國際勞工組織研究其成員國從1984年至2004年之工時變化，顯示全球化進程，更彈性的形式的工作時間安排，如壓縮工作週，每天輪班可變長度，按年工作時間，彈性工作時間和待命工作，己是國際趨勢。在全球化工時彈性化下，我國勞工縮短工時、變形工時、正常工時放寬及工時法規與產業工時為何，為本文研究主題。另將我國工時政策與德國工時之比較，以供我國工時政策未來發展之參考。 本文探取深度訪談法針對個別產業與個別工時執行進行理解、瞭悟（Verstehen），同時照顧到歷史和結構的研究途徑，探究工時法規與產業工時因應之道，針對高科技產業，傳統製造產業、服務業各行業，合計4家進行工時質化訪談；另對於我國工時政策發展，針對公部門及工會領袖，進行質化訪談。惟質性研究較量化研究，較為主觀，故輔以OECD相關國際組織、德國工時法及國內勞委會及主計處相關單位統計資料以為參照。 有關我國工時趨勢，綜合各行業個案工時管理經驗及政府與工會等勞資政三方訪談意見，歸納台灣工時政策混亂根源，主要係90年縮短工時政策後，政府未提供完整的配套措施，導致台灣在進行產業升級及服務業成長的過程中，事業單位難以因應。加上我國國家統合主義的政策決策性格，導致91年變形工時政策，未能因行業而配合。因此，綜上建議我國未來工時政策規劃應參照，全球化勞工工時發展趨向彈性化，台灣因應產業升級與變遷趨勢，依循兩條政策主軸發展，並互為競合之關係，其一為保障勞工健康權，工作時間應有其原則性規範，其二為因應全球產業彈性化，勞工工時政策亦必須有彈性化的設計。 本文研究建議政府工時政策，建應朝每週40小時政策設計，以導正「縮短工時，造成勞動基準法第四章，工作時間、休息、休假專章，法規邏輯之間的予盾，連帶導致工資工作時間計算之複雜性」，進一步推動改善台灣社會階層之間的予盾。為因應產業彈性化，工時政策的彈性化規範，應以時、週、月、季、半年及一年等期間，作為工時彈性的空間。現勞動三法業已執行，中央勞政主管機關應建立勞資協調參考指引，並輔導勞工團體與雇主團體以雙贏的協商策略，規劃適合事業單位本身的工作、休息及假期時間。 / ILO research for its member states from 1984 to 2004 about their working hours of Change, shows the process of globalization, more flexible forms of working time arrangements, such as compressed work week, day shift variable length, according to annual working hours, flexible working hours and standby work, has been an international trend. Flexible working hours in the globalization, our country's shorten working hours, deformation hours, normal working hours to relax regulations and industry working hours and working hours are my research topic. The others our man-hours of work will be compared with the German policy, the policy for the future development of our country's working-hours will be the reference. . In the depth interviews with individual working hours for individual industries to understand the implementation, awareness (Verstehen), taking into account the history and structure of the research approach, working hours for working hours regulations and industry response to the road, for high technology industry, traditional manufacturing industries, service industries, total 4 cases of qualitative interviews ; the others policies for the development of our country's working hours for the public sector and labor union leaders is the other two cases of the qualitative interviews. However, the content of qualitative research studies, more subjective, it is supplemented by relevant international organizations, OECD, working hours law and domestic German and Accounting CLA statistics that refer to the relevant units. About the trend of our working hours, comprehensive case management experience in various industries and government and labor unions and other political views of three interviews, inductive source of confusion in the Taiwan policy of working hours that is the shorter working hours, mainly 90-year policy.The government did not provide a complete package of measures, leading to upgrading Taiwan's industrial and service sectors during the growth process, the institution is difficult to follow. With the state corporatism, leading to deformation of 91 working hours policy that the industry can not execute. Therefore, 's future work on the proposal should refer to policy planning, development trend of globalization, flexible working hours, in response to Taiwan's industrial upgrading and changing trends, follow the two spindle development policy and the relationship between competing each other, one for the protection of worker's the right to health, it's principles should regulate working hours, and the second flexible response to the global industry, working hours, the policy must also have flexible design.

民間故事凝聚了民眾的情感與風俗，「變形」母題在民間故事中具有特別的文化意涵。筆者搜集318則中國各地的「人變異類」故事，依照情節特色將故事分類敘述：在神話裡的「變形」展現先民對抗大自然的奮鬥過程；人物傳說中的「變形」刻劃了英雄「犧牲小我，完成大我」的偉大情操；風物傳說中的「變形」帶有惜福愛物之心；神奇故事中的寶物與法術都能引發「變形」；生活故事中的「變形」凸顯小人物的苦難與愛情的堅貞不渝；寓言中的「變形」則大多是懲罰。 在「人變異類」故事的敘事分析方面，故事中最常提到拯救社會的大英雄，以及飽受欺負的悲苦人物，人物的名字與變形物往往有相對應的連結，故事的情節模式大致分為「不凡的命運」→「現實的考驗」→「超現實的結局」。而變形的原因歸類為「遭遇危險」、「期望未成」、「懲罰性變形」。變形的類型分為「直接的變化」，變化時間短則一瞬間，長則數年之久；「有憑藉物的變化」，例如運用寶物、衣服進行變形；而「連續變形」則以蛇郎君故事為代表。變形的環境以「懸崖」、「烈火」、「水域」、「雷電風雨」、「墳墓(土)」有較多的描述，壁畫與懸棺的文化顯示懸崖是一個特殊的神祕空間，烈火、水域、土皆被視為「再生」，雷電則具有懲罰的能力。 變形物在「人變異類」故事中有特別的文化意涵，魚、蝴蝶、「龍鳳匹配」皆隱喻愛情，樹、花、彩虹都有美好的象徵，石頭代表生殖與誓言，鳥類的叫聲表達主人翁的心境，杜鵑鳥有其特殊的悲苦意涵。各地不同的地形風貌、風俗習慣影響著變形物的流傳與寓意，例如藥材由來的故事與望夫石傳說，大多屬於解釋性傳說，苗族的樹崇拜、滿族的鳥崇拜影響故事中變形物的選擇。「人變異類」故事表現人類對於生命意義的追求，表達了人民對自然、社會抗爭的不屈精神，以及對人、事、物的感恩，而道教與佛教的觀念間接影響著民間故事的變形觀。「人變異類」故事中，無論是角色的對比、環境的渲染、情節的推演、變形物的象徵，皆烘托出「變形」情節在「人變異類」故事中的「不可變動性」。以人為主體的描述方式，透過超現實的「變形」情節，表達人類堅強的意志力、決心與純潔的真善美價值。 / Folk tales combine the customs of the people's emotional, "deformation" Motif in the folk tale has a special cultural meaning. The author collected 318 Chinese around the "human variation" stories, classified according to the story plot . In the natural mythology "deformation" to show the process of our ancestors struggle against nature; figure of the legendary "deformed" scored a hero "sacrificing for the greater good" of the great sentiment; In helenahat legendary,"deformed" has cherish love for things ; in amazing story, treasure and magic can lead to "distortion"; life story of "deformation" highlights the suffering of ordinary people and the steadfast love; fabled 's "deformation" is mostly punishment . In the "human variation" story of narrative analysis, the most frequently mentioned in the story are a great hero that save society, as well as the misery suffered bullying characters, figure names and deformation often have a corresponding links, the plot can be divided into" extraordinary destiny "→" reality test "→" surreal ending. "The cause of the deformation can be classified as "defuse the crisis", "psychological expectations," "punitive deformation", "magic." Deformation mode is divided into "direct natural variation," changes in a short time,or as long as several years; " deformation by something" such as the use of treasures, clothes for deformation; while "continuous deformation" places snakeman story as a representative. Deformation of the environment as "cliff", "fire", "water", "lightning and storm", "tomb (soil)" have more description, cliff Contains natural worship and witchcraft culture, fire, water and earth are all considered "reborn," lightning then have the ability to punish. "Human variation " story perform the pursuit of human meaning of life, express the indomitable spirit to natural and social protest, as well as gratitude for averthing, and the Taoist and Buddhist concepts indirectly influencing the deformation of folk tales. Deformation in "human variation" story has a special cultural meaning, fish, butterflies," dragon and phoenix match "are metaphors of love, trees, flowers, rainbow has a beautiful symbol. Stone represents reproductive and vows, birds cry expression masters of mind, the cuckoo has its special misery meaning.Style and customs over different terrain, affecting the meaning of dformation, for example, the story of herbs origin and Amah Rock legends mostly explanatory legends, Hmong tree worship, the birds worship influence selection of deformation in the story. In the story of human’s variation, whether it is the role of contrast, the rendering of the environment, the deduction of the episode, a symbol of deformed material, all express a "deformation" episode "non-volatility" in the story of human’s variation story. Description of the human subject, through the surreal "deformation" episode, expressed strong willpower, determination and pure value of the good and the beautiful.

工作時間對於整體社會、企業和員工雙方皆有影響，對企業而言，工作時間攸關分派、設備利用、生產成本和經營效益；對員工而言，工作時間影響其自由支配時間、所得、工作安全，甚至家庭和社會生活。對整體社會而言，工作時間不僅牽涉到交通公共設施的需求、國民休閒活動，也攸關國民所得、物價及產業與就業結構的調整，故工作時間的意義十分重要。 台灣隨著經濟發展、各行各業類型轉換，傳統工作時間已無法滿足日益變遷的社會，因之產生了工時彈性化的議題。由於員工在婚姻、性別、學歷、職位等個人屬性之不同，對於工時彈性化的態度以及受到的影響程度亦會有所差異，企業若能事先了解這些影響因素，並在工時制度的設計上加以考量，即有助於企業做更有效的安排，員工對企業亦能產生更高的滿意度，對勞資雙方皆屬有利。對於政府而言，了解推行工時彈性化之利弊，能提供更有利企業經營、改善國民生活品質的政策， 本研究之章節安排和要點如下： 第一章 本章將說明研究動機、目的、研究範圍與方法、研究流程與章節安排。 第二章 藉由相關文獻的整理，定義工作時間的意義與討論影響工時的因素，再探究工時彈性化概念的來源、概念與分類，最後分別就工作滿足、工作壓力、離職傾向、工作生活品質、休閒參與來討論工時彈性化對員工的影響。 第三章 首先對我國工時彈性化規定與實況做一歸納統整，接著整理日本、德國的經驗供國內參考。。 第四章 本章將針對製造業與服務業員工進行問卷調查，探討台灣員工對工時彈性偏好之選擇，並瞭解其在工作時間安排的現況、生活品質、工時偏好及離職傾向等構面的感受，並探討各變項間的相關性，依問卷調查所取得的資料，探討台灣員工對於工時彈性化的偏好與選擇。 第五章 本章係匯整本文研究所得結果，提出對工時彈性化的建議方向與結語。 工作時間對於整體社會、企業和員工雙方皆有影響，對企業而言，工作時間攸關分派、設備利用、生產成本和經營效益；對員工而言，工作時間影響其自由支配時間、所得、工作安全，甚至家庭和社會生活。對整體社會而言，工作時間不僅牽涉到交通公共設施的需求、國民休閒活動，也攸關國民所得、物價及產業與就業結構的調整，故工作時間的意義十分重要。 台灣隨著經濟發展、各行各業類型轉換，傳統工作時間已無法滿足日益變遷的社會，因之產生了工時彈性化的議題。由於員工在婚姻、性別、學歷、職位等個人屬性之不同，對於工時彈性化的態度以及受到的影響程度亦會有所差異，企業若能事先了解這些影響因素，並在工時制度的設計上加以考量，即有助於企業做更有效的安排，員工對企業亦能產生更高的滿意度，對勞資雙方皆屬有利。對於政府而言，了解推行工時彈性化之利弊，能提供更有利企業經營、改善國民生活品質的政策， 本研究之章節安排和要點如下： 第一章 本章將說明研究動機、目的、研究範圍與方法、研究流程與章節安排。 第二章 藉由相關文獻的整理，定義工作時間的意義與討論影響工時的因素，再探究工時彈性化概念的來源、概念與分類，最後分別就工作滿足、工作壓力、離職傾向、工作生活品質、休閒參與來討論工時彈性化對員工的影響。 第三章 首先對我國工時彈性化規定與實況做一歸納統整，接著整理日本、德國的經驗供國內參考。。 第四章 本章將針對製造業與服務業員工進行問卷調查，探討台灣員工對工時彈性偏好之選擇，並瞭解其在工作時間安排的現況、生活品質、工時偏好及離職傾向等構面的感受，並探討各變項間的相關性，依問卷調查所取得的資料，探討台灣員工對於工時彈性化的偏好與選擇。 第五章 本章係匯整本文研究所得結果，提出對工時彈性化的建議方向與結語。

白蛇傳是從白蛇故事、傳說逐漸發展而成，直至馮夢龍《警世通言．白娘子永鎮雷峰塔》一出，被學者公認為白蛇傳故事的成型，自此，即成為地方戲曲熱門的表演曲目。民國以來，藝術形式發展得更多元，加上影音事業的起步，除了傳統的戲曲之外，白蛇傳在舞蹈、舞台劇、電視劇、電影皆有作品呈現。 　　關於白蛇傳的學術研究成果，多由文學、藝術等方向來分析，本文則是改以宗教學的視角來詮釋白蛇傳故事。首先，從源流探討先民如何從蛇圖騰崇拜，演進發展為龍神信仰。也因為古代民族對於蛇文化的崇拜，在傳說故事中，蛇扮演了重要的主角，其中，最著名的女蛇精，即是被鎮壓在雷峰塔下的白蛇，故知白蛇傳說是逐步推衍而成的一種民間敍事。 　　在宗教上，本文是以基督教、佛教、道教、民間信仰為例，說明蛇的形象與象徵意義。其次，由「精怪修煉」和「人的修行」二方面，來分析不同精怪、妖怪、鬼魅、魔神仔等異類的定義，並探討異類由蛇變人的緣由與目的。後以佛、道色彩的謫凡神話，和恩怨必報、宿緣說的論點，述說白蛇、青蛇、許宣、法海之間複雜的關係。 　　在白蛇傳中，白娘子在端午節喝下雄黃現出「原形」，故事背後具有豐富的端午民俗意涵，而現形後便涉及到「收妖」的部分。文中分析道士使用符、籙、咒的文化演變，和遣天兵神將的本領；次則分析法海這位高僧，運用神通及使用法器，展現高深莫測的收妖能力，以及在收伏白素貞之後，造塔（雷峰塔）鎮邪的經過。 　　如實存在的「雷峰塔」，具有歷史文化和宗教的意蘊，並呈現佛塔建築的高度藝術特色；又因塔位於西湖邊，更增添旅遊的價值。隨著時代的演變，從帝制進入民主政治初期，「雷峰塔」被投射成封建腐敗的舊禮教象徵。之後，兩岸因政治因素而無法自由往來時，「雷峰塔」旋即變成象徵政治影響的枷鎖。因此可說，「雷峰塔」不論在現實生活或是文本當中，皆具有多元豐富的意蘊。 　　綜言之，本文是以宗教學詮釋的視角來凸顯白蛇傳故事，亦旁及文化、民俗等向度的探討，期能在文學角度之外，呈現白蛇傳研究的新視域。 / The White Snake Legend was gradually evolved from the White Snake story.Until the Feng,Meng-long's "Jingshitongyan, The White Snake was kept squelching under the Leifeng Pagoda forever", the scholars considered it was the forming of the White Snake Legend. From then on, it became the popular repertoireof the local opera. Since the republic of China, the art forms developed diversifed.In aadtion to the growing up of the audio and video career, The Snake Story could be shown in the dancing, the theater, the drama and the film ways. Most of the academic research about The White Snake Legend were analyzed in literature and art ways. This thesis change the perspective of religious studies to explain the White Snake story.First of all,it explored from origins how the ancestors worshiped the snake totem , and then developed into the Dragon belief.The snake played an important leading role in the legends.Among them, the most famous female snake, that is, the white snake was suppressed under the Leifeng Pagoda.Therefore,it can be proved that The White Snake legend was a kind of narrative folk which was formed step by step. In the religion level,this thesis used the Christianity, Buddhism, Taoism,and the Chinese folk religion for example.Second,it analyzed the defention of different heterogeneous, such as the monsters, ghosts, devil-earners and the trickers, by the" Spirit practice and the "Human practice ". Then discussed the reason and the purpose of heterogeneous changed from the snake to be a human. Further, used the argument of the banishment myth of Buddhism and Taoism and the contention of grievances must be reported and the theory of the relationship predestined from a previous existence to describe the complex relationship between the White Snake, Green Snake, Xu Xuan, and Fahai. In the White Snake Legend, the White Snake drank the realgar and showed her original shape in the Dragon Boat Festival. The story implied abundant folk meaning of the Dragon Boat Festival. After showing her original shape,it related to the part of the revenue demon.In the script analyzed the cultural evolution of the priests used the symbol, the memo, and the curse and the ability of assigning the troops from heaven.Then analyzed the monks of Fahai who used the supernatural powers and the Buddhist instruments to show the enigmatic ability of closing demon and the process after subduing Bai Suzhen and then built the tower (Leifeng Pagoda) to repress the evil. The "Leifeng Pagoda" truthfully exist and has the meaning of historical and cultural and religious and shows a high degree of artistic features of the Pagoda building. Furthermore, the tower is located in the West Lake, which is added to the value of tourism.With the evolution from a monarchy into a early democratic political, the "Leifeng Pagoda" is a symbol of the projection into the old ethics of feudal corruption. After the two sides across the Taiwan Strait can’t come and go freely because of the political considerations, the "Leifeng Pagoda" immediately became a symbol of the yoke of political influence. Therefore, it can be said, the "Leifeng Pagoda" whether in our real life, or in the text has rich multi-dimensional.In conclusion, this article used the perspective of religious studies to interpretate the White Snake Story.It also probe into culture, folklore, and other dimensions.Hope to show a new point of view as well as the literature.

國家坐標系統是各項測量作業的基礎，而大地基準的選擇及建立更是會直接影響最後的測量成果，進一步的影響各項國家建設、民生工業以及人民的土地財產等權益。板塊運動之中尤其是非線性的板塊運動更是會改變坐標框架中參考站的相對位置，隨著時間的推移進而導致框架的幾何精度下降。而臺灣地處歐亞板塊及菲律賓海板塊的交界處，頻繁的板塊運動會造成地震、火山以及其他的自然災害，且臺灣各個區域也會因為板塊間的非線性運動而往不同的方向旋轉、位移。目前臺灣使用的坐標系統為TWD97 (Taiwan Datum 97 )，是建立於一個固定的線性框架ITRF94(The International Terrestrial Reference Frame 94)下之靜態基準，因此並不能精確的表達臺灣地區複雜的地殼變動情形，臺灣需要進行大地基準的革新以解決坐標框架變形之問題，即是在原有的靜態基準加上速度場與變形模型來改正因地殼運動造成之坐標偏移。本研究利用 2005 年至 2015 年間之臺灣地區連續運行參考站 GPS 觀測資料計算臺灣地區水平速度場情形，並參考日本、紐西蘭等國之速度模型建立方式，以內插、曲面擬合、局部加權回歸散點平滑等方法建立臺灣地區水平速度與變形模型。而臺灣地區參考站坐標解算之水平精度為 2mm-3mm、高程精度為 6mm-10mm，而速度場之年度平均標準差在 N 軸為 3.81mm，E 軸為 5.18mm。水平速度場模型方面以內插法中的線性及三次樣條內插法建立之模型有最好的精度，另外透過變形模型可以有效將地震之同震位移對坐標預測之影響消除，使速度模型之使用年限得以延長。 / National coordinate system is the foundation of surveying engineering, the establishment and the selection of geodetic datum would directly impact the accuracy of final result. Plate motion will cause earthquakes, volcanic eruptions and other natural disasters. Plate motion especially non-linear motion can also change the relationship between stations in the reference frame. Therefore, a rational and reliable reference frame is needed to ensure the Euclidean integrity quality. Taiwan is located along the bounding of the Eurasian and the Philippine plate, and is therefore a region of non-rigid motion and therefore will shift and rotate in different directions due to the changing stress field. Taiwan’s current coordinate system TWD97 is built by a fixed single term linear model ITRF94. It is not able to precisely model the non-linear motion of the crustal in the Taiwan region. Therefore, Taiwan needs velocity and deformation model to correct the distortion which caused by the crustal motion. This study used 11 years of Taiwan CORS GPS data to investigate the horizontal velocity field in Taiwan and established the horizontal velocity and deformation model by curve fitting, interpolation and LOWESS method. The horizontal coordinate accuracy of the stations is about 2mm-3mm, the vertical accuracy is about 6mm-10mm, and the average standard deviation of velocity field is 3.81mm in N axis, 5.18mm in E axis. As for velocity model, linear and cubic spline interpolations have better model accuracy. In addition, the deformation model can effectively eliminate the influence of coseismic deformation, so that the velocity model will not lose its utility.

Artzner等學者在1999年提出風險測量值應具備同調（coherent）性質，然而，涉險值並未能完全符合。本文針對Wirch ＆ Hardy（1999）提出滿足Artzner et al.（1999）所定義同調性質之風險量化指標如條件尾端期望值（Conditional Tail Expectation；又稱尾端涉險值，Tail-VaR）以及危險比例（proportional hazards；PH）、雙重次方（dual power；DP）變形函數（distortion function）等風險衡量方法作探討，參考MGWP（1980）、Boyle ＆ Hardy（1997）、Hardy（2000）、Yang（2001）、Wilkie ＆ Waters ＆ Yang（2003）對於附保證給付之投資連結型保險契約提存準備金的方法，將其應用到保險公司所發行的附保證給付之風險量化上，同時比較其與涉險值之差異。其中之數值分析將以附最低死亡保證給付（Guarantee Minimum Death Benefit）之變額年金，以及附保證年金選擇權（Guaranteed Annuity Options）之單位連結（Unit-linked）保險商品作為範例，分別以台灣、英國兩地的投資環境為背景，檢視其附保證給付之投資型保單可能面臨的風險暴露，提供保險公司作為提存投資型商品保證給付部分之責任準備金參考。 / In this paper we introduce the properties of a coherent risk measure（Artzner et al（1999））. The risk measure of Value at Risk that does not adhere to the consistency requirements is discussed. We consider the coherent risk measures of conditional tail expectation（also known as Tail-VaR）, proportional hazards and dual power distortion functions outlined by Wirch and Hardy（1999）. MGWP（1980），Boyle and Hardy（1997），Hardy（2000），Yang（2001），Wilkie, Waters and Yang（2003）use VaR and the latter two papers also apply conditional tail expectation to reserve for investment-linked contracts with guaranteed risk. Instead, we apply the coherent measures to reserve two different types of guarantee：guarantee minimum death benefit and guaranteed annuity options attached to variable annuity contracts and unit-linked contracts separately. In addition, the comparison of the numerical results for VaR risk measure and coherent risk measure are analyzed.

隨著數位影像軟、硬體裝置上進步與普及，普羅大眾對於影像的使用不僅限於日常生活之中，更隨著網路分享概念等Web技術的擴張，這些數量龐大的影像，在使用上更朝向娛樂化、趣味化及個人化的範疇。本論文提出結合影像處理中的人臉特徵分析（Facial Features Analysis）資訊以及影像內容分割（Image Content Segmentation）及影像變形轉換（Image Warping and Morphing）等技術，設計出可以將真實照片中的人臉轉換成為卡通化的肖像，供使用者於各類媒體上使用。卡通化肖像不但具有隱藏影像細節，保留部份隱私的優勢，同時又兼具充份擁有個人化特色的表徵，透過臉部動畫的參數（Facial Animation Parameters）設定，我們提出的卡通化系統更容許使用者依心情，來合成喜、怒、哀、樂等不同表情。另外，運用兩種轉描式（Rotoscoping）及圖像變形（Morphing）法，以不同的合成技巧來解決不同裝置在限定顏色及效果偏好上的各類需求。 / As the acquisition of digital images becomes more convenient, diversified applications of image collections have surfaced at a rapid pace. Not only have we witnessed the popularity of photo-sharing platforms, we have also seen strong demand for novel mechanism that offers personalized and creative entertainment in recent years. In this thesis, we proposed and implemented a personal caricature generator using transformative approaches. By combing facial feature detection, image segmentation and image warping/morphing techniques, the system is able to generate stylized caricature using only one reference image. The system can also produce multiple expressions by controlling the MPEG-4 facial animation parameters (FAP). Specifically, by referencing to various pre-drawn caricature in our database as well as feature points for mesh creation, personalized caricatures are automatically generated from the real photos using either rotoscoping or transformative approaches. The resulting caricature can be further modified to exhibit multiple facial expressions. Important issues regarding color reduction and vectorized representation of the caricature have also been discussed in this thesis.

鋼琴，樂器之王；李斯特，鋼琴之王。他以目眩神迷的鋼琴技巧、誇張的表現力、優美的歌唱旋律征服所有人。詩人杜甫曾說過：「讀書破萬卷，下筆如有神。」。筆者認為李斯特則是「彈琴破萬次，音樂如有神。」。在鋼琴之王李斯特七十五年的生涯中，所創作的音樂作品包羅萬象。這些形形色色的鋼琴作品中，大致上可分為原創性作品及改編作品，本篇論文探討的作品屬於原創性作品。李斯特一生中創作兩首敘事曲，第一號敘事曲創作於1848年，完成於1849年； b小調第二號敘事曲，創作於1853年也完成於同一年。鋼琴家阿勞（Claudio Arrau, 1903-1991）曾經在霍洛維茲（Vladimir Horowitz, 1903-1989）所著的《與鋼琴家阿勞的對話》（Conversations with Arrau）中表示李斯特《第二號敘事曲》是遵照「席洛與黎安德」（Hero and Leander）的愛情故事來描寫的。李斯特在《第二號敘事曲》中賦予這個故事新的生命，運用主題變形的手法描繪黎安德以及席落在故事裡的性格以及種種感受。由於筆者受到此神話故事的感動，因此想要以音樂的角度來體會其故事中角色的變化與情境。 / Piano is the king of musical instruments; Liszt, the king of the piano. His brilliant techniques on piano, exaggerated expressions in music and beautiful melody have conquered all the people. A great Chinese poet Du Fu once said, “Read wild, and you will wisely write.” The author sincerely believes that Liszt’s works have the same vein“Practice wild and you will wisely play.” In his 75 years’ career, he has composed all sorts of piano works. In these works, they in general can be classified into two types: originals and transcriptions. The paper investigated the original one. Liszt composed two ballades during his life: Ballade No.1 was composed in 1848 and completed in 1849 while Ballade No.2 in b minor was composed and accomplished in 1853. Pianist Claude Arrau, in the book “Conversation with Arrau” written by Valdimir Horowitz（1903-1989）, once claimed “Liszt’s Ballade No.2 was based on a Greek mythology also known as a love story– Hero and Leander. Touched by the mythology, the author would like to experience the scenarios of those characters in the mythology in the context of music. / 中文摘要…………………………………………………………………………………………………………I Abstract……………………………………………………………………………………………………II 目錄………………………………………………………………………………………………………………III 表目錄……………………………………………………………………………………………………………VI 圖目錄………………………………………………………………………………………………………………Ⅴ 譜例目錄…………………………………………………………………………………………………………Ⅵ 第一章緒論………………………………………………………………………………………………………1 第一節研究動機與目的…………………………………………………………………………………1 第二節研究範圍與方法…………………………………………………………………………………3 第二章李斯特的時代………………………………………………………………………………………4 第一節浪漫主義興起與時代背景…………………………………………………………………4 第二節李斯特生平與鋼琴作品分期………………………………………………………………7 第三節李斯特的炫技與對鋼琴技巧貢獻……………………………………………………20 第三章李斯特《b小調第二號敘事曲》創作背景探討……………………………35 第一節敘事曲歷史發展簡述…………………………………………………………………………35 第二節創作背景及神話故事…………………………………………………………………………39 第四章李斯特《b小調第二號敘事曲》樂曲分析與演奏詮釋………………43 第一節呈示部……………………………………………………………………………………………………46 第二節發展部……………………………………………………………………………………………………52 第三節再現部……………………………………………………………………………………………………69 第五章結論…………………………………………………………………………………………………………80 參考書目……………………………………………………………………………………………………………89

近年來我國勞動基準法歷經多次修法，然而台灣的長工時現象卻持續引發許多社會問題，勞工的過勞事件仍舊層出不窮，因此有必要檢討現行的勞動基準法工時制度是否對勞工的保障仍有不周。 在經濟全球化的浪潮下，勞動基準法逐步導入各種彈性化的工作時間制度。而在先進各國中日本在地緣關係與社經文化上與我國較為接近，對於我國勞動法制有深刻的影響，且其勞動法規中設有許多彈性的工作時間制度並作有大量的研究檢討報告，應可作為我國之借鏡。因此本文欲探究日本與我國各種工時制度與長時間勞動間的關聯，分析其原由，檢視我國現有規範及行政措施的成效，並提出改善建議，作為未來工時制度設計上的參考。 就結論而言，本文認為我國勞動基準法應導入移動工時制度，同時第84條之1的適用範圍與法律效果應予調整。最後，尚應根據過勞的認定基準，設定工作時間的絕對上限，以防堵極端情形發生，保障勞工所應有的權益。 / Labor Standards Act has revised several times in recent years. However, the phenomenon of long working hours in Taiwan is causing lots of social issues, and tragedies of Karoshi never end. Hence, it is necessary to review the legal regulations of working hours. As the influence of Economic globalization, special working time systems such as variable working hours system, de facto working hours system are introduced into Labor Standards Act. Across developed countries, Japan has similar geopolitical position and culture to Taiwan. Furthermore, Japan is not only influencing Taiwan on Labor Law, but also has made a lot of researches on special working time systems. Therefore, the author examined the legal regulations of working hours and effects between Labor Standards Laws of Taiwan and Japan for the purpose of improving the rights of labors. In conclusion, it is necessary to introdece flexible working hours system into Labor Standards Laws of Taiwan and adjust the range and effect of article 84-1. In addition, absolute limit of working hours based on the guideline of Karoshi should be set to avoid extreme cases of long working hours.

《奧菲歐爵士》(Sir Orfeo) 是一首十三世紀晚期至十四世紀初期的傳奇敘事詩，其中重複出現的時空特性強調出奧菲爾斯傳統中「失去」的主題。克服失去的難題顯示了在無常的世界中維持恆常的困頓—如何在娑婆的世間找尋精神的寄託所在，以解失去對於個人時空感受所造成的罣礙，體驗生命的當下？於多數奧菲爾斯版本之中，到冥界挽回尤瑞柢思 (Eurydice) 的旅程是一個重要的場景，其突顯了在無常之中對於秩序與生命延續 (continuity) 的訴求。這首詩中，不同的延續觀出現於聽覺導向的人間王國與視覺導向的精靈王國，再再顯示了維持恆常的重要性。作為重回秩序的工具，奧菲歐的豎琴為此議題提供了重要的線索。問題的重心在於音樂中協調時空的力量，也就是所謂的共時性，其中蘊涵了奧菲爾斯文本中自身與世界的關係，及其與變動時空，延續感，以及重建秩序的關聯。 奧古斯都 (St. Augustine) 的《音樂論》(De musica) 從八世紀晚期到十五世紀以來一直都是一部影響深遠的著作，為音樂中的時間經驗提供了完整的哲學分析。從奧古斯都的音樂時間觀所呈現的先驗及秩序概念出發，此論文目的在於檢視奧菲歐的豎琴中所顯示出中古時期對於無常 (temporalia) 與先驗(transcendence) 的關懷主題。此項研究在於一種經由音樂與時空所協調出的經驗感受。除了探討人類王國與精靈王國之間的辯證關係，也揭示了《奧菲歐爵士》對於存在、當下、以及人類價值 (humanity) 所表現出來的核心態度。誠如奧菲歐與野外動物們共享短暫的和諧經驗所示 (272-80)，奧古斯都的先驗及永恆觀與奧菲歐豎琴中變動的感官特性並不相符。儘管如此，他對於靈魂律動所提出的解釋，以及記憶是一種出於心智印象 (phantasiai) 的看法，為我們提供檢驗精靈王國時空感的理論基礎。 為了解釋音樂中的和諧如何經由時間經驗讓奧菲歐在變動的世界中維持恆心，此篇論文分成四個章節：第一章介紹相關主題及評論。第二章介紹 中古時期與奧菲爾斯神化相關的音樂理論背景並且闡釋奧古斯都音樂論中的時間觀。在第三章中，我將進一步分析《奧菲歐爵士》中的時空觀。奧菲歐的豎琴所帶來的和諧經驗將會以個人內在與變動外在的互動回饋機制來檢視。這樣的內外交流呈現出一種變動的先驗觀，將永恆寄託在一種有機變動中所體驗的延續感。 其同時也揭露了自身與世界互動的關鍵模式，透過精神蛻變 (metamorphosis) 和冥界之旅等面向，增進我們了解失去及無常的主題。最後，我將在第四章以豎琴的社會意義作結，解釋其對於口說傳統的文化傳承帶來什麼樣的影響，並提供其他奧菲爾斯文本一個不同的角度來觀看自身與世界的關係。 / Loss, the dominant theme in the Orphic tradition, is accentuated by the recurring issue of temporality in Sir Orfeo, a late thirteenth or early fourteenth century romance. The difficulty of overcoming loss posts the question of finding spiritual residence and maintaining spiritual progress in the temporal world. The underworld journey to retrieving Eurydice, as a major scene in most adaptations of the myth, signifies the quest of order and continuity through changes. Such an issue of maintaining constancy is highlighted by the different features of continuity appearing in the hearing-oriented human kingdom and the sight-oriented fairy world. Orfeo’s harping, as the means for recovery, offers a significant clue in viewing this issue. The question falls on the meditative power of music itself, i.e. the contemporal experience of sentiments, which reveals the particular self-world relationship embedded in the Orphic texts and its relation to temporality, duration, and the restoration of order. Augustine’s De musica, which had been an influential work from the late eighth century to the fifteenth century (Fitzgerald 575-76), provides an overall philosophical illustration on the experience of time in music and its relation to maintaining order. Deriving from Augustine’s idea of how the experience of time in music contributes to an understanding of transcendence and order, this thesis aims to examine the medieval concern of temporalia and transcendence manifested in Orfeo’s harping. It is a study of a relationship in space and experience of time that is negotiated through music, which explores the dialectic relationship between Orfeo’s kingdom and the fairyland, and also reveals essential attitude toward existence, presence, and humanity in Sir Orfeo. Although Augustine’s conception of timeless transcendence does not match the temporal and sensual nature of Orfeo’s harping, as seen in the temporary harmony Orfeo shares with the wild animals (272-80), his exposition on the movement of the soul, together with the explication of memory as images (i.e. phantasiai) operated in the motions of the mind, provide us a theoretical basis for examining the temporality of the fairy world. To illustrate how the harmonic order generated through the experience of time in music contributes to the maintenance of internal consistency within the temporal world, this thesis is divided into four chapters: Chapter one introduces relevant issues and literary criticism. Chapter two offers a detailed explanation of the historical background of medieval music theories, the associated allegorical readings of the Orphic texts, and Augustine’s conception of time in the experience of music. In chapter three, I further analyze the temporality of music in Sir Orfeo and distinguish two types of temporality, that of Orfeo’s court and that of the fairyland. The harmonic relationship maintained by Orfeo’s harping is examined in terms of the reciprocal interaction between the inner self and the operating world, which prescribes continuity in temporal transcendence and reveals a significant mode of self-world relationship. Such a study contributes to our understanding of the theme of loss and change in relation to spiritual metamorphosis and the underworld journey. Finally, I conclude in chapter four with the social significance of the harping in order to examine the cultural legacy of the bardic tradition. Through the examination of the mediation of music, I offer an alternative view on the self-world relationship in the Orphic texts.