytelling. The study adopted the action research to investigate whether electronic picture books storytelling would arouse children’s interests in reading and improve the limitations in printed books storytelling, and to offer advice for designs and procedures of electronic picture books storytelling. The present study provides criteria for selections of electronic picture books, and guidelines for electronic picture books storytelling, including objectives, available recourses, procedures, and ways of rewards of storytelling activities. Teacher Lin thus may follow these criteria and guidelines when carrying out storytelling activities. Feedback from Teacher Lin then was collected via interviews. The results of the study were addressed as follows. First, the action research was helpful in Teacher Lin’s storytelling and selections of electronic picture books. Second, features of electronic picture books could improve the limitations in printed books storytelling. Third, children’s motivation was enhanced in electronic picture books storytelling. Fourth, nonlinear reading was more suitable for children of intermediate grades. Fifth, it was worthwhile to promote electronic picture books storytelling in Teacher Lin’s storytelling activities. Sixth, in terms of storytelling, electronic picture books were more beneficial than hardcopy books. Lastly, the following were some suggestions. First, it is essential to purchase more databases of Chinese picture books. Second, workshops about the adoption of electronic picture books may be held, and members in Teacher Lin are recruited. Third, members in Teacher Lin should be allowed to access to these databases. Fourth, issues on intellectual property rights of online reading need to be solved. Fifth, purchases of electronic white boards can promote effectiveness of Teacher Lin’s storytelling. Sixth, demonstrations of electronic picture books storytelling need to be held. Seventh, features of interface of databases need to be well used to design activities. Eighth, understanding of content of electronic picture books is essential for activity design.

1993年有線電視法通過，有線電視逐漸取代無線電視，成為台灣主要的傳播媒介。有線電視因其纜線鋪設與經營形態等特性，成為自然壟斷的地方媒體；因此，法律上視其為「準公用事業」，並賦予回饋地方的義務，此為有線電視公用頻道出現的原因。 公用頻道的主要價值是落實媒體近用權，然而受到申播法規、業者經營意願與民眾製作影音內容技術門檻等限制，公用頻道在台灣的成效不彰。近年來新傳播科技興起，影音網站快速成為民眾慣用的近用平台，公用頻道存續意義乃受挑戰。本研究之目的即在探討數位匯流趨勢下，公用頻道的未來。研究發現，影音網站雖能儲存播放大量的民眾影片，但其本質仍屬「社群媒體」，與公用頻道作為社區媒體的功能不同。同時，影音網站的搜尋機制與使用者習慣也影響影片的曝光度，並不能提供一視同仁的公平近用。因此，本文認為，有線電視公用頻道的地方性與公平近用的經營理念，仍是公用頻道未來發展的應屬方向。 據此，本研究之創作實踐即以五十支「臺北市民故事館」短片，試驗公用頻道落實地方媒體近用，提升社區意識的可能製作方式。此短片透過口述歷史與數位自述之技巧，提高居民分享社區記憶、建立社區認同、參與社區事務，提升社區公益的意願，以作為公用頻道未來節目企劃製作的參考。 / In Taiwan, the previously prohibited cable television operators were legalized after the Cable Television Law was established in 1993. Like in many countries, cable television has gradually replaced network television as the primary media in Taiwan. The specific cable installation and its business model make cable television a monopolizing media in local communities. According to Cable Television Law, cable television is regarded as a “prospective public utility,” and one of its obligations is to serve the public. Therefore, the cable television public access channel was launched. The core value of public access channel is to grant the Right of Media Access. However, the practice of public access channel in Taiwan is hampered due to multiple restrictions such as broadcast application law, regulations, business management and the technical thresholds of audiovisual content production. In recent years, many websites, such as YouTube and youKU, have rapidly become the preferred access platform for the public. The necessity of public access channel is being questioned and challenged. Some studies showed that while audio and video websites can store and play a large number of access videos, their essence remains as “social media” rather than “community media,” such as public access channel. Furthermore, the audio video websites’ search mechanism and the users’ habits can both affect the exposure of the videos and impair the fair access of media. This study, supplemented with 50 related projects, intends to discuss the future development of public access channel under digital convergence. Through a year’s productions and surveys, the author concludes that the unique local relevance and the importance of providing fair access should be the emphasis of the future development of public access channel. The creative projects of this study, broadcasted on public access channel, present the public the right to access local media and enhance the community awareness. These projects, digital programs of personal life experiences, were designed for telling Taipei Stories. By employing oral history and digital storytelling techniques, these projects intend to encourage the residents share their community memories, enhance community identity, participate community affairs, and further improve the community charity. In addition, these projects can serve as references for planning and producing programs for public access channel in the future.

曾幾何時，廣告在流行文化中已跳脫直接而露骨的銷售意圖，不論是電視廣告的表現形式，抑或報章雜誌的平面廣告，都歷經相當之變革。除了多姿多彩的圖像，更操弄了豐富的語言策略，甚且如詩一般的語言，融入文學新意，產生前所未有的廣告文學性。針對這樣的趨勢變遷，本文旨在透過以社會語用及批判性取徑（a sociopragmatic and critical approach）為主的言談分析（discourse analysis），為廣告文化在作者（／說者）和讀者（／聽者）間的溝通所扮演的角色提供一質性研究。嘗試從語言使用（language use）的層面來觀察：如何喚起群體意識？哪些是常用的語言策略？使用這些語言策略／修辭手段能給讀者帶來什麼樣的效應？這些語言使用伴隨著什麼樣的社會意義？分析架構植基於「攸關性理論」（Relevance Theory, Sperber & Wilson, 1986/1995)，從讀者花費處理訊息的精力（processing efforts）審視其所能獲致的效果（contextual effects）。在另一方面，如同Sperber & Wilson（1995: 279）對於往後研究的期許，本研究更在語用分析中加入了社會文化認知和情境的考量，此正亦批判語言學家們的主要關切（Fairclough, 1995）。 分析語料取材自誠品書店所發表的系列廣告文案，係著眼於下列幾個明顯的現象：（一）文中採取豐富嶄新的語言策略，包括了隱喻、姓名／名稱的平行、重複與敘事，這些修辭手段常更能喚起讀者的注意和興趣，產生詩歌性（poetic effects）等認知效果，並表現各樣的語用／溝通功能。（二）大量西方文明裡的名字／名稱巧妙而生動地運用在這些廣告裡，涵蓋人名（藝術家／作家／詩人／名人）、地名、文學藝術名作和知名品牌。（三）對於作者而言，他們可以蘊含更多的情感、態度、情緒和感覺於其中，產生溝通裡的的弱式效果（weaker effects of communication, Wilson & Sperber, 1992），也能規避一些較為嚴肅的社會責任；而就讀者來說，這些語言策略得以預留更寬闊的詮釋空間，更吸引讀者。（四）除了使用這些語言策略來表現文學性，作者並藉由與讀者間的認知環境，利用流行話題與生活經驗，傳達了知識建構、同儕情誼、精英主義、女性意識、人文關懷、都會城市中產階級的生活型態，展現流行文化中的多元文化交融以及外語的強勢霸權地位，反映了傳統的／已改變的／變遷中的文化價值觀，邀請讀者認可這些顯著的意識型態與跨文化價值觀，進而形塑文化多元的認同和社會認知，呼應言談與社會／文化間的雙向關係（dialectical relationship, Fairclough, 1995）。誠品書店一再發表的系列文宣，雖然無法同電視廣告般在日常生活中與讀者（／聽者）的密集式接觸，然卻能在充裕的版面裡，在微觀層次上運用更多的語言策略，也能在宏觀的社會文化認知層次上，透過對流行文化形式與功能的檢視，有助提升其企業形象以臻一文化地標，對於諸如：刻板印象、權力象徵（symbolic power）、社會趨勢與變遷、文化標記（cultural iconicity）與認同、性別角色等討論，提供反思的空間。並對相關議題如「什麼構成了、什麼排除自、以及什麼包含於流行文化之中？」、「是否存在著流行文化記憶？」提供有用的觀察。 / This study aims to propose a pragmatic study along with a critical analysis of the print advertisements of Eslite Bookstore in Taiwan. It explores the audience’s comprehension and interpretation regarding emotions, poetic effects, and storytelling in media communication under relevance–theoretic account (Sperber & Wilson, 1986/1995; Noveck & Sperber, 2006) by looking into contemporary Chinese print ads released by Eslite. Since poetic effects and storytelling in long texts suitably illustrate the reasoning and pragmatic inference towards emotions via larger units of text processing and inferred implicit meanings, the current study centres on the audience’s inferential processes and pragmatic interpretations over longer texts against institutional discourse, advertising. The audience searches for optimal relevance in the interpretation process, during which a wide array of weak implicatures, based on her greater share of responsibility, could be inferred and derived from the non-literal speech together with the context, depending on the different degrees of involvement and shared cognitive environment. The sociocultural aspect of language use, on the other hand, is further explored to see the inseparable relationship between language and social function. The rhetorical strategies of syntactic parallelism and repetition of name, metaphor, and storytelling are artfully crafted through literary styles within the ads to attract the audience’s attention, to initiate cognitive poetic effects and advertising literariness, and to perform diverse pragmatic/communicative functions. They convey too the dominant ideologies, viz. intellectualism, elitism, social critique of taste, friends’ rapport, feminine awakening, humanistic concern, and the current lifestyles of petit bourgeoisie in urban contexts. The chosen data vastly adopt elegant wordings and stylistic patterns from names of person (artist/writer/poet/celebrity), place, literature, fashion and brand names to deliver aesthetic value. Placing little emphasis on target commodity, they invite and encourage an imaginative audience to actively and cognitively consume the texts and stories, and spell out a variety of weak implicatures involving feelings, attitudes, emotions and impressions along the textual lines. They invisibly persuade her to recognise the significant inter–/cultural values. Positioning the audience as social elite, shaping and branding the corporate image as a cultural polysemy and landmark of cultural empowerment, they also initiate an emergent text genre with communicative innovation in cultural industry and academic disciplines. People in all languages often mean more than they say. Grammar on its own is typically insufficient for determining the full meaning of an utterance, the assumption that the discourse is coherent or ‘makes sense’ has a vital role to play in meaning construction as well. Just as syntactic surface structures display complexity of underlying structures, we can appreciate much the implicit meanings constructed, conveyed and enriched by storytelling and the poetic force of lexical items and syntactic–semantic–pragmatic interplay in media discourse, as shown in the study. This functional linguistic study reveals that the selling motive could well be melted and/or hidden through those communication strategies due to their implicitness, indirectness and vagueness, and clarifies the simplistic dichotomy between Eastern vs. Western cultures. The dialogic relations between form and function in advertising language reflect the social cohesion/interaction and cognitive dynamics of communicator and audience, thus maintaining the dialectical relationship between social structures and social practice (Fairclough, 1995).