本研究旨在探討具有溝通恐懼的國中生，由於對溝通情境採逃避、畏縮、沉默等消極 方式，對其學業成就、自我概念、自我坦露之影響，並提出具體的建議。 本研究採隨機取樣，以台北市南門、和平、萬芳國中；台北縣重慶、五峰國中，五所 學校二年級學生為研究對象，計取得有效樣本８３９人。研究工具包括溝通恐懼量表 、田納西自我概念量表、自我坦露量表、各科學業成績，以及智力測驗分數。經採MA NOVA、ANOVA 、多元逐步迴歸、典型相關方法分析，得到下列主要結果： 一、高溝通恐懼的學生在學業成就各科的表現比低溝通恐懼者差，尤其在語文、社會 等科差異特別顯著。二、以智力當共變數分析，高低溝通恐懼的學生，在學業成就上 的差異程度減低。三、高溝通恐懼者在自我概念總分及各層的自我分數皆較高，其中 社會我一項，最為顯著。四、高溝通恐懼者在自我坦露總分及各層面的坦露分數均較 低，但只在總分及數量兩層面，差異達到顯著水準。五、兩人互動的溝通恐懼對學業 成就、自我概念、自我坦露的高低最具有預測力。 綜合上面的研究發現，本研究提出建議如下： 一、對教育與輔導方面的建議： （一）在輔導上，利用系統減敏感法，認知重組等方法，以減低溝通恐懼。 （二）在正式課程上，調整教材組織結椪，以利討論式教學。在非正式課程上，鼓勵 學生參與課外活動，增加人際互動運用演說辯論等方式培養學生溝通能力。 （三）在教學上，以多向溝通的方式取代單向的演講法。教師對高溝通恐懼的學生應 避免給予負面的期望，以免因負增強而導致自我應驗。 二、對未來研究的建議： （一）以溝通恐懼為依變項，學業成就、自我概念為自變項，探討其結果的差異。 （二）探討學生溝通能力與溝通恐懼的關係。

Le droit des relations collectives de travail change d’image. Entièrement tourné vers l’accord et illustrant un certain « idéal de discussion », le droit des rapports collectifs de travail représente un espace privilégié pour étudier l’explosion des cadres de pensée hérités de l’époque moderne. Par son particularisme il illustre nettement la transition paradigmatique qui s’exprime entre le droit moderne et le droit post moderne. Se substitue à un droit imposé d’« en-haut », un droit négocié par « le bas ». Le droit des relations professionnelles expose les bases d’un nouveau schéma pour repenser les fondements du droit et l’articulation des normes juridiques. La thèse se propose de décrire et de comprendre cette mutation. Orientés vers le besoin de s’approprier les moyens juridiques nécessaires à la formation des normes qui les concernent, les individus veulent participer directement à leur construction. Le pouvoir normateur concédé aux corps intermédiaires consacrant la démocratie sociale « à la française » illustre nettement ce désir. Par une élaboration collective de la règle, le droit conventionnel est l’exemple que l’idéal de diskurs habermassien peut nous permettre d’appréhender autrement cette transformation. Philosophe de la communication et du droit, Jürgen Habermas propose à travers une vision personnelle de la démocratie délibérative de prendre pour source de validité du droit son processus d’élaboration. La procéduralisation du droit propose une théorie nouvelle de la rationalité juridique basée sur une rationalité procédurale, héritée pour J. Habermas d’une morale formelle. Cette thèse transcendant les clivages traditionnels de pensée sur le droit représente la meilleure réponse aux interrogations relatives au « désordre juridique ». / Collective labour relations law is changing its image. Entirely oriented towards bargaining, illustrating a certain “discussion ideal”, collective labour relations law is a privileged field in which to study the explosion in the frameworks of thinking inherited from modern times. Through its specificity it clearly illustrates the paradigmatic transition between modern law and post-modern law.It replaces law imposed from above by law negotiated from below. Collective labour relations law lays down the bases of a new scheme of things for rethinking the foundations of law and the link-up between legal norms.This thesis proposes to describe and understand these changes. Directed at the need to appropriate the necessary legal means for the drawing up of the norms that concern them, people wish to participate directly in their construction. The normative power given to intermediary bodies establishing “French style” social democracy shows a clear example of this process. Through a concerted drafting of the rule of law, contract law provides the example demonstrating that the Habermasian ideal of Diskurs can allow us to apprehend these changes in a different way. A communication and legal philosopher, Jurgen Habermas proposes, through a personal vision of deliberative democracy, to consider the rule making process as the source of the validity of law. The proceduralisation of law proposes a new theory of juridical rationality, based on a procedural rationality, inherited, according to J.Habemas, from a formal moral. This thesis transcends the traditional cleavages in the way we consider law, and represents the best response to the issues of “juridical disorder”.

This thesis investigates how Victor Turner’s concept of ‘cultural performance’ can be used to explore and analyse the experience of film. Drawing on performance theory, hermeneutics, phenomenology and Bakhtin’s dialogism, Sections One and Two develop this investigation through a theoretic discussion which relates and yet distinguishes between three levels of ‘performance’ in film: filmmaking performance, performances as text and cultural performances. The theory is grounded within four films which were researched for this thesis: Once Were Warriors (Lee Tamahori, 1994), Rats in the Ranks (Bob Connolly and Robin Anderson,1996), beDevil (Tracey Moffatt, 1993) and Link-Up Diary (David MacDougall, 1987). Section Three undertakes the close analyses of the latter two films. These analyses address specific cultural performances that are performed ‘across’ cultures and which are concerned particularly with Australian society’s relationship with indigenous Australians. ¶ Section One locates Turner’s concept of ‘cultural performance’ within his wider theory of ‘social drama’ and introduces the three-tiered mode of analysis which is developed throughout this thesis. His concept of ‘liminality’ is also investigated in order to consider specific relationships between performances which take place in film and theatre. Performances which take place in film are located in this Section within the theatrical understanding of performance as ‘for an audience’. I describe this relationship between performances in film and theatre through Kristeva’s interpretation of Bakhtin’s concept of heteroglossia as intertextuality, especially through her distinction of a ‘transformative’ intertextuality. Three specific concepts from theatre and performance theory are interrogated for their relevance to film theory: 1. Brecht’s theory of ‘gest’, 2. ‘direct address to the audience’ in relation to the ‘gaze’ in film and 3. Rebecca Schneider’s conceptualisation of ‘the performance artist’. ¶ Using these three tropes of performance, Section Two develops a theory of performance in film. Besides Turner’s concept of ‘cultural performance’, this theory draws on aspects of several other substantial bodies of work. These works include Richard Schechner’s performance theory, Michael Taussig’s understanding of ‘mimesis’, Vivian Sobchack’s phenomenology of film, Paul Ricoeur’s theory of text ‘as meaningful action’, Gadamer’s concept of ‘meaningful play’, Bakhtin’s conceptualisation of a ‘dialogic’ text and Catherine Bell’s theory of ‘ritualised behaviour’. The two analyses in Section Three do not rigidly follow the three-tiered process of analysis which is developed in the previous two Sections. They rather focus on the films as sites for particular cultural performances which are specific for each film and which need for their description, different aspects of the theory that is offered through this thesis. These analyses especially draw on my interpretation of David MacDougall’s ‘transcultural cinema’ and Jodi Brook’s conceptualisation of a ‘gestural practice’ in film, which she positions both in terms of Brecht’s theatrical concept of ‘gest’ and Walter Benjamin’s concept of the ‘shock’ of modernity. ¶ The film analyses are of one fiction film, beDevil, and one non-fiction film, Link-Up Diary. Both films use audiovisual images of Aboriginal Australians as content. According the terms of this thesis, these people must also be considered as filmmakers. Although this role may constitute varying degrees of authority and power, a film analysis which considers the filmmaking roles of people whose images are present in the filmic text also allows a particular consideration of the social relationships which exist between people who ‘film’ and people who ‘are filmed’. My focus on the cultural performances of these two films allowed an even closer description of this relationship for two reasons. Firstly, both Moffatt and MacDougall respectively present their own images in the films. Secondly, my analyses of these films as cultural performance draw out and describe the different ways in which the two films address the same ‘social drama’: the relationship between indigenous and non-indigenous Australians. My analyses expose how a description of these differences in address can extend beyond the distinction between one film as ‘fiction’ and the other as ‘non-fiction’ towards a description of the different ways in which people relate to each other, at both the individual level and at the level of society, through the production and reception of a particular film. While locating these films as cultural performances within in particular sets of social relationships, my consideration of film in this thesis in terms of theatrical performance also enables a description of the experience of film which draws on the social experience of live theatre. The theory developed in this thesis and its application in the analyses of these two films suggest further areas of research which might look more closely at whether or not, or how much people draw from the social practices of live theatre as they live their lives with film – a signifying practice which has existed just over one hundred years.

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