指導教授：徐鵬飛、Catherine DESSINGES

口試委員：Fabienne BOISSIERAS

中文摘要：

動畫電影的歷史與法國密不可分，儘管法國動畫電影的產量不高於美國，但法國動畫電影卻發展出自己新鮮、創新、現實和令人意想不到的特徵。事實上，法國動畫電影在動畫藝術領域一直處於領先地位，因為每部動畫電影都有自己獨特的性格。

本研究探討安錫國際動畫影展在法國電影動畫界的重要性。安錫國際動畫影展是全世界最重要的動畫影展。鑑於法國擁有悠久的電影歷史、最厲害的動畫學校和許多著名的動畫工作室，因此法國有發展動畫電影的潛力。最重要的是，法國舉辦了全世界最大的國際動畫影展，這為動畫創作者提供了發光發熱的機會。因此水晶獎是法國乃至全世界動畫界最高榮譽的象徵。

本研究共分為三個部分。第一章，我們研究動畫電影的歷史發展、法國的學校和動畫工作室並且分析法國的動畫市場。第二章，我們針對安錫國際動畫影展及安錫國際動畫電影市場研究其歷史發展與現況，並探討其在動畫界的重要地位。第三章，我們分析了水晶獎和觀眾獎的短片類別中2012年至2019年獲獎者的作品並研究了它們獲得成功的原因，我們也探討短片類別中水晶獎和觀眾獎獲獎者之間的共同點。

英文摘要：

The history of animated film is inseparable from France. Although the production of animated films in France is not higher than that of the United States, French animated films have developed their own fresh, innovative, realistic and unexpected character which is different from American animated films. In fact, the French animated film has always been in a leading position in the world of the art of animation, since each animated film has its unique character. This research explores the importance of Annecy International Animation Film Festival in the French film animation industry. Annecy International Animated Film Festival is the most important festival in the world dedicated to animated film. France has the potential for the development of animated films, as it has a long history of cinema, the best animation
schools in the world and some well-known animation studios. Most importantly, France hosts the largest animated film festival, which provides an opportunity for animation creators to shine. This is why the Cristal Prize is the symbol of the highest distinction for the animation sector in France and even in the world. This study is divided into three parts. In the first part, we study the historical development of animated film and some of the most significant animated films in the history of animated film in France. Then, we present the schools and animation studios in France. We also analyze the animation market in France. In the second part, we study the historical development and current situation of Annecy International Animation Film Festival and Annecy International Animation Film Market, and discuss their important position in the animation industry. In the third part, we analyze the works of the winners from 2012 to 2019 in the short films’ category of the Cristal Prize and the Audience Prize. Then, we study the reasons for their success and we also look for the common points between the winners of the short films’ category of the Cristal Prize and the Audience Prize.

相關附件： 109林若蓁.pdf

指導教授：吳錫德

口試委員：徐鵬飛、黃馨逸

中文摘要：

在城市空間迅速發展的當下，德國學者班雅明筆下的遊蕩者形象備受關注。「遊蕩者」在十九世紀伴隨現代性城市空間發展而誕生，他們是城市空間最好的觀察者、體驗者。十九世紀的遊蕩者雖與現今城市空間裡的遊蕩者不完全等同，但該形象依舊具有一定的象徵意涵和參考價值。本論文透過審視遊蕩者的形象轉變，引發對該形象與現代城市空間的關聯的深度思考。

本論文從班雅明的《拱廊街計畫》著手，根據班雅明針對波特萊爾的主題研究，對比班雅明與波特萊爾二者在不同時代對遊蕩者形象的把握與詮釋，梳理遊蕩者的歷史形象，尤其是游蕩的文人形象。同時觀察遊蕩者所處的時代背景、空間環境，強調城市現代性、資本主義對遊蕩者的影響，從而更深層次地理解遊蕩者的精神狀態，以及他們在大城市中面臨的困境和邊緣化的命運。

此外，通過巴黎大改造事件引出遊蕩者走向百貨公司的發展進程，追尋當代城市中的遊蕩者。並以左拉的《婦女樂園》為研究範本，從中分析商業空間的設計手法和特色，以及科技的進步帶來更多元化的新興體驗模式，觀察遊蕩者在其中產生的行為和身份轉變。最後總結當代遊蕩者及遊蕩空間的特徵，並充分思考遊蕩者形象在當代消費文化、城市休閑空間中具有的文化意義。

英文摘要：

In the day of the rapid development of urban area, the image of flâneur in Benjamin's works has been in the spotlight. Flâneurs was born in the 19th century accompanied by the development of modern urban area, who were the best observers and experiencers of urban area. Although they are not exactly the same as nowadays, their figure still has certain symbolic significance and reference value. By surveying the transformation of the image of flâneur, this thesis will provide a profound thought about the relationship between the image and modern urban area.

Using The Arcades Project, the opus of Benjamin, as an example. According to Benjamin's research of Baudelaire, compare Benjamin’s grasps and interpretations of the image of flâneurs to Baudelaire’s in different times and comb the historical images of flâneurs, especially their literature image. The purpose of this study is understanding the spiritual state deeply, as well as the dilemma and marginalized fate of the flâneurs in modern metropolis by observing the historical background and spatial environment of flâneurs and emphasizing the impacts of urban modernity and capitalism on flâneurs.

This thesis will argue that the process of the flâneurs in the contemporary cities through the project of Paris reconstruction. Taking Zora's Au Bonheur des dames as the research background, it analyzes the design methods and the features of commercial space, as well as the emerging and diversified experience modes brought by the advance of science and technology. We will also investigate and observe the behaviors and identity changes of the flâneurs. Finally, we not only summarize the characteristics of contemporary flâneurs and leisure space, but also fully consider the significance of the image of flâneurs in contemporary consumer culture and urban leisure space.

相關附件： 109何彥嫻.pdf

法文題目：

《 Tendance et limitation de la numérisation de l’espace physique : Le cas de « La 3e Scène » de l’Opéra National de Paris 》

指導教授：吳錫德

口試委員：黃馨逸、梁蓉

中文摘要：

近二十年，由於行動裝置、無線網路的進步與介入，當代人的生活從人與人面對面的交流、在實體空間的穿梭旅行，逐漸地轉向網路中的「虛擬空間」發展。虛擬空間的「彈性」與快速的「擴張性」，瓦解了物理空間的束縛、跳脫時間的框限，而網際網路所具備的「便利性」以及「流動性」，更使得群眾幾乎和手機、平版、筆記型電腦，這些「可移動的訊息載體」密不可分。該現象造就了虛擬空間對物理實在空間的涉入日漸加深，促使「混種游牧空間」的生成，更使其成為一常態性的存在。

因此，各國甚至是各大企業，皆著手研擬「數位轉型」政策，以提高自身在國際社會上的能見度與競爭力。然而，表演藝術場域與特定的學者，像是班雅明、費蘭，皆高舉「現場性」的旗幟，並主張一旦對藝術創作進行「數位化」，將會摧毀其「本真性」與「靈韵」，甚至是降低了展演的藝術價值。

但若以另一個角度思考，數位科技並非是藝術作品、表演藝術場域的威脅。一方面，行動裝置已經「身體化」成為人的感官知覺的延伸，使人們能夠感知虛擬空間以及數位內容；另一方面，數位內容不但強化了藝術作品的存在，更有助於觀眾的擴張、累積國家的「軟實力」，甚至是鞏固一國家在國際上的「文化權威」。本論文將會以巴黎歌劇院「第三表演廳」數位平台為例，論證實在空間與虛擬空間相互整合的可能性，以及其能夠為巴黎歌劇院所帶來的內∕外部效益。

英文摘要：

In the past two decades, along with the technology advancement such as the widely-used wireless network and mobile device, people’s lives have gradually transformed from the “physical space” which features the face-to-face communication in the real world, to the “virtual space” that exists in internet. The virtual space has dissolved the boundaries for time and space with its flexibility and ability of rapid expansion. The efficiency and liquidity of the internet have made people inseparable with their information carriers, such as smart phone, tablet or laptop. Day after day, as people have becoming more attached to the abundant information available to them, the virtual space has encroached to their physical world, which provoked the booming of the “Hybrid Nomadic Space”, and it has become a new norm in our daily lives.

Along with the rising of the Hybrid Nomadic Space, more and more developed countries and enterprises are formulating their own “digital transformation” policy in an effort to enhance their core competitiveness and visibility in the international society. However, at the same time, there are also debates among performance art fields and researchers of this specialty, including Walter Benjamin and Peggy Phelan, that the “liveness” is the most important component when it comes to the format of art; the arguments are that the digitalization as a form of presentation will destroy the “authenticity” and the “aura” of art, it will also bring down the art value of the creation.

However, to considering the issue from a different perspective, advanced technologies should not be seen as a threat to art works or performance art. These new technologies have been individualized and have transformed into the extended perception of our daily lives which allowing people to literally sense the virtual space and digital contents. Further, those digitalized contents have not only been intensified by the way of experiencing them, such mean of presentation will also help developing more audiences worldwide. As such, it further benefits the accumulating of the “Soft Power”, and will eventually resulting to the consolidated “Cultural Authority” of a country. This thesis will use the “La 3e Scène” digital exhibition platform of the “Opéra National de Paris” as an example to discuss the possibility of the integration of physical space and virtual space; it will also examine the potential interior/exterior effectiveness brought to the Opéra National de Paris by adopting such digital exhibition platform.

相關附件： 109林書如.pdf

法文題目：

《 Étude sur le développement de la comédie musicale française à Taïwan Cas d’étude: Notre-Dame de Paris, Roméo et Juliette et Mozart, l’opéra rock. 》

指導教授：楊淑娟

口試委員：黃馨逸、梁蓉

中文摘要：

近五年來，有愈來愈多不同語言的音樂劇受邀來臺灣演出；而其中法語音樂劇自2013年便持續在臺灣穩定發展，但卻少有突破。 《搖滾莫札特》、《羅密歐與茱麗葉》、《鐘樓怪人》三部法語音樂劇在一年內陸續來臺演出，且皆由聯合數位文創作接洽；三個同樣類型的表演藝術作品、由相同主辦單位行銷、並在相近的時空背景下在臺灣表演，但其票房成果卻有著天壤之別，不禁令人疑惑，造成如此差異的原因是為何？ 本論文即是針對此一問題為研究方向，結合個人觀察與經驗，進行表演藝術與媒體公關之分析；並透過與相關人士的訪談內容，深入瞭解聯合數位文創的行銷模式，以及其品牌在臺灣之定位，筆者方能更全面地爬梳法語音樂劇在臺灣的發展與行銷現況。 論文最後，筆者整理出適用於法語音樂劇在臺灣發展的行銷模式，希望透過本研究結論與建議，為法語音樂劇在臺灣的永續經營盡一份力。

英文摘要：

Since 2015, more and more musicals in various languages have been performed in Taiwan and among them, in particular, French musicals. But their promotion remains insufficient in the world of live shows. Three French musicals — Mozart, l’opéra rock, Roméo et Juliette, Notre-Dame de Paris — have performed in Taiwan on after another for a year. The groups were invited and promoted by UdnFunLife. Their recipes have been unequal: a disparity that raises a number of questions that this thesis intends to address. To do this, I combined observation and personal experiences in order to analyze the relationships between live performances, public relations and the media. Through interviews with the relevant person, I gained a deep understanding of UdnFunLife's marketing model and brand positioning. I will thus be able to take stock of the development and marketing of French musicals in Taiwan in a more comprehensive manner. At the end of the thesis, I propose a marketing model adapted to the development of French musicals in Taiwan, hoping to contribute to the sustainable management of these performing arts in Taiwan, thanks to the conclusions and suggestions of this research.

法文摘要：

Depuis 2015, de plus en plus de comédies musicales en diverses langues ont été jouées à Taïwan et parmi elles, tout particulièrement, des comédies musicales françaises. Mais leur promotion reste insuffisante dans le milieu des spectacles vivants. Trois comédies musicales françaises — Mozart, l’opéra rock, Roméo et Juliette, Notre-Dame de Paris — se sont succédé à Taïwan pendant un an. Les troupes ont été invitées et promues par UdnFunLife. Leurs recettes ont été inégales : une disparité qui soulève nombre de questions que cette thèse entend traiter. Pour ce faire, j’ai donc combiné observation et expériences personnelles afin d’analyser les rapports entre les spectacles vivants, les relations publiques et les médias. Grâce à des entretiens avec la personne pertinente, j’ai acquis une compréhension approfondie du modèle marketing de UdnFunLife et du positionnement de la marque. Je pourrai ainsi faire le point sur le développement et la commercialisation des comédies musicales françaises à Taïwan de manière plus complète. Au terme de la thèse, je propose un modèle de marketing adapté au développement des comédies musicales françaises à Taïwan, espérant contribuer à la gestion durable de ces spectacles vivants à Taïwan, grâce aux conclusions et aux suggestions de cette recherche.

相關附件： 109劉芮瑜.pdf

指導教授：徐鵬飛

口試委員：黃馨逸、廖潤珮

中文摘要：

廣告在我們日常生活中無所不在，甚至在無形中融入我們的生活，而為了抓住消費者的目光，其內容更是五花八門、包羅萬象，現今有許多廣告如果不看到最後，都不知道它要賣的是什麼商品。我們對香水廣告的印象，大多是裸露的女性身體搭配上香水瓶，這樣的畫面亦難逃物化女性的說法，但隨著時代的變遷與人們的媒體識讀能力提高後，香水廣告也開始迎合社會大眾之意，改變對女性形象的呈現內容。本研究以CHANEL摩登COCO香水廣告為研究樣本，透過閱讀香水歷史、奢侈品、符號學、女性形象之相關碩博士論文及文獻資料為優先，廣告行銷理論類書籍為輔助，結合文獻分析法及廣告文本分析法，分析香水廣告中的符號意象與女性形象，試探在資本主義下的消費社會中，香水廣告、消費符號與女性之連結，以期了解香水廣告是否物化女性，抑或是凸顯女性本身價值。而本研究發現： 一、 香水廣告的主角是香水，但品牌和其符號對閱聽人來說亦是重要。 二、 香水廣告呈現新女性形象的同時，雖然已經大幅減少對女性裸露的畫面，但仍存在著對女性性感的表現。 三、 現今的女性香水廣告是偏向彰顯女性之美，但仍無法跳脫出美貌迷失的框架，更可能因為過分強調女性之美與性感，而使消費者在直觀下，有物化女性或是性別刻板印象之感受。

英文摘要：

Advertisement is everywhere, it slips and is integrated into our daily life. Contents and types of advertisement is being more and more varied in order to attract the attention of their consumers. If the consumers do not watch the clip until the end, they would be difficult to realize what commodities are released by the company. The perfume advertisement is a classic example of presenting the stereotype of sexual objectification of women. The advertisements usually seem to inevitable display the image of female nudity. With the progression in technology, however, media literacy and education are also improved, gender impression is subverted and it leads the companies need to change the strategy to cater the mainstream. In this study, CHANEL's modern COCO perfume advertisement is selected as the key material; relative records such as thesis and dissertations, history of perfume, symbolic consumption, and advertising theory in marketing are also analyzed to support the material. The purpose of the study is exploring the relation among perfume, advertisements and female images, trying to infer the advertisements whether conveyed a stereotype of women. And the result of the study shows that:

1. “Perfume” is its own protagonist in the advertisement, but brand and symbol are important factors for consumers’ decision as well.
2. Even though the nudity scene has sharply reduced from the advertisements for presenting a new image of women, the image of sexy women still exists.
3. In the author’s perspective, advertisements of perfume usually tend to highlight the independence of female, but it seems that the image of overemphasized beauty and sexy for women is hardly eradicated, and it eventually makes consumers an intuitive sense of objectification.

   法文摘要：

   Introduction La publicité existe dans notre vie quotidienne et s'intègre dans notre vie de manière invisible. Afin d'attirer l'attention des consommateurs, le contenu des publicités est varié. Si on ne voit pas tout le film de publicités, on ne peut pas comprendre quels produits sont vendus. La publicité de parfum associe souvent un corps féminin et un parfum dans notre mémoire. Ce genre d'image peut sembler une narration objectivante des femmes. Cependant, avec les changements d'époque et l'amélioration de l'éducation aux médias des consommateurs, les publicités des parfums commençaient à modifier les images des femmes pour satisfaire un public plus exigeant et informe. Cette étude utilise la publicité de parfum CHANEL Moderne Coco comme matériel de recherche. J'espère que grâce à l'analyse du texte et du contenu de la publicité, nous pourrons explorer davantage les symboles et les images féminines de la publicité selon les trois points suivants : 1. Le rôle principal des publicités du parfum est-il un parfum, une marque ou une image de femme ? 2. Les publicités du parfum montrent-ils autre chose qu’une image sexy des femmes ? Comment les différentes marques interprètent-elles la nouvelle image féminine de différentes manières ?

相關附件： 108莊台伶.pdf

法文題目：

《 L’image de la prostituée dans la littérature française et taïwanaise: comparaison entre "Boule de suif" et "Les jours au bord de la mer" du HUANG Chunming 》

指導教授：徐鵬飛

口試委員：黃馨逸、鄭安群

中文摘要：

現今，女性議題時常被討論，關於女性議題探討的論文很多，但因目前針對社會底層中的婦女形象探討的論文並不多見，所以筆者希望以此論文為女性發聲，藉由比較臺灣、法國妓女文學間於社會風氣影響下妓女形象之異同性，也運用書中妓女的角色當作社會顯影劑(révélateur)呈現當代當地的社會狀況。

本篇論文分成三章。第一章，首先分別介紹《羊脂球Boule de Suif》與《看海的日子》的年代背景、人物描寫藉以探討階級分化，以及用書中人物的待遇、困境，反映出社會地位，進而得出書中主角扮演一種「社會顯影劑」的角色。第二章，衍伸出女性的社會定位，兩部作品女性皆因生活於父權至上的社會，導致被差別對待；接著筆者以第一章所分析，而歸納出女性形象以及女性身體被商品化的情形。最後第三章，以比較法分析，同樣以妓女為題材但臺法文本之異同，從而得出臺灣、法國兩個社會對妓女的看法、待遇、形象的相同，以及兩部作品中主角突破困境的媒介之差異。

在現在自由開放的社會中，女人的天職不再是「家庭」、是「生育」，男人也不再是女人的一切。過去的這些既定印象經過不停地抗爭早已不復存在，現代的女人可以走出家庭、回歸職場。但若想不被以前社會設限、被父權規範束縛，我們必須先承認父權的存在、了解其運作、改變他的組織模式，我們必須穿越父權，才能走出父權。

本論文期望人們對於人人避而遠之的妓女行業有更多的了解、讓其被看見，重新喚起臺灣社會正視處於弱勢的女性。

英文摘要：

Nowadays, women’s issues are often discussed, and there are also many topics of thesis working on it. However, there are rare previous researches on women’s image in the bottom of the society, so I hope to use this thesis to speak for women. Through the comparison of the similarities and differences in the image of prostitutes between the literature in French and in Taiwan under the different public morals. I also use the role of prostitutes in two pieces of literature as a social developer (révélateur) to present the contemporary and local social situation.

This thesis will be divided into three chapters. In chapter one, besides introducing the chronological background and character description of « Boule de suif » and « The days on the beach » to discuss the class differentiation. I also use the treatment and dilemma of the characters in two pieces of literature to reflect the social status. Then come to the protagonists as the social developer (révélateur). In chapter two, I extend the social orientation of women. In those two pieces of literature, women are treated differently because they live in a patriarchal society. I estimate the analyze in first chapter and summarize the image of women and the commodification situation of women’s body. Finally, in chapter three, based on comparative analysis, the similarities and differences of using the prostitutes as a subject between the literature in France and Taiwan lead to similar views, treatments, and images of prostitutes in two countries, but the differences in the intermediary which protagonists break through the dilemma in two works.

This thesis aims to present a better understanding of the prostitute industry, and also lead Taiwanese society to face squarely up to the disadvantage position of women as well. Instead of avoiding them, let them be seen.

相關附件： 108陳子巧.pdf

指導教授：梁蓉

口試委員：黃馨逸、楊淑娟

中文摘要：

本論文試圖從香奈兒品牌產品象徵意涵的角度，進行品牌產品分析。以脈絡化的途徑呈現歐洲社會風尚裡，女性服裝造型究竟存在何種問題，導致女性服裝造型需要以巨大的社會變革方可產生改變？在巨大的社會變革中，如何引發可可•香奈兒從1910年起建立香奈兒品牌，透過設計出多項女性服飾產品，以劃時代的眼光傳達自身對女性服裝造型的見解，造就女性服裝造型的革新面貌？在多項具備自二十世紀以來富有革新面貌的香奈兒品牌產品中，其象徵意涵是否具備「自由」、「平等」、「博愛」之語彙？

第一部分，探討歐洲社會在女性服裝造型的發展上歷經多樣的風尚所帶來的服裝造型樣貌，解析歐洲女性服裝造型長期以來遭遇何種社會價值體系所賦予的規則，引發女性服裝造型對於女體的限制與束縛。 第二部分，聚焦二十世紀的社會變革引發的思想體制如何影響女性服裝造型，產生新興的流行趨勢，在趨勢下彰顯出可可．香奈兒的觀點與美學，導致香奈兒品牌誕生。本部分優先探討二十世紀女性服裝造型元素的開創者—保羅．普瓦烈，對於女性服飾的觀點確實影響日後二十世紀的女性流行服飾趨勢，間接地影響的可可．香奈兒的理念。然而，保羅．普瓦烈為何無法像可可．香奈兒發揮恆久性的影響力？整理香奈兒品牌發展歷程，歸納出品牌在女性服裝造型上具有恆久性的影響力，乃因於品牌中存在本文所探討之「自由」、「平等」、「博愛」三項概念。 第三部分，延續已發現的「自由」、「平等」、「博愛」三項概念，進行品牌產品分析。界定好「自由」、「平等」、「博愛」之定義後，將篩選品牌內值得關注的產品象徵意涵進行歸類，透析可可．香奈兒設計產品時所傳達的語彙，深入探討並歸納香奈兒品牌產品象徵意涵與本文所界定之「自由」、「平等」、「博愛」有何種關聯性。 最後，分享在完成整體的研究與分析後，所得著的觀點與啟示，遂而提出發想與建議。

英文摘要：

he paper attempts to analyze brand products from the perspective of the symbolic meaning of Chanel products.In a contextualized way to present European social fashion, what kind of problems exist in women's costume styles, leading to women's costume styles need to undergo intense social changes, and they changed. In the fierce social changes, how to trigger Coco Chanel to establish the Chanel brand since 1910, through the design of plenty of women's collection products, with an epoch-making vision to convey their insights on women's costume styling, to create an innovative look of female costume styling? In many Chanel products with an innovative look since the 20th century, does the symbolic meaning have the vocabulary of "liberty", "equality" and "fraternity"?

The first part, discuss the appearance of costume styles brought by European society in the development of women's costume styles through various fashions, and analyze the rules given by the social value system that European women's costume styles have encountered for a long time, led to the restrictions and constraints of the women's body.

The second part ,focus on how the ideological system triggered by the social changes in the 20th century has influenced women's costume styling, which has created a new popular trend, and this trend highlighted Coco Chanel's views and aesthetics, led to the birth of the Chanel brand finally. In this part, we will mention to the creator of the 20th century modern women's costume-- designer Paul Poiret. Poiret's opinions on women's costumes made affect the trend of women's fashion in the 20th century, and indirectly affects Coco Chanel's concept of the fashion design. However, Why Paul Poiret can't be like Coco Chanel makes a perpetual influence? This part will organize the development of the Chanel brand and conclude that Chanel brand has a perpetual influence on women's costume styling is due to the existence of the 3 concepts : "liberty", "equality" and "fraternity" .

The third part, continue to the three concepts of "liberty", "equality" and "fraternity" that have been discovered, and conduct brand product analysis.After defining the definitions of "liberty", "equality", and "fraternity", the symbolic meanings of the products that are worthy of attention in the screening brand are classified,dialysis Coco Chanel ’s vocabulary when designing products,explore in depth and summarize how the symbolic meaning of Chanel brand products is related to the definitions of "freedom", "equality" and "fraternity" in this article. Finally, after sharing the overall research and analysis, give the own views and the enlightenments, offer the ideas and suggestions.

相關附件： 108邱立陽.pdf

指導教授：徐鵬飛、Catherine DESSINGES

口試委員：Fabienne BOISSIERAS

中文摘要：

“葡萄酒是一種高貴且古老的產品，是人類和社會科學，歷史時期和分析領域（社會，文化，經濟或政治領域）交彙的研究對象。”關於葡萄酒，我們有很多方向可繼續探索。畢竟，葡萄酒已經存在了好幾個世紀。依照不同國家的風俗和文化，葡萄酒在各國也有不同的發展情況。現今，當我們談論到葡萄酒時，我們首先想到的是擁有悠久生產歷史的法國。對於大多數法國人來說，葡萄酒是他們文化的一部分，也是他們生活的一部分。他們習慣了與葡萄酒一起共存。大多數人法國人在朋友聚會或慶祝派對時，都會習慣性的準備幾瓶葡萄酒供大家享用。反觀台灣人並沒有這個習慣。在台灣，人們較常喝的是高粱，清酒或啤酒。但近年來，法國葡萄酒慢慢以多種方式在台灣發展，且越來越多的台灣人開始品飲。這個新現象的出現，不經讓人好奇，法國葡萄酒在台灣人眼中的形象是什麼？此外，葡萄酒的引入大多都是通過商業運作。廣告、網絡、商家、朋友或其他因素，是否能影響消費者對於法國葡萄酒的看法及購買率。本論文分成三章。首先從歷史發展角度來探討法國葡萄酒是如何發展及如何慢慢進入到台灣。接著透過廣告圖像分析去探討不同途徑的商業廣告是如何刺激消費者的購物慾望。再來，第三章我們製作了一份問卷調查表，透過此調查，我們能夠更貼近消費者的內心並且得知到底是什麼因素，最能夠影響他們購買葡萄酒的習慣。

英文摘要：

Concerning wine, we have a lot of directions to explore. After all, wine has been around for centuries. Follow the customs and culture of different countries, the wine excites different cases. When we talk about wine, we think first of all of France, which has the reputation of producing good wines. For most French people, wine is part of their culture and represents a part of their life. They got used to living with wine. But the Taiwanese do not have this habit. They do not drink as much wine as the French. Here in Taiwan, people often drink sorghum, sake or beer. From this point of view, there is already a big difference between Taiwan and France. But in recent years, French wine is growing in Taiwan in many ways. More and more Taiwanese are starting to drink it. Through this new phenomenon, what is the current image of France wine for the Taiwanese? In addition, the introduction of wine is a commercial operation. Indeed, consumers are influenced by advertising, web networks, merchants or their entourage? In the first chapter of this thesis, we will explore how French wine develops and how to enter Taiwan from the historical perspectives. In the second part, through the analysis of advertising images, we will investigate how the various commercial advertisements stimulate the desire of the consumers. Finally, in the third chapter, we produced a questionnaire that allows us to know which factors are most likely to affect their desire to buy wine.

法文摘要：

Concernant le vin, nous avons beaucoup de directions à explorer. Après tout, le vin existe depuis des siècles et se développe dans de nombreux pays. Suivre les coutumes et la culture de différents pays, le vin excite également des différents cas. Quand nous évoquons le vin, nous pensons avant tout à la France qui a en effet la réputation de produire de bons vins. Pour la plupart des Français, le vin fait partie de leur culture et représente ainsi une partie de leur vie. Ils se sont habitués à vivre avec le vin. Mais les Taiwanais n’ont pas cette habitude. Ils ne boivent pas autant de vin que les Français ou que les Européens. Ici à Taïwan, les gens boivent souvent de l'alcool de riz, du saké ou de la bière. De ce point de vue, il y déjà une grande différence entre Taïwan et la France. Mais ces dernières années, le vin français se développe à Taïwan par de nombreux moyens. De plus en plus de Taiwanais commencent à boire du vin. A travers ce nouveau phénomène, quelle est actuellement l’image de la France et du vin pour les Taiwanais ? De plus l’introduction du vin constitue sûrement une opération commerciale. En effet les consommateurs sont influencés par la publicité, les réseaux web, les commerçants ou leur entourage ?

相關附件： 107李岱凌.pdf

指導教授：梁蓉、Olivier CHATELAN

口試委員：Fabienne BOISSIERAS

中文摘要：

本研究欲對國立故宮博物院與法國國立博物館合作展之文化行銷做整體探討，釐清合作展的重要性與意義。首先，從比較臺法博物館運作模式及文化保存工作著手。接著，基於故宮博物院特殊的歷史背景，對其進行一九四五年後各個時期的營運方向分析。第三章，針對『玉:從帝王尊榮到裝飾風的藝術』與『印象.左岸 奧塞美術館30週年大展』兩個特展的合作模式進行個案研究。以了解臺法國立博物館在博物館產業中所扮演的角色及其所注重的價值，並探討博物館如何行銷文化以發展更多可能，同時思考博物館在當代的意義與功能。

基於上述研究目的，本研究所探討的議題如下 :

一.臺灣與法國之博物館行政法人化歷程。

二.隸屬於行政院管轄的國立故宮博物院在文化行銷過程中，國族主義如何影響博物館決策?

三.國立故宮博物院在與法國博物館合作展中是否能以現行組織有效率的行使文化行銷之責?

英文摘要：

This paper aims to analyze the cultural promotion realized by the exhibitions organized in cooperation with the National Palace Museum and the French museums, and to investigate the importance and the meaning of the cooperatives exhibitions. Firstly, we compare the modes of museum management and the measures of cultural preservation adopted in France and in Taiwan. Secondly, considering the complicated historical background of the National Palace Museum, which makes it easy to get involved in political discussions, by setting the year of 1945 as a boundary, we try to explore the rulers’ policies and the responding strategies of the National Palace Museum toward every changes. The third part, we take the Guimet Museum’s “Jade : Des empereurs à l'art déco” and the National Palace Museum’s “Exposition du 30ème anniversaire du Musée d’Orsay” as the samples. The purposes are to probe the roles of the French and Taiwanese national museums and the value emphasized in these museum cooperations, to explore more possibilities created by the cultural promotion in the museums, and to deliberate the meaning and the function of the day of the museums.

To achieve the above-mentioned purposes, the following subjects are set :

I. The process of the administratif corporatization of the museums in France and in Taiwan.

II. How the nationalism influences the strategies of the National Palace Museum which belongs to the Executive Yuan in the process of the cultural promotion ?

III. If the National Palace Museum could realize efficiently the responsibility of the cultural promotion with its current organization in the exhibitions in cooperation with French museums ?

相關附件： 107楊椀淩.pdf

指導教授：梁蓉、Mathilde BOMBART

口試委員：Fabienne BOISSIERAS

中文摘要：

品味，長久以來都是人們評斷他人的標準，同時，品味優劣，也間接地將人們區分成不同群體和階級。觀看Yasmina Reza的這兩部作品，角色們的衝突來自於藝術美學和道德價值上的差異，心中不禁產生一些疑問:衝突是否和品味差異有關?品味是否無所不在? 為了找出這個答案，本論文通過三章節探討和分析: 首先，通過劇中角色的職業、愛好以及經濟能力確立他們在社會上所屬階級；接著，根據Pierre Bourdieu的研究《La distinction》分析品味差異的型態；最後，從舞台驗證品味和衝突在戲劇上的表現。

英文摘要：

Taste has been one of the standards for people to judge others. Besides, the taste indirectly divides people into different groups and classes. In these two works by Yasmina Reza, the conflicts of the characters come from differences in artistic aesthetics and moral values. I wonder if the conflicts are related to the different taste. I would like to know if they exist in our daily life all the time. In order to find out this answer, this thesis composes in three chapters: First, I verify social status of the characters in these two plays according to their profession, hobbies, and their financial abilities. Then, I analyze the type of different taste via Pierre Bourdieu's study « La distinction ». Finally, I try to find out that how does the performance at the stage of drama present the taste and the conflicts.

法文摘要：

En général, le goût personnel non seulement devient un symbole d’une marque personnelle mais accompagne chacun toute la vie. La différence de goût se met en place quand l’on naît. Les deux pièces de Yasmina Reza, Art et Le Dieu du carnage mettent en évidence ce phénomène humain. L’un critique le goût artistique, l’autre discute le sens moral. Les lecteurs ne regardent pas la querelle s’effacer ou les personnages changer leurs propres goûts. Ainsi, une interrogation est survenue immédiatement : Est-ce qu’il y a une relation entre le goût et la querelle ? Est-ce que l’on peut prouver que le goût est omniprésent ? Est-ce que le bourgeois a une tendance à la comparaison comme la description de Yasmina Reza ?

相關附件： 107廖涵君.pdf