The primary purpose of this dissertation is to study the necessity of genre consideration in the three important sermon-making process--exegetical, theological, and homiletical--and propose a holistic preaching methodology for the lament psalms with genre-sensitivity. Chapter 1 discusses the definitional nature, criteria, and communicational function of genre and examines the current defective and deficient preaching method with genre-sensitivity, and also indicates the lack of concern of the lament psalms in biblical preaching. Chapter 2 examines a holistic exegetical method for preaching a lament psalm by emphasizing the necessity of the analysis and appreciation of the mood of the text based upon the interlocking nature of genre-based textual elements (the message, medium, and mood of the text) and genre-based contextual element (the purpose of the text). This chapter provides a step-by step holistic procedure for preaching a lament psalm with genre-sensitivity. Chapter 3 investigates the necessity of genre consideration in the theological process. This section emphasizes that consideration of the genre characteristics is an essential process for discerning a timeless theological implication and communicational impact of a lament psalm. This chapter suggests a step-by-step holistic theological procedure for preaching a lament psalm with genre-sensitivity. Chapter 4 discusses the necessity of a genre-sensitive homiletical method that reflects the genre-based essentials into the sermon-making process. This section emphasizes the necessity of a holistic integration of the genre-sensitive homiletical components for preaching a lament psalm. This chapter presents a step-by-step procedure for a holistic homiletical method for preaching a lament psalm with genre-sensitivity. Chapter 5 analyzes Psalm 31 as a case study of a genre-sensitive methodology for preaching a lament psalm proposed in the previous chapters. This chapter elaborates and verifies the twelve steps for preaching a lament psalm with genre-sensitivity. Chapter 6 concludes that biblical preachers need to preach the lament psalms with genre-sensitivity by honoring the message, medium, and mood of the text throughout the entire sermon-making process in pursuit of honoring the authority of the Scripture and remodeling the relevance of the biblical communication.

Language-based fashion image editing has promising applications in design, sustainability, and art. However, it is considered a challenging problem in computer vision and graphics. The diversity of human poses and the complexity of clothing shapes and textures make the editing problem difficult. Inspired by recent progress in editing face images through manipulating latent representations, such as StyleCLIP and HairCLIP, we apply those methods in editing the images of full-body humans in fashion datasets and evaluate their effectiveness. First, we assess different methodologies to find a latent representation of an image via Generative Adversarial Network (GAN) inversion; then, we apply three image manipulation schemes. Thus, a pre-trained e4e encoder is initially utilized for the inversion process, while the results are compared to a more accurate method, Pivotal Tuning Inversion (PTI). Next, we employ an optimization scheme that uses the Contrastive Language Image Pre-training (CLIP) model to guide the latent representation of an image in the direction of attributes described in the input text. We address the problem of the accuracy and speed of the process by incorporating a mapper network. Finally, we propose an optimized mapper called Text-Driven Garment Editing Mapper (TD-GEM) to achieve high-quality image editing in a disentangled way. Our empirical results show that the proposed method can edit fashion items for changing color and sleeve length. / Språkbaserad bildredigering inom mode har lovande tillämpningar inom design, hållbarhet och konst. Det betraktas dock som ett utmanande problem inom datorseende och grafik. Mångfalden och variationen av mänskliga poser och komplexiteten i klädform och texturer gör redigeringsproblemet svårt. Inspirerade av den senaste utvecklingen inom redigering av ansiktsbilder genom manipulation av latenta representationer, såsom StyleCLIP och HairCLIP, tillämpar vi dessa metoder för att redigera bilderna av fullständiga mänskliga kroppar i mode-dataset och utvärderar deras effektivitet. Först jämför vi olika metoder för att hitta en latent representation av en bild via så kallade Generative Adversarial Network (GAN) inversion; sedan tillämpar vi tre bildmanipulationsscheman. En förtränad (eng: pre-trained) e4e-encoder model används först för inversionsprocessen, medan resultaten jämförs med en mer exakt metod, Pivotal Tuning Inversion (PTI). Därefter använder vi en optimeringmetod som använder Contrastive Language Image Pre-training (CLIP) -modell för att vägleda den latenta representationen av en bild i riktning mot attribut som beskrivs i inmatningstexten. Vi tar upp problemet med noggrannhet och hastigheten i processen genom att integrera en mapper-nätverk. Slutligen föreslår vi en optimerad mapper som kallas TD-GEM för att uppnå högkvalitativ bildredigering på ett lösgjort sätt. Våra empiriska resultat visar att den föreslagna metoden kan redigera modeobjekt för att ändra färg och ärmens längd.

有鑑於近年台灣出現一系列以小品模式呈現之同志題材電影，且能與社會情境多方呼應，本研究遂擬由類型（genre）的觀點，借用「青春系列」之名，探討此一類型究竟呈現出哪些樣貌特徵，如何演變？是否具備做為一種電影類型的要素？而其特徵與演變反映、關聯到什麼樣的社會文化等情境因素？類型特徵與社會脈絡間如何互動？是否呼應吻合，抑或有落差不一之處，又各如何詮釋？ 在研究方法上，本研究挪用J. Swales「文本∕情境導向類型分析程序」(text-driven/situation-driven procedure for genre analysis )，試圖結合二者，除選定《藍色大門》、《十七歲的天空》、《盛夏光年》以及《渺渺》等四部範例文本，整理其「內容」、「風格」、「結構」與「目的」外，也指認出特定傳播情境，探討此類型的生成因素，以期能夠在雙向考量下，呈現出文本與情境間相互作用的連結關係，亦即類型的動態本質。 研究析論結果確實指向類型與情境脈絡之間的緊密構連。「青春系列」同時受到外來作品在概念手法上啟迪，又承繼著在地同類作品的核心傳統主題，成就出兼容並蓄的特殊風貌。而台灣社會對於同志議題在公私領域不同層次上，既開放肯定又有所保留的態度，也恰能解釋類型社群基礎。另外此類型於台灣電影工業低潮應運而生，低迷的產業活動召喚了像「青春系列」這樣具有彈性、定位明確並可預期回收成本的小品，系列作品的成功也帶動整體產業谷底反彈，更反映出台灣電影工業發展方向轉變的時代意義。 / In view of a series of Taiwan’s gay themed films appearing in a sketch mode in recent years and their topic have always responded to the social contexts in multiple ways. Thus, this study adopted the point of view of “genre”, borrowed the name of “Young Line”, and then to explore what appearances and characteristics this kind of films had presented, how they would change in the future, and whether they possessed those elements to be a genre of films. Moreover, what kind of contextual factors such as social cultures that the characteristics and changes of those films reflected and had been related to? How did the characteristics of this genre interact with the social contexts? Whether they responded to the coincidence or there were differences between each other? Then how to interpret each kind of these situations? This study adopted J. Swales’ “text-driven/situation-driven procedure for genre analysis” as the research methods, and attempted to combine these two procedures together. “Blue Gate Crossing”, “17 Formula”, “Eternal Summer”, and “Miao Miao”, these four films were selected to be the exemplary texts and to systemize their “content”, “style”, “structure”, and “purpose”. In addition, particular communication situations were also identified to probe into the generating factors of this genre of films. With the two-way considerations, this study expected to present the relational connections which interacted between the texts and the situations, and that is the dynamic nature of the genre. According to the results of this study, there was a tight articulation between the genre and the situational contexts for a certainty. “Young Line” series are inspired by the concepts and techniques of foreign films; at the same time, they also inherit the core traditional themes of local films of the same genre. Therefore, the series have achieved a particular inclusive style. With regard to the gay issues, Taiwan society has possessed a positive but also reserved attitude toward the public and private levels, and this can precisely explain the community base of this genre. Furthermore, this genre of films came with the tide of fashion when Taiwan’s film industry was at low ebb. The depressed industrial activities elicited those sketch films which were flexible, clear-targeted, and expected to have cost recovery such as “Young Line”. The success of this series was one of the forces which leaded the whole industry rebound from the bottom, and this reflected the significance of the time of the change of Taiwan’s film industry’s development direction.