本研究共涵蓋三個主要的學科領域：學習理論、媒體與教學設計。其焦點在於透過對於建構論、超文本以及教學設計的剖析，勾勒出本研究題目所揭示之「建構論之超文本教學設計」。在理論上藉由文獻分析的方式，分析詮釋理論的內容，此外在應用上提供一個簡單的教學模型，做為理論上的實踐。 本研究首先透過對於媒體的探討，重申近來做為教學科技的媒體不僅式侷限於以往傳輸資訊的功能，此外更進一步協助學習者監控、調節認知活動，並使得學習者主動投身於深度的資訊處理過程，當媒體能夠符合以上的敘述時，其本身即是一種認知工具(cognitive tool)，而超文本即具備這樣的潛能。認知工具是必須奠基於建構論的基礎上，才能夠有效地促進學習，因此在學習理論上進一步廓清建構在哲學知識論及學習理論上的意涵，做為從事教學設計時的理論基礎。之後，從教學設計的歷史發展，澄清建構論教學設計之適當性問題，主要從 Merrill 等人所倡導之第二代教學設計，與建構論教學設計之衝突上著手，並且從一個教學者的立場提出建構式教學應有的策略及其可能的限制。最後提出一個教學系統的雛形以供未來發展之用。 / The research contains three main subject matters; they are learning theory, medium and insturctional design. By analyzing constructivism, hypertext and instructional design, the researcher wants to make the topic clear, the application of constructivism on hypertext mediated instructional design. Concerning the research methods, the researcher adopts document analysis to analyze and interpret the thesis. In addition, a simple instructional model is provided for the realization of theory.

科技媒體看似創新，實際上卻不斷重拾基本人性與感官習慣，人類文明演進因而呈現永恆回歸的螺旋。十九世紀末的電影發明似乎新穎，但實際上卻是利用新技術來重現人們眼中的「自然」。電腦網絡彷彿是嶄新概念；然而虛擬空間卻源自對現實空間的複製、強化與變形。網絡文化日新月異，最後脫穎而出的卻是部落格、影像分享或播客。高度複雜的媒體演化，最後竟整合了各種傳統媒體的特色，並且重拾了最簡單的表達與溝通模式。媒體重建視聽感官，不斷貼近符合自然的環境。 文學創作的演進，也與媒體科技共同演化，而走向「回歸」之路。看似以線性發展的文類，其實不斷環繞著「口語回歸」的中心，以螺旋方式演進。在這樣的螺旋中，經典內容不斷被吸納進入新的媒體，形成文化演進的動力。從戲劇、詩詞到小說，似乎從口語推進至書寫與印刷；但二十世紀的廣播、電影與電視，乃至於電腦網絡，卻將文學重新帶回口語場域。這不禁讓人思考，創新並非進步的真正動力；反倒是新舊混雜、多元流動的媒體整合，才能在跨越文類疆界後，重新尋回最貼近人性的藝術表現形式。 類似的跨文類與媒體整合現象，可從狄更斯作品在不同媒體的流動中見到端倪。狄更斯不但是位傑出的小說家，同時也是出色的演員以及雜誌經營者。他那跨越文類的創作活力，使其作品於媒體演進的過程中，不斷被吸納更新。狄更斯的跨文類網絡提供了一個具體而微的模型，足以檢視媒體整合的歷史演進，以及科技重拾人類自然溝通模式的不同階段。本論文旨在研究狄更斯小說與媒體整合之間的微妙關係，藉此觀察媒體整合感官的進程。論文將分為四大部分。 首先，狄更斯深受劇場傳統影響，而他的小說也經常被改編成為維多利亞通俗劇，這反映了經典內容於書寫（小說）與口語（戲劇）間擺盪的流動性。在小說興起的時代，書寫作品經常被搬上舞台，回歸最直覺的視聽環境，而一般大眾不但熱衷劇場，同時也習慣以劇場經驗來閱讀小說。這種「書寫」與「口語」相互滲透的現象，證明了口語文化的強韌性，也反映出「口語回歸」的趨勢。 其次，狄更斯大眾說書的空前成功，不但說明了觀眾對於視聽表演的熱愛，也暗示著作者試圖從書寫形式外尋求更多創作可能的嘗試。更重要的是，這代表了作者從十九世紀書寫印刷技術回歸吟遊詩人傳統的潛在慾望。透過反覆刪編與練習，狄更斯無須像史詩吟唱者般口頭記頌，而得以藉文字幫助強化表演的變化性與靈活度。透過舞台符號的暗示，狄更斯同時又策略性維護了自身「文化菁英」的形象，在口語與書寫間，取得了策略性的平衡。 第三，狄更斯小說被改編成為電影的過程，顯示了文字被搬上螢幕時所產生的複雜文類互動與媒體間的交互滲透，而作者的敘述技法，則直接影響了許多電影先驅的運鏡與影像語言。攝影機實現了文字藝術所無法表達的事物，然而文字卻馳騁想像，啟發了電影場面調度的概念。本文將觀察狄更斯小說於十九世紀連載時，小說與插圖間的微妙關係，以及小說敘述中的視覺元素，檢視其對於二十世紀電影改編的影響。然而，文字述刺激想像；但電影卻直接將影像呈現於眼前。倘若文字的「留白」是意猶未盡的空間，那麼過於露骨的影像，卻可能剝奪想像的彈性，這是媒體創作必須省思的課題。 最後，本文將研究狄更斯於網際網絡上以不同形式出現的現象，並解讀其在媒體整合中所代表的意義。除提供狄更斯資源的學術網站外，網絡上的電子書與有聲書也同時可見於網絡資源中，甚至許多部落格也提供個人製作的狄更斯改編影片。邇來盛行的「播客」，將數位科技帶往了口語表達的方向，傳統的文字創作開始成為有聲媒體的重要內容，經典作品被數位化、有聲化、影像化，朝更加貼近人性以及自然溝通環境的方向發展。。 狄更斯小說的跨文類網絡提供了一個具體而微的跨媒體網絡模型，透過此模型，我們可以更清楚地觀察媒體整合與演進的歷程，並觀察其不斷回歸的螺懸。近年來文學研究日漸偏向科際整合、媒體整合的文化研究發展，然而也因此不免陷入了自我定義的危機。狄更斯的跨媒體現象足以提供文學研究者一個未來文學與文類發展的可能方向，並於此機械複製的時代，為文學的發展提出可能的解答。 / Media never really innovate; they actually restore the natural balance of human eyesight and earshot with the hybridization of various perceptive elements. For instance, cinema was regarded as an invention in the late nineteenth century, but it only reflected the natural environment people observed with their pre-wired biological perceptions. Cyberspace may appear innovative to us, yet the “Virtual Reality” is still the duplication, amplification or transformation of the nature. The Internet optimists had once dreamt about immense possibilities; the real application of blog, video sharing and podcast, however, merely hybridizes the existent audio and video media. The most sophisticated technologies always aim to approximate the natural mode of human perception, which makes the evolution of media more a spiral that constantly returns to the natural habits than a linear progress into the future. Similarly, literature co-evolves with media to restore the most natural elements — the oral tradition, primary or secondary as it may be, is thus perennial in all literary genres. The evolution seems to advance in a linear pattern; it, nevertheless, revolves around the center of orality and progresses in an anthropotropic spiral, where the classic motifs in various works are sucked and hybridized. Although the canonical transition from drama, poetry to novel sacrifices the natural oral-aural environment to the stable storage in words, the twentieth-century literary representation on radio, film, television and the Internet eventually restore the classic contents in the audio-visual environment. Such a spiral invites us to speculate an essential question: the technological innovation may not be the only dynamic to propel the evolution; instead, it is the restoration of the human-friendly environment that validates the value of the new media. Similar restoration and hybridization can also be observed in the transformation of Charles Dickens’s works into various genres. Dickens is not only an outstanding novelist but also a brilliant performer and an influential magazine entrepreneur. The vitality of his works transcends varieties of literary genres and is absorbed into innumerable modern media as the technology advances. Dickens’s transgeneric network provides a model to observe the transition of media hybridization when the modern technology restores the human natural communication. This dissertation aims to analyze the delicate relationship between Dickens’s novels and the continuous consolidation of human sensory perceptions in various media. My research will be divided into four main categories: First, it will study Dickens’s indebtedness to the tradition of theater and the nineteenth-century melodramatic adaptation of his works to see how the contents of the classic literature oscillate between the pure written form (novels) and the residual of the oral performance (melodrama). The study of such a complicated relationship helps clarify Dickens’s transgeneric metamorphosis profoundly influenced by the social milieu and the mass entertainment in the Victorian period. Second, the success of Dickens’s Public Readings not only epitomizes the audience’s craze for the audio-visual performance but also suggests the author’s endeavors to seek more creative possibilities besides the writing format. More importantly, this singular phenomenon represents the social collective unconsciousness, though repressed by the dominant culture of typography, to return to the ancient tradition of minstrels and bards. Through meticulous editing and intensive rehearsal, Dickens was able to perform with more improvisation and higher accuracy. Furthermore, with a series of symbols onstage, he strategically maintained his identity as a cultural elite and meanwhile enjoyed the ecstasy of orality. Dickens’s unique strategy to reach the equilibrium between orality and literacy will also be analyzed in the dissertation. Third, several film and television adaptations of Dickens’s works will be examined to show the modern transition of his stories from the written genre to the audio-visual media. Dickens directly influenced many cinematic forerunners, and the film fulfills the imagination of the author, which could not be realized on the written page. Furthermore, the cooperation of the novelist and the illustrators in the Victorian magazine serialization will also be analyzed to see how the illustrations inspire the later design of movies on screen. However, the “un-represented” may more often than not be more pregnant with meanings than the explicit representation on screen. Therefore, it will be an important issue to re-consider the meaning of recollecting the natural environment in the literary creation. The final analysis concentrates upon Dickens’s works in the cyberspace, monitoring his afterlife in this cutting-edge medium. Besides the websites that contain the scholarly resources, the old radio clips that recite Dickens’s works and the hypertext reproduction of the novels are all juxtaposed in the virtual space. Moreover, many personal blogs provide their own video adaptations, and the other productions such as the podcast become popular on the Internet. The reincarnation of Dickens’s works in the cyberspace represents the novelist’s unique status as the “cultural modem” that bridges the gaps separation the past, present and future. His works epitomize a clear lineage of the technological transition that endeavors to recollect the most instinctive pattern of human cognition. The transformation of Dickens’s works into so many genres forms a transgeneric network that could help envision the hybridization of media in the literary history. When literature tends to include all media into its field of study, it sometimes undergoes a severe crisis of self-definition. Dickens’s model may provide some clues to envisage the future development of the literary genres in the age of mechanic reproduction.

本文從社會脈絡的角度來思考網際網路之傳播研究，認為單一網路傳播現象或傳播事件有助於簡化研究問題。因此本文試圖從網際網路中的一個重要傳播形態－全球資訊網－出發，目的在了解其特殊文本結構與傳播特質，如何影響其在某一社會議題傳播過程（或傳播內容的生產與消費）中的論述表現？以及此論述表現對社會議題的影響力和意義？作者挑選了一個曾是重要社會議題，也與全球資訊網傳播形態發生關連之國民卡事件作為討論對象，原因是「反國民卡網站」的成立讓反國民卡行動成為一個與網路傳播相關的社會事件。在研究方法上，作者嘗試應用論述分析方法於全球資訊網網站的分析中，並希望發展出全球資訊網的系統性分析方法。研究發現，論述活動接合了網際空間與社會空間，因此論述可以作為研究網路傳播之出發點。其次，全球資訊網超文本之開放性，提供社會成員更多操縱傳播媒體的機會以及一個多元論述的環境，讓社會成員依自身利益主動結合取得對事物的詮釋權力，而全球資訊網論述表現對社會議題所具有的意義，也就在它可以作為一個「團體的媒體」，讓社會成員可以結合起來對抗社會中的主流論述。最後，全球資訊網網站之論述分析可以從網站「文本」形態出發，進而討論文本背後所牽涉到的相關社會脈絡，以豐富對個案的詮釋。

影片在網路內容中的比重日益增加，但超文本閱讀理解研究卻很少探討影片元素。本研究以實驗法探討超文本內容以不同表達模態（影片結合文字呈現、純文字呈現） 對理解及超文本大綱瀏覽行為的影響。 實驗以科普內容做為素材，招募81位大學生，隨機分配到實驗組及控制組：網頁影片結合文字組、網頁純文字組、紙本組三組，並要求受試者閱讀後以自由回憶(free recall)、概念圖寫下所看到的內容。接著，以Kintsch(1998)的建構－整合模式為基礎，建立文本中的巨觀命題與情境模式，並以命題分析法比對三組讀者回憶內容的差異。同時，也記錄網頁組二組受試者的瀏覽行為及時間。 研究結果發現，相同的內容，影片結合文字表達、及以純文字表達，就整體內容的巨觀命題、情境模式理解而言，二組讀者的理解並無差異。然而，若將影片、文字內容的巨觀命題理解分別統計，則發現收看影片結合文字組的受試者對影片內容的理解程度較高；若單就文字內容的理解進行分析，則發現收看網頁文字組的受試者對文字的理解程度較高。不同表達模態也影響讀者的瀏覽時間分配與瀏覽行為。當文字內容加入影片時，相較於純文字組，讀者在影片的瀏覽時間增加，文字內容瀏覽時間則較短。若內容只有文字單一表達模態，讀者會更依賴點選大綱及在頁面間點閱來幫助理解。文字組受試者的大綱瀏覽頻率、瀏覽總頁數高於影片結合文字組。 本研究同時對照網路與紙本不同媒介對讀者理解的影響。結果發現，此二媒介對讀者的巨觀命題理解無影響，但對讀者理解整體概念有影響，網路超文本的讀者，概念圖的回憶表現優於閱讀傳統紙本文字者。

人類書寫歷史，可視為文本不斷細小分割重組的過程，這種斷裂與重組的現象，及至超文本應用後臻至高峰。「超文本」並非單純將書寫媒介由紙張移植至螢幕，而是利用電腦「斷裂」、「交錯連結」、「非線」、「多向」等特質，營造與印刷技術截然不同的文本。它提供文本無比的可塑性，更具體實現了解構理論對「文本」的各種假設。 小說家波赫士曾於1962年假想一種混沌、斷裂、多向、非線性的小說型式;而德勒斯亦於1987年提出「遊牧」理論與「無中心」、「無階層」、「隨機組合」等概念。然而要在印刷小說中建構這種「歧路花園」，無非是緣木求魚，充份切割的傳統文本，充其量只是一堆碎紙片而已。墨梭則成功地以超連結整合碎裂辭片，具體在《勝利花園》中塑造了真正的「歧路」。在其獨特斷裂結構中，不但每個角色都擁有對等獨立的發聲空間，讀者更不再只是聽眾，而可以參與對話，平等發聲。 本論文分為四章，第一章專論超文本定義與演進；第二、三章試從「介面」與「情節」兩方面切入，分析墨梭超文本小說《勝利花園》如何實現德勒斯遊牧敘述與巴赫汀複調理論。最後則就當前超文本研究發展，提出未來展望。 / The history of human writing is a continual process of decomposition and re-permutation, and the process reached its climax after the application of hypertextual technology in the late twentieth century. Hypertext is not the simple transplantation of text from page to screen but an innovative technology which is fragmentary, interconnected, nonlinear and multidirectional. It provides an environment of incomparable textual malleability and further fulfills many deconstructive hypotheses about text. In 1962, Jorge Luis Borges suggested a fragmentary, chaotic, nonlinear and multidirectional narrative for the novel. In 1987, Gilles Deleuze presented the theory of nomadism and suggested the a-centered, non-hierarchic and randomly permuted structure. It was impossible, however, to create such a “Garden of Forking Paths” in the printed novel. The thoroughly decomposed text is nothing more than a heap of contradictory segments of paper. It is Stuart Moulthrop who successfully consolidated the fragmentary lexias with the hypertextual links and created a genuine “garden of forking paths” in Victory Garden. The fragmentary structure of Victory Garden helps the characters in the novel articulate themselves equally and independently, and the reader, the formerly auditor of the dialogue, can participate in the hyperfiction, too. This thesis is divided into four chapters. The first chapter introduces the rationale and the history of hypertext. The second and third concentrate upon the interface and the “plots” of Victory Garden respectively to see how it better fulfills Deleuze’s nomadism and Bakhtin’s theory of polyphony. In the final chapter, the future of hypertextual studies are discussed.