京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第18722号 / 文博第680号 / 新制||文||616(附属図書館) / 31673 / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 大谷 雅夫, 准教授 大槻 信, 准教授 金光 桂子 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第21293号 / 理博第4422号 / 新制||理||1635(附属図書館) / 京都大学大学院理学研究科生物科学専攻 / (主査)教授 平野 丈夫, 教授 森 和俊, 教授 杤尾 豪人 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DFAM

京都大学 / 新制・課程博士 / 博士(文学) / 甲第24331号 / 文博第905号 / 新制||文||727(附属図書館) / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 大槻 信, 教授 金光 桂子, 講師 田中 草大 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

京都大学 / 新制・課程博士 / 博士(工学) / 甲第24583号 / 工博第5089号 / 新制||工||1974(附属図書館) / 京都大学大学院工学研究科材料工学専攻 / (主査)教授 杉村 博之, 教授 邑瀬 邦明, 教授 平山 朋子 / 学位規則第4条第1項該当 / Doctor of Philosophy (Engineering) / Kyoto University / DFAM

This business plan presents the process of developing an export plan for Brighten Optix, one of the largest specialty contact lens manufactory in the Asia Pacific. Brighten Optix obtains over 2/3 of its revenue from China due to its rapid growing GDP per capita and high myopia prevalence. In order to spread potential business risk, it was decided to explore new markets starting from Asia Pacific region. iCon United is a new oversea business unit for Brighten Optix; we will use iLens, the reverse geometric lens for orthokeratology, which is a special design for Asian eye, to develop new markets. The goal of this business plan is to provide our mother company with a clearer view of the next market to enter and to develop an effective marketing method that should allow 1% market share penetration in three years.

看電視新聞，到底看哪裡？除了聽聲音之外，我從電視新聞鏡面裡，可以看到什麼我想要得到的訊息？有天氣、有時間、有不斷在往左跑的跑馬燈、有新聞大標、新聞說明、和播報這一則完全無關的新聞畫面、新聞標題、還有讓人誤解的新聞鏡面（以為下大雨或失大火了）；同一個主播忽換左，忽然右，甚至轉來轉去，一會兒坐一會兒站，台灣電視新聞鏡面，繽紛萬千。 　　這些繽紛萬千的鏡面，產生的原理原則為何？影響產生的動機又是什麼？從1962年台視成立開始，到2005年有線電視多樣的鏡面，電視鏡面又做了什麼樣的改變？形成的生態為何？生態改變的當中，主要環境是如何形成？ 　　透過資料的整理和深度訪談，發現，「競爭」是左右鏡面一項重要的因素；台灣鏡面發展的五個時期，與「競爭」息息相關，三台時期因為競爭因素，開始創造辦公室背景、單雙主播播報；1993年有線電視法通過後，也因為SNG和跑馬燈的廣泛運用，鏡面開始出現不同的元素；到了2003年，更因為媒體環境的激烈競爭，讓新聞鏡面不只充滿服務的元素，更多促銷自己與主播特性明顯的鏡面。只要可以「預告新聞」「留住觀眾」的任何元素，都可以塞進鏡面裡：一則新聞兩個鏡面以上、鏡面像四格漫畫一樣說新聞、把鏡面變成火焰或任何主題等，整個電視鏡面，滿滿都是訊息，超過九個以上的資訊，要在鏡面出現的一分鐘以內，讓觀眾吸收。 　　這樣繽紛鏡面的生態，主要來自於科技支援下的巿場競爭，因為收視競爭，製作人就必需「創造」新的鏡面元素（像是天空標、訊息框等），而新的鏡面元素呈現之後，只要收視率不出現下降的趨勢，各台迫於競爭壓力，開始形成「模仿」與流行，而一旦模仿與流行成為趨勢，製作人或主管，又得為了收視率開始想辦法，創造新的鏡面元素。 　　所以，在本研究，整理出電視鏡面的改變趨勢與時間進程，分析目前電視新聞鏡面的構成元素與產製流程，透過資深電視人的訪談，找出電視新聞鏡面的設計原則、動機與生態系統，希望透過本研究，除了提供業界人士鏡面的缺失和思考的方向以外，能夠為將來鏡面研究，累積資料數，進而發現閱聽人接收端對鏡面的接受程度與態度。 / What do we look at on TV news reports? In addition to audio presentation, what else is presented on the television? Weather reports, current time, continuously updated crawls, news title, news content, as well as the scene, title, and confusing television graphics of a piece of unrelated news (such as about a sudden downpour or a fire accident). The anchor changes his camera angle from left to right, right to left; being seated in one second, and standing in another. The television graphics in Taiwan are really versatile. 　　What is the principle and rule for the production of these versatile graphics? And what is the motivation behind the production? From the establishment of TTV (Taiwan TV Enterprise, Ltd) in 1962 to the development of versatile graphics on cable TV channels in 2005, what has been the change of television graphics and background of the formation? And how the main environment was formed amid the change of the ecosystem? 　　Through data collection and in-depth interviews, it was discovered that “competition” is an important factor for television graphics. There are 5 stages of the development of television graphics in Taiwan, all of which are closely related to competition. During the 3-channel stage, the background of an office, single and duo anchor reporting were innovated. After the CATV Law was passed in 1993, due to the extensive applications of SNG and crawls, different elements of graphics were created. By 2003, under the intensive competition in media, television graphics were not only filled with multiple service elements but also self-promotion messages and features of the anchor. Any element that “previews news” and “retains the audience” can be stuffed into the graphics. A piece of news may contain more than 2 graphics in 4 boxes, like a comic book. The graphic can be a fire or any theme, making the whole television graphic filled with messages. Sometimes, more than 9 messages are presented to the audience in just one minute. 　　This ecosystem is mainly attributed to the competition in the market supported by technologies. Because of the competition for reception, producers have to "create" new graphic elements (such as sky bar, message boxes). And when the new elements are presented, as long as the rating does not decline, bowing to the pressure of competition, every channel starts to "imitate" and prevail the creation. When it has become a popular trend, TV producers or managers have to brainstorm again for new graphic elements. 　　Therefore, this study organized the trend and evolution of television graphics and further analyzed the elements and procedure of production of the current television graphics. Through interviews with senior television producers, it aimed to find out the design principles, motivation, and ecosystem of the television graphics. It was hoped that the study could provide the industry with the flaws of television graphics and a direction of thinking as a reference, accumulate data for future studies, and further discover the degree of acceptance and attitude of the audience toward television graphics.

本研究旨在探討羅狄（Richard Rorty）新實用主義中的無鏡哲學、教化作用與社會希望三者之間的關係。羅狄從一種基進的後現代觀點，對於以柏拉圖、笛卡兒、康德建立起來的哲學傳統及其當代代表–分析哲學，其中所充滿的本質主義、基礎主義、再現論、二元論等大寫哲學的鏡式本質表示不滿。 為了揭示西方傳統哲學企圖藉由心及語言再現世界嘗試的不可能性，羅狄盡力於終結此一傳統。他認為，追求大寫真理是西方傳統哲學的核心議題；形上學作為西方哲學的主要成分，是禁錮人類思想，造成心靈空乏的源頭所在。對於這種大寫真理和大寫哲學的拒斥，是當前人們必須的堅持和體認。 教化作用是羅狄所推崇的未來哲學所應採取的一個主要的自我形象，以教化作用取代以知識論為中心的系統哲學，透過拒斥本質主義，放棄以知識論為中心的邏各斯中心主義，以及反對形上學等種種反哲學傳統的進程，在追隨歷史進展的步調中，從後哲學文化的領域出發，來確立一種人類自主性教育實踐行動的激化點。羅狄以建立教化作用的教育施為，一方面描述了哲學的未來自我形象，一方面又描述了知識分子的自我形象。 羅狄對於啟蒙政治哲學的實踐層面抱持著正面的看法。羅狄認為：「只有在自由社會□，反諷人才是典型的知識分子，也唯有在自由的社會□，才能給予反諷人一種離經叛道的自由」。對於許多人來說，反諷的力量就是解構的力量，而解構是道德責任性匱乏的一個極好的標誌；反諷是對重新描述力量的自覺，是一種社會希望的重新界定和詮釋。在實踐社會希望過程中，反諷人的批判的心是從社會的邊緣指向社會的中心，但其腳步卻是從中心步向邊緣。 關鍵詞：無鏡哲學 教化作用 社會希望 自由反諷人 / This study is to find out the functions and relations among mirrorless philosophy, edification, and social hope in Rorty’s Neo-Pragmatism. Rorty’s critique of both traditional philosophy and analytic philosophy, which are derived from Plato, Descartes, and Kant, is actually based on an oppositional position of essentialism, foundationalism, representationalism, and dualism. In order to state the impossibilities of Western traditional philosophy to represent the world by mind and language, Rorty makes efforts to end Western philosophical tradition. Rorty takes it as a core issue to pursue the Truth for Western traditional philosophy. Metaphysics which impedes mankind’s thought and spirit has become the major element of Western philosophy. Edificational philosophy proposed by Rorty will be a good self-image for future philosophy. It substitutes epistemology for edification. In the postmodern conditions, Rorty uses Post-Philosophical Culture to fulfill an educational agency and create a good self-image both in philosophy and of the intellectuals. Rorty holds a positive opinion on the political enlightenment. He considers that the ironist will be the typical intellectual. He is also of the opinion that only if in a free society, would the ironist get entire freedom. For some people, the ironist power is the decostructional one, too. The ironist power will be the redefinition for man’s social hope. In those societies, the critical thinking is directed to the center from the border, and vice versa, man’s steps from the border to the center. keywords: mirrorless philosophy, edification, social hope, the liberal ironist

《吾兒故事》是葛蒂瑪第一本以非自人的敘事觀點寫成。她一 方面以有色人種的革命家庭為縮影，揭示南非種族隔離社會中，少數族裔的困境。另一方面，她質疑男性觀點下女性形象再現的偏頗，突顯非自人女性再殖民統治及父權宰制下的顛覆力量，並描繪跨種族之認同心理。藉此，葛蒂瑪呈現了多元文化中跨越界線的可能。葛蒂瑪超越了種族及性別觀點的限制，將她慣用的自女性觀點轉為非自人的男性觀點，以突顯非自人革命社群中的內部問題。正如她之前的小說，《吾兒故事》不僅呈現了南非的轉變和她自己寫作策略的改變，更標明了葛蒂瑪處理非自人議題時，跳脫自人觀點的新里程碑。 本論文的研究目的在於處理男性觀點下南非女性的再現，被殖民者的抗拒及顛覆和認同問題。論文主體分為三部份，第一部分旨在探討葛蒂瑪的新敘事策略和目的；第二部分旨在分析殖民與父權宰制下，受壓族群如何打破沉默，發聲抗拒；第三部份則旨在分析其尋求認同的過程及心理。 / My Son s Story is Nadine Gordimer's tenth novel but is her first novel narrated in the nonwhite perspective. Gordimer uses a colored revolutionary family as a microcosm in the apartheid society to unveil the dilemma and predicament of the in-between men and women in South African apartheid. In the colored male's narrative, Gordimer attempts to interrogate the partial and problematic representation of South African women, to highlight the oppression and subversion of the nonwhite women dominated by colonial and patriarchal authority and to scrutinizes the psychic desire of the interracial relationship between a colored man and a white feminist. In this novel, Gordimer presents a possibility of the boundary crossing in the multiracial and multicultural South Africa through the story of the colored family. My thesis aims to tackle the problems of the representation of South African women in masculine narrative, the subversion of the oppressed, and the identities of the in-between people. The main body of the thesis consists of three parts. First, I will explore Gordimer's new narrative strategies and objectives in the novel. Second, I will probe how these marginal and oppressed people break silence to articulate their resistance to the colonial and patriarchal domination in the apartheid society. Third, I will investigate the process of the quest for identities of the in-between people and their transgression. In My Son's Story, Gordimer keeps her concern about anti-apartheid revolution and about the oppression of the in-between groups and women oppression. She breaks through the racial and gender limits of perspectives and shifts her typical white female perspective to a nonwhite male to uncover the inner problems of the nonwhite revolutionary community through a colored family. Like her pervious novels. My Son's Story not only represents the transition of South Africa and her transformation in writing strategy but also marks her new start to look beyond her white perspective while dealing with the issue of the nonwhite in apartheid.

No description available.

  本研究在研究期間正好適逢2004年總統大選，藉此選舉，以民意調查瞭解當人們使用錯誤資訊時，很容易產生誤知意見氣候的情形，形成不同的感知意見形式，例如多數無知和看鏡效果等。除此之外本研究也希望再次探究沈默螺旋是否在選舉議題上發酵。   研究者選取「總統選舉的投票取向」、「選民對前總統李登輝的喜好程度」、「是否贊成320廢票運動」以及「是否贊成320公投和大選一起舉辦」四項議題作為初探民意資訊性和規範性影響的觀察議題。 Price & Oshagan(1995)從社會心理學觀點指出，感知意見氣候對人們有兩種功能：規範性(normative)和資訊性(informational)功能。 從社會總體層次來說，Price & Oshagan(1995)和Noelle-Neumann認為民意具有整合規範功能，因為害怕孤立或者想得到社會認可的肯定，人會不斷感知意見和瞭解主流意見為何，以確定自己符合主流價值。如果認為自己的意見和主流意見不同，會趨於沈默，反之則樂於發言，這種現象後來稱為沈默螺旋(Spiral of silence)，此為民意規範效果。 然而Price & Oshagan(1995)強調，並不是每項議題都有清楚的主流意見，特別在團體對於何謂主流意見的紛歧情形下，對民意的不確定程度，使得民意的資訊功能發揮作用。為了瞭解當前的混亂的意見趨勢，人會藉著不斷溝通和蒐集資訊，以瞭解社會環境和感知他人意見，作為形成自己意見的參考，此稱為民意的資訊性功能，像是多數無知、看鏡效果，。 本文藉著分析分析在「總統選舉的投票取向」、「選民對前總統李登輝的喜好程度」、「是否贊成320廢票運動」以及「是否贊成320公投和大選一起舉辦」四項議題的瞭解民意規範性和資訊性效果，如何在這些議題中運作。 研究發現選民看鏡效果、教育程度高低會影響選民對於議題的意見，此外，選民的意見強度、對議題關心程度、年齡都會影響其意見表達意願，並部分支持沈默螺旋假設。