近年來漫畫改編偶像劇蔚為風尚,然而過去迷群研究主要關注迷群外在過度 的生產文本,關於漫畫迷的研究也僅關注於外在過度性明顯的強勢族群。然而, 導致外在行為過度性的原因,即內在的認同與區辨機制卻顯少討論。因此,本研 究將焦點放在迷群的內在過度性,希冀透過少女漫畫迷互文解讀漫畫改編偶像劇 的過程,了解少女漫畫迷內在的認同及區辨機制。 本研究透過媒介形式轉換之跨媒體互文性,依據John Fiske的互文性概念及 迷群內在認同及區辨之循環機制作為理論架構。透過質化取徑的深度訪談法,訪 談十二位少女漫畫迷,本研究發現少女漫畫迷在接觸漫畫改編偶像劇時,水平式 互文漫畫文本作為參考架構,其中以角色的關係連結最緊密。而垂直性互文的發 生基於區辨而非認同。由於少女漫畫迷對漫畫文本特別在乎而投入對此認同的區 辨與維護,與漫畫改編偶像劇之文本、角色、媒介與他人產生區辨,並藉由區辨 的過程建立自我認同。 / Previously, the researches focused on the external behaviors of fans but neglected the main cause of them: the internal excessiveness. Therefore, this research focuses on the internal process of identification and distinction of girl comic fans intertexting trendy drama adapted from original girl comics. Based on John Fiske’s intertextuality and fan theory, this research finds out the relationship between girl comic fans and comics was built by imagination, which gave the original text ‘aura’. While the horizontal intertexality linked two texts by genre, content, and character, the adapted drama bursted the imagination of girl comic fans. In order to protect their imagination, they became anti trendy drama fan and produced vertical intertextuality by distinguishing the text, character, and media between the two. Thus, the aura of the original comics was preserved and the identity of girl comic fans was constructed.

社交網站Facebook鼓勵使用者將真實世界中的人際關係串連至線上空間，與各種親疏遠近的朋友進行互動與維持情感交流。隨著社交規模與範圍的擴大，Facebook使用者需要透過規格化或公式化的互動，確保人際網絡的穩定交流。這些行為經過反覆實踐，發展為社交互動儀式。然而，互動行為本身卻與社交初衷逐漸背離。因此，本研究關注的正是Facebook上的互動儀式鏈如何呈現，以及使用者社交行為與意義之間產生落差，導致「行禮如儀」的原因。 本研究以社會學者Goffman（1955）互動儀式與Collins（2004）互動儀式鏈的理論為基礎，探討Facebook的網路中介儀式形成的契機與淪於形式的可能。研究方法方面，本研究選出四則關鍵個案，先以內容分析檢視互動儀式鏈中各項元素的組成；再從個案中選取具代表性的當事人與參與者進行深度訪談，進一步探究實踐互動儀式的原因、時機與對象等細節，並檢視互動儀式過程與結果。 研究結果顯示，雖然社交訊息事件都有機會發展為完整的互動儀式鏈，不過訊息事件的類型差異會影響互動儀式鏈的參與形式。此外，研究發現乍看毫無意義的網路互動行為（尤指按讚）並非如過往研究提到的扁平單一，甚至略帶貶意。這些互動其實乘載多重含意，例如：避免表錯情的慰問、掩飾內心掙扎的祝福、欲辯忘言的關注、對多義訊息的部分贊同等。每當使用者內心與行動不一致或脫鉤時，這些行為便成為每一次的緩衝，調解了「口不對心」的矛盾。 上述貌似「行禮如儀」的社交互動行為隨著訊息事件的種類而變化，行動意涵亦不停流動、轉變，逐漸成為眾人心照不宣的隱藏邏輯，內化成為使用者的行動策略。成為具有「僵固的儀式形式，多元流動的儀式意義」的互動行為，亦可作為網路世代專屬的行動符號。 / Social network sites, such as Facebook, enable users to interact with friends and maintain their relationship. The growing scope and scale of social network require users to cope with huge numbers of friends in formulated and standardized ways. These formulated actions practiced repeatedly on Facebook have become ritualized and thus shape the particular cultural landscape. However, these interaction actions gradually become alienated from original social intents. Facebook users tend to push “Like” bottom whenever they read friends’ news updates, but they just go through the motion without any meaning. This particular research applies sociologist Goffman’s interaction ritual theory and Collin’s interaction ritual chain theory to the context of Facebook behavior. The researcher attempts to answer 2 questions: 1. What a complete social interaction ritual chain would be like on Facebook? And what are its ritual ingredients and outcomes? 2. Does social interaction behavior mismatch its social intent? If the gap exists, why does it happen? This research collects data from researcher’s 750 friends’ information in time frame from March 2013 to April 2013. Four Facebook events are chosen as critical cases. Content analysis and deep interview are employed to discover the ingredients, process and outcomes of interaction ritual chains and every detail on Facebook. The result indicates it’s highly possible that every social information event would develop a complete interaction ritual chain. But the difference of event characters may have impacts on people’s forms of participation. Secondly, Facebook users often depreciate the meaning of “Like”, however “Like” turns out to show multiple meanings. Whenever Facebook users’ physical action couldn’t match attempts, “Like” would serve as the buffer solving the inconsistency. Finally, pushing “Like” bottom becomes “formulated but with multiple meanings”, and it also becomes exclusive action symbol of Facebook generation.

「預兆」即為民間創作微體裁，作為語言中的固定格言，同時也是具勸諭性的完整句。它的存在相當根深柢固，因為人人皆有將時、事、已知與未知連結起來的心理需求，並希望獲知未來訊息、根據預測修正自己的行為。 近年來，民間創作微體裁引起俄羅斯與各國學者的興趣，並受到各流派的研究。大部份的民間創作體裁已逐漸消亡，其中包括壯士歌、童話與歷史歌曲等。但是作為話語體裁的民間預兆不同於上述創作，在現代俄羅斯語言文化學的地位仍極為穩固，Primeta.yaxy.ru、Primety.net等相關網站即可間接證明該論點。 本論文旨在研究民間預兆於俄語國家語料庫(НКРЯ)十八世紀末至二十一世紀初文學及政論作品中的語義與語用功能。學者的首要研究著重在天氣徵兆、與天氣息息相關的禮俗、產業、日子以及其他主題性的預兆。對與物品相關，且含有「錢」、「房屋、器具」、「食物」、「衣服、鞋、配飾」等意義關鍵成分的預兆研究相對少很多。因此，對它們的研究便顯得更加重要。

教育和文學最重要的連結是什麼，普遍最被接受的是「想像」，也就是想像力或幻想，它是跨領域科技整合極重要的黏著劑與調和劑。因此教育最重要的功能之一在於培養孩童持續保有發揮想像的能力，不僅孩童，成人也同樣需要。基此，本文以文學視角出發，結合靈性教育的關懷，從富含幻想表現的奇幻敘事文本取材，透過再想像與再詮釋的創造性連結，嘗試性地勾勒出一個富含寓意的人類圖像。 本研究採文本分析，融入「皺摺、展開、再皺褶」及「詮釋、再詮釋與過度詮釋」的概念與方法，著眼於「人與超自然」向度來詮釋靈性教育的人類圖像。本文共分六章：第一章，導論：緣起說「圓」，為本研究的緒論；第二章，究竟起「源」：創世與起「源」，為文獻探究與前導，指出源即是靈；第三章，迷宮探「園」：謎樣的世界，旨在闡述「界意在破（無）」；第四章，穿越奇「緣」：隧道的盡頭，旨在闡述「道意在無（悟）」；第五章，另度次「元」：空間與過門，旨在闡述「門意在空（心）」；第六章，總結：究極奧「圓」— 〇、●、 、◎，回顧與統整「那神」的人類圖像。 本研究嘗試勾勒之「那神教育學」圖像，或可稱為靈性教育的人類圖像，此圖像模型主要有三層（嚴格來說有五層），上下有其位置，但沒有先後順序或優劣之分，分別以基層的太極陰陽圖、中層的環狀隧道和上層的三角體形構，並透過「噬尾龍」的蘊義，闡釋「人即是神、神即是人」的循環圖像。 / The purpose of dissertation is trying to verify the imagination can be the connection between the education and literature. Imagination can connect and mediate among the multi-dimensions. One of the important things of education, not only for children but also for adults, is to cultivate and maintain the imaginative capacity. In this reason, my dissertation adopts the literature narrative and care about spiritual education. Especially, I use the folk literature with rich fantasy to do the re-imagine and re-interpretation for illustrate the meaning of the whole human picture. The methodology of the dissertation are use the "folding, unfolding and re-folding " and "interpretation, reinterpretation and Overinterpretation" and so on, with the fantasy narrative in "human being and supernatural", to interpret the human picture of spiritual education. There are six chapters in this paper: Chapter Ⅰ, Introduction: the Origin and "circle"; Chapter Ⅱ, Explores the Beginning: the Genesis and Origins; Chapter Ⅲ, Explore the Maze "Garden": the Mystery World, aims to set forth "Boundary to be Break (No)"; Chapter Ⅳ, Meet the “Fate”: At the End of the Tunnel, to elaborate "Road means None (Enlighten)"; Chapter Ⅴ, Another Dimension: Space and Threshold, to elaborate "Door means Empty (Heart)"; Chapter Ⅵ, Conclusion: The Ultimate "Round"— 〇、●、 、◎, Review and integrate the human picture of "No-thing". I try to describe the picture of "Pedagogy of No-thing" or called the human picture of Spiritual Education. There is a vertical structure with three levels in the picture (strictly speaking there are five levels) but no priority among them. The foundation is “Tai Chi”, the middle is “Ring Tunnel”, and the top is Triangular Shape in the structure. Through the “Ouroboros” (bite the tail dragon) interprets the picture of "human being is god, and god is human being ".

韓國的文化工業發展興盛，「韓流」以韓劇的出口為開端，近年來隨著韓國流行音樂 (K-Pop) 不斷向海外擴張，韓流不僅影響亞洲各國，在歐美各國也掀起一股潮流，而社群媒體可說是這股風潮的重要推手。藉著社群媒體，K-Pop觸及了更廣大的聽眾群，歌迷也可藉著社群媒體直接表達對於偶像的喜愛及忠誠。 隨著網路及新科技發展，音樂本身對於消費者將越來越便宜，實體唱片的銷量註定會持續下降；在這情況下，消費者在演唱會以及非音樂性衍生商品的消費，對音樂產業的重要性上升。因此了解願意付費觀賞演唱會以及購買衍生商品的樂迷，對音樂產業日趨重要。 檢視過去對於迷社群的研究，多從社會學及心理學的角度出發，缺乏從商學的角度切入的觀點，本研究旨在瞭解在數位音樂時代，社群媒體以及利用社群媒體串聯的迷社群，對於迷群音樂消費的影響。本研究以韓國偶像團體Super Junior的迷群為研究對象，以深度訪談方式，訪談11位Super Junior迷，了解迷的社群媒體使用習慣，以及社群媒體上的互動跟迷的音樂消費之間的關聯性。 經過深度訪談及資料分析，本研究得出以下三點結論：(1) 透過社群媒體集結的迷群，相較傳統的迷社群，雖然信任關係發展較慢，但社群媒體的人際關係發展與真實生活較貼近，在社群媒體的上的互動，對社群內部成員有較高的影響力；(2) 社群媒體對於迷群而言具有多重的功能：與Super Junior成員直接互動的工具、獲取最新資訊的管道、擴散有時效性訊息的媒介、和其他迷互動的媒介。在音樂消費的過程中，社群媒體除了是消費資訊來源地，也是買家跟賣家的媒合地，迷對於來自於社群內部的消費資訊有較高的信任感，因此雖然社群媒體上的迷群互動不會直接將使用者變成消費者，卻可以促成消費的完成，對於音樂消費有重要影響；(3) 社群媒體在音樂產業中扮演三個角色：音樂消費與擴散的媒介、音樂相關資訊的集中地、促成產業內各角色 (迷、歌手、唱片公司) 之間的交換 (exchange)。 / Korea’s cultural industry has enjoyed rapid growth due to the rise of “Korean wave (hallyu)”, which is led by Korean drama since 1990s. Korean wave has conquered Asia, but now with the rise of K-Pop, Korean wave reaches a wider audience in the West. Social media plays a crucial role for Hallyu’s success in the global level. Social networking media make K-Pop brands easier to reach global audience, and those fans use these media tools to proclaim their devotion and to promote K-Pop to their friends. This research categorizes music products into musical product, including records and live concert, and non-musical associated product, including concert paraphernalia. New digital technologies have transformed the ways of music consumption which results in decline in sales of musical products. However, fans tend to engage with a variety of products related to their interests, and their consumption on live concerts and non-musical associated product is getting important for music industry. Existing research on fan culture mainly comes from sociology or psychology viewpoint. This research discusses fan music consumption from management perspective and tries to explore the role social media plays to influence music consumption. This research uses the most popular K-Pop group, “Super Junior,” as a case. Through interviewing 11 Super Junior fans, this research examines how fans use social media to communicate and interacts with other fans in the fan community. Through in-depth interviews and data analysis, there are three main findings concluded by this research. First, compared to traditional virtual fan community, in terms of virtual fan community, it takes longer to develop the trust relationship on social media. However, the way fans communicate on social media is closer to the real life. As a result, interactions on social media influence members much greatly. Second, social media is a multi-function tool for fans, which allows them to directly communicate with Super Junior members, to quickly receive the latest information from other countries, to quickly spread timeliness information, and to communicate with other fans. Therefore, social media and fan community do contribute to fulfillment of music consumption. Last, social media plays three roles in music industry: the platform of media of music consumption and diffusion, a place where all music-related information are collected, a contributor to exchange between different players (fans, singers, music companies) in the music industry.

在新興市場逐漸蓬勃發展及2008年金融海嘯發生後，低價電腦商品需求開始大增，低價迷你筆電由台灣電腦廠商華碩率先開發出來，但競爭對手宏碁在半年後推出同類型產品，出貨量及產品銷售成績屢創佳績，超越市場先進者華碩，讓人不禁思考，何以華碩表現卻不如後進者宏碁？創新產品若要為企業帶量龐大利潤，除了創新這項元素外，還有哪些因素值得讓企業學習仿效？ 研究問題包括，一、企業在發展創新性產品時，對「先行競爭者產品」的知識為何？二、企業在推出創新性產品前，對「整體市場」的知識為何？三、企業的組織策略在創新性產品開發流程中所扮演的角色為何？四、企業在發展創新性產品的過程中，其合作伙伴的角色為何？ 本研究從過往眾多文獻中，整理出市場面、組織面及產品面等三大重要構面，做為研究架構，並以宏碁迷你筆電Aspire One系列為例，從產品開發流程中，尋找產品開發成功的重要因素。本研究藉由關鍵人物訪談及次級資料蒐集取得資訊，建構起研究的主體。 本研究所得到的結論包括，一、企業在開發創新性產品時，若能注重市場導向及消費者需求，可提高創新性產品開發之成功機率；二、企業在開發創新性產品時，上市速度是影響產品銷售成功的關鍵；三、企業售後服務可提升顧客忠誠度，有助創新產品的銷售；四、高階主管的支持是推動創新性產品上市重要的動力；五、企業成立跨部門組織專責處理創新性產品開發事宜，有助溝通與縮短產品推出時程；六、豐富的行銷、通路及技術等組織資源，有助創新產品開發的成功；七、企業產品出貨量到達經濟規模，有助創新性產品開發時，提高對外談判籌碼多及成本優勢；八、產品競爭力及消費者需求並存時，將會提高創新性產品的成功機率；九、企業與供應商關係良好，有助維持新產品品質及上市時程。

文本的意義不僅是在觀看時協商，同時在對話中決定。本文目的在於了解電視劇迷在網路社群中談論電視劇的互動型態，以及如何實踐身為劇迷的身份。這個電視劇迷集結的網路空間，同時是虛擬社群、觀眾社群、也是迷的實踐社群的集合體。 研究過程以中情局BBS站中三個電視劇討論區以及奇摩家族中二個電視劇討論區為觀察主體，對討論區的文章作歸納分析、訪問討論區管理者以及進行迷們的電子問卷調查。研究發現，電視劇討論區受訪者認可其社群的存在，並感受尊敬、友善、溫馨、互助氣氛，但電視劇的播出壽命會主導著電視劇迷社群的興盛。這並非指該社群會消失，而是這群迷會轉往其它地方繼續存在。電視劇迷看電視劇原因以「喜愛該劇演員」為主，而電視劇討論區聚集了不同演員的支持者，因此電視劇討論區的凝聚力比起劇中演員的專門討論區來得小。 對電視劇迷群而言，電視劇觀看過程延攬至和朋友、同學、父母每日的對話，並融入網路這新興的口語書寫文化中。他╱她們從消化電視劇所提供的素材再生產出網路討論的文本，藉由對文本的共同詮釋來獲得歸屬感和友誼。 電視劇迷是具生產性的一群，不僅由書寫談論賦與媒體文本意義、創作同題材的網路小說，更聚集迷群力量，抗議製作體系拖戲及希望修改故事線。在討論區互動中，迷們接合現實空間和網際空間的分界，實踐、交換迷身份展現的論述。

在研究方法部分，首先，本文針對國內現有之文獻加以蒐集，包括相關之教科書、專書、期刊雜誌相關文章、論文，以及一些具代表性的重要外國文獻，目的在整理及分析有關家庭暴力防治法基礎理論之問題，例如為何會有此法的形成、此法的架構及爭議問題何在等等，並進而提出本文之看法。 再者，執行家庭暴力防治法的實務運作機關，最主要為警察機關、社政單位、以及法院。這三個機關間的工作配搭，是否天衣無縫，抑或尚有需改進之處，都是本文中欲探討的對象。筆者並將以能力內所能取得的警察機關筆錄、法院判決書、社工人員意見為資料，一一探討這些實務機關對家暴案件的處理態度，是否切合當事人需要，這些執行人員的性別意識為何、是否有性別偏見，執行人員的性別意識對家暴案件之處理有何影響。至於家暴案件中雙方當事人的觀點，例如受虐者所需救援措施、加害人的處遇計畫，也將藉由理論與實務的文獻資料予以探討。

當身處一個競爭激烈的行業，企業想要保持發展，就必須與時俱進，積極創新。但企業應該從哪裡找到創新的機會？除了技術和產品之創新，越來越多企業開始關注商業模式的創新。過去，對商業模式創新的討論大部分集中在企業的內部系統活動改造，或是期待從開放創新中尋找機會。本研究嘗試把商業模式理解為一種敵我對應關係，從主流企業與後進者的攻防戰中理解創新的調適過程。通過分析「非主流」的後進者如何回應主流設計，並由主流企業之迷思理解後進者如何找出商業模式創新的可能。本研究發現，商業模式創新的本質是動態的，而其過程是調適的。後進者可以由主流企業建構商業模式之迷思中，找到自身商業模式創新的諸多樣貌與調適的巧思。 / In an industry that faces intensified competitions, firms need innovate constantly and timely so as to maintain steady growth. But where could firms identify opportunities for innovation? In addition to the innovation of technologies and products, more and more firms pay attention to business model innovation. Previously, our understanding of business model innovation is limited to firms’ business activity systems, or to seek opportunities from open innovation. This thesis attempts to consider the business model as a kind of responsive process between rivals; and to analyze the adaptation of business model within the defensive process between the mainstream firms and the second mover. By analyzing how the non-mainstream player may respond to the evolving dominant design, it is posisble to recognize the myths of the development of mainstream business models. This research suggests that business model innovations are dynamic in their nature and adaptive in their developmental process. The second mover could identify various patterns of new business models and conceive creative adaptation from the mainstream firms’ myths in building their own business models.

由於許多企業對於LINE在號召年輕族群的能力寄與厚望，為了釐清目前企業對於評估LINE與操作LINE的策略是否合乎年輕族群的需求，本研究將聚焦於討論最早採用LINE的企業期待透過LINE進行品牌年輕化的歷程，以企業的實戰經驗切入，剖析早期採用LINE的企業進行品牌年輕化歷程與操作策略，同時透過釐清年輕族群對於使用LINE的經驗與需求兩相對照，試圖釐清目前企業使用LINE進行品牌年輕化的做法是否正確？是否有迷思存在的可能性？若因迷思存在而造成經營策略上的偏差，企業未來該如何修正與優化？ 由於意會本質上是人們對事務的主觀認知，並且是一個持續性的流程，是一種複雜且動態的觀念，因此將採用深度訪談法針對企業的相關部門成員進行歷程的研究。為呈現企業內部與外在社會環境相關的完整脈絡，本研究也會輔以消費者訪談、文獻資料法與二手資料法作為資訊搜集與驗證成效的方式。研究結果發現，個案對於透過LINE推動品牌年輕化的歷程上，確實存有許多囿於過往經驗或組織文化所形成的主觀認知，導致其對於新科技的理解與其目標族群的需求有所落差。研究結果也顯示，LINE確實能為企業接觸到年輕族群，但需要提供他們所需要的服務和資訊，才能爭取他們對品牌的認同和好感，同時與年輕族群的互動形式，相較於過往的單向式傳播，也必須因應LINE的科技特質有所調整。 / As many enterprises place great expectations in LINE’s ability to call out the youth, in order to find out whether the enterprises’ strategies in assessment and operation on LINE meeting the demand of the youth, this research looks into the experience of the first runner enterprises that promote brand rejuvenation with LINE. By introducing the real-world experience of the enterprise, this research analyzes the journey and operation strategies of rejuvenating brands by using LINE in early years. Meanwhile, by comparing the experiences and demand of using LINE among the youth, this research aims at whether the methods of rejuvenating brands by using LINE are satisfying. Does the myth really exist? If the myth does exist and bring diversified business strategies, how can the enterprises revise and improve their strategies in the future? Since sense making is people’s subjective perception of affairs by nature and it is both a persistent process and a complicated and dynamic concept, this research focuses on the experience from members of relevant departments of the enterprise by in-depth interview. To present the context of the internal and external environment of the enterprise, this research also utilizes consumer interview, documents, and literature as the main data sourses and effectiveness verification. The research results show that cases do have many subject perceptions generated from previous confined experience or organizational culture in the course of LINE’s promotion of brand rejuvenation, which gives rise to difference between the understanding of new technology and the demand of target groups. The research results also show that LINE really enables the enterprise to access to the young people, but provision of their necessary service and information is required to get their recognition and good impression of the brand. Meanwhile, the means of interaction with the youth must be adjusted according to LINE’s technological nature comparing with previous single-direction dissemination.