從浪漫愛的概念出發，本研究聚焦於青少女觀賞《暮光之城》系列文本的詮釋歷程，以理解《暮光之城》作為一種文學、影視文本類型，如何藉由吸血鬼愛德華與浪漫愛概念之呈現，促使青少女在與文本互動的過程中，對浪漫愛進行反思與想像。 　　「校園生活環境」是青少女接觸《暮光之城》的主要脈絡，透過對12位「暮光迷」進行深度訪談，研究者觀察到青少女主動「選擇」《暮光之城》文本，藉由文本的「使用」滿足個人心理與情感上的需求，此過程具有兩項意義：一來突顯「閱讀」是一主動行為，在青少女的生活中占有重要地位；二來帶出《暮光之城》具有之「補救性青少年次文化」概念，使青少女在幻想與想像層次彌補了現實中的缺憾。 　　由接觸《暮光之城》到以「暮光迷」自居，展現的是青少女和《暮光之城》文本在一個時間向度上的互動過程：青少女由找尋《暮光之城》與自身生活脈絡、情感相契合處，演變為對《暮光之城》文本進行解讀與詮釋。以「浪漫愛」框架探究青少女作為「暮光迷」的真實樣貌，研究者嘗試描繪當代青少女浪漫愛想像之藍圖，並以之與「現代浪漫愛概念」、「《暮光之城》再現之浪漫愛概念」進行比較，發現其中呈現出的差異，不僅是青少女自主思考性的展現，更是對於現代男性、對於風險社會下的愛情所進行的反思與批判：吸血鬼愛德華保守的性，象徵著女性在幻想層次對男性的道德呼求；在風險社會的時空脈絡下看「永恆愛情」，部分青少女將「找到自己生命中的愛德華」作為一種神話的行動典型，部分青少女則將「永恆愛情」的意義，由永生相守扭轉為「片刻勝永恆」的概念；現代青少女強調自我「主體意識」，要求自我主體性，不希望被戀人當做保護「客體」而是希望在「被愛」的同時更主動「去愛」。 　　每一個時代都擁抱一種他們所需要的吸血鬼，而吸血鬼愛德華的出現，或許正象徵著這個時代的人們對於愛情、對於尋求真愛不可得的焦慮與恐慌。透過「浪漫愛」框架觀看「暮光迷」，可發現她們之所以擁抱「浪漫愛」，之所以擁抱吸血鬼愛德華，背後皆具特殊意義；而青少女對於浪漫愛所進行的想像與反思，足以打破他人對「暮光迷」的刻板印象，具體展現身為「暮光迷」豐富而多層次的樣貌：「暮光迷」不僅是對愛情懷抱憧憬的女孩，更是一群對於現代愛情觀及其背後彰顯之價值具有挑戰、顛覆能力的女孩們。 / Based on the concepts of romantic love, the research focuses on teenage girls’ inner interpretation experiences when they read the Twilight series so that better understand how do the vampire images of Edward Cullen and the concepts of romantic love represented by The Twilight Saga stimulate young girls’ introspection and imagination of romantic love within the process of interactions with texts. “The school life” is the main context for teenage girls to have contact with the Twilight series. In this study, the outcome of in-depth interviews with 12 “Twilighters” shows that teenage girls proactively “choose” and “use” The Twilight Saga to satisfy their mental and emotional demands. It reveals two crucial concepts: on the one hand, as far as teenage girls are concerned, “reading” is a voluntary action that plays an important role in their daily lives. On the other hand, The Twilight Saga symbolizes a “remedial subculture” that allows young girls to redeem their actual imperfection by means of daydream and imagination. From just reading the Twilight series to naming themselves as “Twilighters”, this process indicates a timeline-interaction between teenage girls and The Twilight Saga. To begin with, young girls try to find out if there is overlap amid their life context, emotion demands and the Twilight’s love romance; however, as time gone by, they start to interpret and make comments on the text. Using romantic love as a frame to explore “Twilighters”, this research tries to portray contemporary teenage girls’ imagination of romantic love and then compares it with the concepts of contemporary romantic love and that represented in The Twilight Saga. The differences not only display the independent deliberation of young girls, but also reveal their introspection and criticism on men of nowadays and notions of love in this risky society. On the first place, Vampire Edward Cullen’s conservative notion of sex symbolizes women’s moral appeals to men at the imaginative level. Secondly, judging “eternal love” under the context of risky society, some young girls regard “finding their own Edward” as an action paragon of fantasy, while some of them try to reverse the meaning of eternal love from “happy ever after” to “the precious one is the eternity for a moment”. Last but not least, young girls try to strengthen their demands for subjectivity, so that they would rather be the one who is loved and love others at the same time. Each era embraces one kind of vampire it lacks, and the appearance of Vampire Edward perhaps symbolizes the anxiety of modern people on their way of seeking true love. Through the frame of romantic love to observe the teenage “Twilighters”, the research finds out the reasons that young girls who embrace romantic love or Vampire Edward truly have some special meanings. Their imagination and introspection of romantic love, as well as their abundant images as “Twilighters”, both give them powers to reverse others’ stereotypes on “Twilighters”. “Twilighters” are not only the girls who long for love, but also the ones who have the ability to challenge and overthrow modern concepts of love and the value it manifests.

本文首先介紹Cosplay角色扮演的背景與歷史沿革，接著以參與觀察的所得為基礎，提出兩個研究問題。第一個研究問題是，在Cosplay活動漸往商業化發展的趨勢下，該場域內的動漫迷處在消費與抗拒之間的尷尬位置，他們是否能抵抗商業化的全面收編企圖，又是以何種方式抵抗？第二個研究問題為，在Cosplay場域內，性別與服裝間的所謂合法對應看似不成立；也就是在Cosplay中，生理性別未必要呼應社會所認定之應有裝束，這種性別疆界的暫時打破是以何種方式在何種條件下得以成立？這兩個研究問題的軸心被置放在「踰越」之上，探求在Cosplay中反叛性是否存在。以踰越為發問起點，本研究試圖探討Cosplay角色扮演這項活動，是否具有抵抗消費，以及反叛現行性別疆界的潛力。 在分別回顧與消費和性別相關的文獻後，本研究採行深度訪談法和參與觀察法，進行為期一年一個月的田野研究，並在整理田野資料後，讓所得發現與文獻對話，在詳實紀錄田野發現的同時超越文獻，處理過往文獻未能回答的田野現象。 研究結果發現，在商業體制赤裸裸的收編企圖下，角色扮演者們的確無法完全避免消費，但這不代表角色扮演這項活動是純然的消費。本研究分別檢視角色扮演者參加活動，與角色扮演者本身實踐兩個部分，著重在整個角色扮演的「過程」並加以論證，發現消費乃是其執行生產的一個難以避免之手段。消費之後，角色扮演者施展巧妙的戰術與挪用的藝術，挪用不只呈現在有形的準備層面上，甚至在抽象的氣質揣摩上，這些都是其生產力的展現。 在跨越性別疆界的部份，角色扮演亦有顛覆固著性別疆界的潛力。在Cosplay場域內，性別疆界的踰越僅在特定場合與特定時刻下得以成立，透過將霸權文化中暢行的規則挪為己用來達成目的。即便性別疆界的搖擺或模糊只在活動間成立，潛在的踰越特質卻是無法否認的；儘管性別疆界難以根本地消除，Cosplay依舊透露出試圖改變的力量。

国立情報学研究所で電子化したコンテンツを使用している。

京都大学 / 0048 / 新制・課程博士 / 博士(人間健康科学) / 甲第19645号 / 人健博第37号 / 新制||人健||3(附属図書館) / 32681 / 京都大学大学院医学研究科人間健康科学系専攻 / (主査)教授 三谷 章, 教授 村井 俊哉, 教授 精山 明敏 / 学位規則第4条第1項該当 / Doctor of Human Health Sciences / Kyoto University / DFAM

博士(理学) / Doctor of Philosophy in Science / 同志社大学 / Doshisha University

本研究旨在探討國中生電腦網路沈迷現象，研究之主要目的是要瞭解國中生使用網路的動機及網路沈迷的因素、國中生網路沈迷對自我概念、人際互動、學習時間分配管理和學業成績的影響，並企盼根據研究結果提出教育輔導上的建議。研究主要係透過問卷調查、焦點訪談與深度訪談等研究方法進行，問卷調查抽樣台北縣十所學校963個樣本點，焦點團體訪談選擇四個焦點團體共25位網路沈迷受訪者。另外，深度訪談5位網路沈迷學生及其導師。經問卷調查、焦點訪談與深度訪談蒐集到有關國中生網路沈迷現象資料，並透過統計分析、資料整理及討論後，得到如下結論： 壹、國中生使用網路的動機及網路沈迷的因素：學生上網的主要動機及原因是（1）無聊打發時間（2）能多結交網友（3）能與同儕相聚在一起（4）同儕嘲諷及刺激（5）耳濡目染。上網對學生最大的影響是（1）不想再接觸功課（2）與家人關係惡化。學生上網的主要時間是放學後、晚上及週休二日。學生上網的地方主要是網咖或家中，也有在朋友或親友家中。 貳、國中生網路沈迷對自我概念的影響：大部份網路沈迷國中學生對自我概念抱持著負面的態度，包括認為自己「不是有出息的人」、「不是值得信任的人」及「不是個不錯的人」；甚至於「會想一些不可告人的壞事」及「想做一些不道德的壞事」，而且「做任何事不會事先考慮」、「會在背後說別人的閒話」及「不能滿足家人的期望」。網路沈迷對生理上也有負面影響，包括上課時會覺得頭昏且沒精神及睡眠不足等。 參、國中生網路沈迷對人際互動的影響：大部份網路沈迷的學生與家人的互動會有負面的影響。包括「曾受家人責罵」、「與家人互動減少」、及「與父母相處時間減少」；甚至於「會與家人反目成仇」。而且大部份網路沈迷學生相對的與同好網路同學及網路朋友相處時間變得更多，但與網友大部份處於虛擬實境。整體而言，網路沈迷對人際互動有負面的影響。 肆、國中生網路沈迷對學習時間分配管理和學業成績的影響：大部份網路沈迷學生對學習時間分配及管理較差，因為上網總覺得時間太短，若有時間會優先考慮上網，並不擔心為上網時間太長影響課業，對時間也根本沒有控制。研究結果也發現大部份網路沈迷學生覺得上網會影響功課，而且現在的課業比以前差。此外，並對網路沈迷學生之輔導提出一些相關的建議。

玩大型多人角色扮演線上遊戲(MMORPGs)的行為在國內日漸普遍，但是許多人玩線上遊戲的現象卻經常被社會大眾和媒體報導認為是一種負面社會問題，並將玩遊戲與遊戲成癮作直接的連結。許多成癮研究也強化了「持續玩線上遊戲的行為，最終容易導致病態行為成癮的結果」之因果邏輯。但是，事實上許多玩家經常自行決定進入、持續玩，和退出一款線上遊戲，並非最終都會走向遊戲成癮的宿命。因此，本研究的主要目的即在於透過遊戲玩家的個人線上遊戲生命歷程，重新檢視遊戲「成癮」以及「玩線上遊戲便注定導致病態成癮」的邏輯。 運用深度訪談和參與觀察方法，描繪出線上遊戲玩家的長期線上遊戲生命歷程，再試圖詮釋他們離開、持續玩、退出遊戲這些投入程度的變化是受到哪些因素影響，以及在什麼脈絡之下做出的決定。本研究發現許多玩家曾經意識到自己「成癮」於玩線上遊戲，但是只是階段性的反常狀態，甚至是可以接受的一種生活方式。玩家們不只是受到線上遊戲設計的被動牽引而長時間持續投入大量心力玩遊戲，他們在玩遊戲的過程中，受到遊戲設計、玩家社群、生活脈絡和個人對於這些因素的價值判斷等多元因素的影響，持續調整和監控自己的遊戲行為和投入程度，從中協調出最能夠滿足他們的多元愉悅感。另外，當他們對於自己玩遊戲的投入程度感到疑惑時，傾向於尋求玩家社群的協助。因此，本研究認為玩線上遊戲導致病態成癮的論述須要被重新檢視，因為許多被認定為病態成癮的現象只是線上遊戲玩家生命過程中的片段現象。 / Playing massive multiplayer online role playing games (MMORPGs) has become a popular activity in Taiwan, but it has often been regarded as a social problem, linking to game addiction, by the mass media and the public. Many addiction researches have also enforced the logic that “pathological game addiction is the most likely result of continuous online gaming activity”. However, many gamers in fact often begin, continue, and quit playing an online game according to their own will, instead of ending up as a pathologic game addict. Therefore, the main purpose of this research is to re-approach game “addiction” and the logic of “online gamers are destined to be addicted” through gamers' online gaming life story. Using methods of depth interview and participant observation to depict gamers’ long-term online gaming life story, this research tries to interpret under what social context and influencing factors, do gamers change their attitude and effort to playing online games. Findings of this research tells us that many online gamers claim to have been “addicted” to online gaming some time in the past, but the “addiction” is only a certain stage in their long-term gaming life, and even regarded as a life-style by some. Online gamers do not continuously put a lot of effort to playing games just because they are attracted by the features of online game design. During the course of game play, they are persistently influenced by game design, gaming community, social context, and their own judgment of values. Also, they often self-monitor and re-adjust their gaming styles and effort, in order to meet their needs of multiple pleasures. Moreover, when gamers become confused of how they should re-adjust their gaming activities, they tend to search for assistance from the gaming community. Therefore, this research believes that the problematic logic of pathological game addiction being the final destined result of gaming should be reconsidered and understood from other perspectives, because many phenomenon currently considered pathologic addiction, may only be a short period or segment of gamers’ normal long-term online gaming life.

台灣與韓國過去曾多年在經濟產業與運動競賽交手，也因雙方在各層面的競合關係，導致大多數的台灣民眾對韓國觀感較差，然而此一情況在近二十年來因為韓國流行文化「韓流」進入台灣以後有所改變。 在台灣，韓流帶來的熱潮無所不在，從網上論壇的討論到電視螢幕上的瘋狂播放可見一斑。然而對於大多數以女性為主的韓流迷族群，在韓流熱潮中卻被媒體描述為瘋狂、失去理智的受害者，在日常生活中也必須面對來自他者的敵意。為進一步探討此一現象，本研究將著眼於研究女性韓流迷在日常生活中面對反韓情緒的經驗，了解她們的應對策略。 透過與12位女性韓流迷訪談，本研究發現：首先，即使女性韓流迷透過參與、消費韓流文化學習到相當可觀與韓國有關的知識，但卻難以將此一知識與反韓他者分享；再者，即便雙方並無直接交戰或其他歷史上敵對的背景，台灣的反韓情緒主要來自於媒體不斷操作的結果，形成代代相傳的集體意識；最後，對於反韓群眾而言，反韓情緒就像是一種「微型國族主義」，即使雙方無真正交戰敵對關係，卻能供給台灣反韓群眾抒發與韓國競爭所帶來的焦慮一處出口。 / Taiwan and South Korea have a long-time history competing with each other in sports and industries. Due to these competitions, most Taiwanese people dislike South Korea. However, in the two recent decades, the Korean Wave has gradually become globally recognized and has won a place in the Taiwanese market. In Taiwan, the hype of the Korean Wave can be seen from music programs on TV to the discussion forums on the Internet. Korean Wave fans, most of whom are female, have been portrayed in a maniacal and negative way in the meddled coverage by Taiwanese media. These fans not only need to endure discrimination by the media, but also in their daily interactions with other people who hold anti-Korean attitudes. This study intends to discuss how Korean Wave fans confront anti-Korean attitudes in their daily experiences. Through the interviews of twelve female fans, the study has found, first, that even though these fans learned valuable knowledge about South Korea during their participation in the Korean Wave, that great amount of knowledge is difficult to share or persuade the anti-Korean people who confront them. Second, the nationalistic antagonism towards South Korea has surged in Taiwan for decades, yet, there is no specific historic reason for Taiwanese people to be hostile towards South Korea. Under this circumstance, the nationalistic antagonism toward South Korea in Taiwan still existed as a kind of collective memory from generation to generation thanks to the news media. For those anti-Korean Taiwanese, the nationalistic antagonism may serve as a kind of petty nationalism that expresses their anxiety in facing and competing with South Korea.

張武宜. / "2013年9月". / "2013 nian 9 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 229-239). / 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. / Zhang Wuyi.

金馬影展對台灣藝術電影影迷而言，就像是場神聖的盛宴，在這場儀式中，透過群體的力量，讓信念的力量益發強大。本研究嘗試依循「朝聖」（pilgrimage）的角度，將金馬影展的觀影者，視為一種信仰著藝術電影教派（cult）的信徒，他們的身份不只是閱聽人或消費者，而是一種參與者（participants）。 本研究分為三階段進行。第一階段針對金馬影展三十年來（1980～2009）的影片清單進行歷史性檔案研究，歸納出金馬影展播映影片的脈絡。第二階段對影展觀眾進行問卷調查與參與觀察，以期歸納出金馬影迷的外在觀影行為，並透過田野調查實際了解金馬影迷的參與過程。第三階段則是對影迷進行深度訪談與生命史訪談。在影展現場找尋了78位金馬影迷進行訪談，另針對3位具代表性的影迷，分別透過他們參與金馬影展的經歷，來進一步認識歷年金馬影迷參與的過程。 本研究發現金馬影展的儀式概念（The Cult of Film Festival）主要來自於三者：在時間性而言，因一年一度有如逢年過節的「週期性」而營造了儀式感；在空間性而言，因影片與影迷的「齊聚性」而營造了儀式感；除了這兩者之外，要達到類宗教的景仰標準，勢必還要有「神聖性」的概念，其神聖感則是來自於電影大師的作品，所帶來的崇拜心態。 至於影迷的朝聖歷程，本研究以三位影迷的生命史作為引述，介紹20、30、40歲各個世代的影迷，究竟是什麼樣的樣貌。而後根據大量深度訪談、田野觀察與問卷調查的結果，搭配儀式結構的模式，描繪出金馬影迷單次旅程與生涯歷程。在單次旅程的部份，可以分作「前影展時期」、「影展時期」與「後影展時期」，三者中尤以前影展時期的套票搶購與排隊劃位最具儀式性特質。在生涯歷程的部份，亦可分作「前影迷階段」、「影迷階段」與「後影迷階段」，此三者之間主要差異，是以對電影的重視、迷戀與可犧牲程度作為劃分標準。 / For art cinema fans of Taiwan, Golden Horse Film Festival just like a sacred Feast, fans gathered together every year, that increasingly the forces of faith in the ritual. This study attempts to follow the "pilgrimage" view, to imagine that Golden Horse Film Festival audience as the cult followers, their identity is not just the audience or consumers, but a participants. This study is divided into three stages. First is the archive research of Golden Horse Film Festival for the thirty years (1980~2009). Second is the festival audience questionnaire survey and participant observation, to understand the fans viewing behavior. The third stage is life history interviews. The study found that the “ritual” or “cult” concept of Golden Horse Film Festival mainly from the three points: the timing, the result of annual holidays, like the "cyclical" and created a sense of ritual; in the space, for film and fans of the "gather" of the ritual to create a sense; In addition to these two, the religious admiration to achieve the standard class is bound to also have "sacred" concept, its sacred sense is from master's work in the film, brought the worship mentality. For fans of pilgrims journey, the study quoted by three fan’s life history, describes the various generations of 20,30,40 years old. Then according to a large number of interviews, field observations and findings of the survey, with the ritual process model depicts a single journey and the career of the cinephiles. In a single part of the journey, we can divided into "pre-festival period", "Film Festival Period" and "post-festival period". Part in a career of the cinephiles can be divided into "pre-cinephile stage", "cinephile stage" and "post-cinephile stage", the main differences between the three is based on the film's importance, degree of obsession and expendable as the division of standard.