https://ir.lib.ncu.edu.tw/handle/987654321/202 Search the Channel s https://ir.lib.ncu.edu.tw/simple-search https://ir.lib.ncu.edu.tw/handle/987654321/110392 title: 敘事作為存續的方式：以小說《日人之蝕》為例;La mise en récit comme survivance : le cas d’Éclipses japonaises abstract: 艾力克・菲耶（Éric Faye）1963年出生於法國里摩（Limoges），曾參與新聞與翻譯工作，作品涵蓋隨筆、新聞評論與敘事文本，無論是虛構小說或旅行文學皆有涉獵。其將親身經驗書寫成文，又以亞洲為重點，常在作品中融入亞洲文化或相關元素，特別是日本文化，如《長崎》、《日人之蝕》。 本研究聚焦於小說《日人之蝕》，意在探討艾力克・菲耶如何處理歷史事件所遺留下來的創傷，並如何讓那些小說中在北韓政權下被抹除的渺小人物重新浮現。全文將分成三個章節，第一部分我們將探討這些遭到綁架的角色如何面臨生存考驗，並嘗試詮釋其身分與心理層面的轉變。研究將主要引用保羅・利科（Paul Ricœur）的理論，尤其是《時間與敘事》中所提出的「三重模仿」（triple mimèsis）以及敘事認同的概念。第二章將探討這些主角在極端環境中的生存之道，本章將特別參考唐納・溫尼考特（Donald Winnicott）於《遊戲與現實》（Jeu et réalité）中提出的「過渡物」（l’objet-transitionnel）理論，我們將分析菲耶筆下角色如何藉由這些支撐性物件在小說中維繫個體的人性。第三章我們將跳脫小說情節的層次，探討作家、書寫與生存之間的關係。透過《日人之蝕》，我們將分析作者如何運用書寫的力量，為歷史中的渺小人物發聲，以及文學的力量如何讓作家成為受害者的代言人，進而抵抗極權的力量。;Born in 1963， in Limoges， France， Éric Faye began his career in journalism and translation before establishing himself as an essayist. His works cover a wide range of categories， including essays， journalistic writings， fictional narratives， and travel literature. Deeply influenced by his personal travel experiences， Faye’s works frequently engage with Asian cultures， especially Japanese culture， like Éclipses japonaises and Nagasaki. This study focuses on the novel Éclipses japonaises and aims to examine how Éric Faye deal with the trauma left by historical events， as well as how he brings back to light the “tiny beings” erased under the North Korean regime. The first chapter explores the existential test faced by the kidnapped characters and analyzes the transformations of their identity. This part primarily draws on Paul Ricœur’s concept of triple mimesis developed in Time and Narrative， as well as the notion of narrative identity. The second chapter investigates the various ways in which the protagonists struggle to survive under extreme conditions. Our research is going to refer to Donald Winnicott’s theory of the transitional object as presented in Playing and Reality. The third chapter shifts the focus from the narrative level to a broader reflection on the relationship between writing， survival， and authorship. By examining Éclipses japonaises， this study seeks to demonstrate how Éric Faye mobilizes the power of literary writing to give voice to tiny beings silenced by History， and how literature resist the totalitarian power. <br> https://ir.lib.ncu.edu.tw/handle/987654321/99299 title: 在法臺灣留學生: 跨國移動中的他者經驗與自我身份感知的演變;Être étudiant taïwanais en France : l’altérité en situation de mobilité internationale et l’évolution de l’autoperception identitaire abstract: 本研究以二十位赴法台灣留學生為對象，探討國際移動如何在跨文化情境中重塑其個人身份，並重新界定他們對台灣的集體認同感。透過深度訪談與內容分析，本論文回溯學生在出國前的各項準備與家庭協商過程，並運用法國學者 Nathalie Heinich 所提出的「身份三階段」（外部指認、自我感知、對外呈現）作為分析框架，探討他們在法國所經歷的正面與負面經驗如何影響其身份轉變。 研究結果顯示，在個人層面上，赴法準備過程中的責任承擔與決策，使學生逐漸培養出更高程度的自主性；而在法國遭遇的語言、行政與文化上的困難，則促使他們更加了解自身、提升適應能力，並強化情緒韌性。在集體層面上，受訪者經常被法國社會視為「亞洲人」或「中國人」；這種外部指認在初期削弱了他們的台灣身份，使他們不得不在日常互動中更加積極地解釋、澄清與捍衛自己的身份，最終反而強化了他們的台灣認同。 研究最終指出，國際移動構成了一個由外部指認、自我反思與重複互動所推動的動態身份重構歷程。在此過程中，「台灣性」不再只是既有的文化習得，而是成為一項能在跨文化脈絡中被意識化、被重新表述並被主動展演的身份資源。面對法國社會的同質化凝視，以及與其他亞洲學生的比較框架，受訪者逐漸重新定義並強化其台灣性，並學會以更自主、更具主體性的方式表達與彰顯自身的台灣身份。;This study examines twenty Taiwanese students who pursued studies in France and explores how international mobility in an intercultural context reshapes their personal identity and redefines their sense of belonging to Taiwan. Drawing on in-depth interviews and content analysis, this thesis retraces the preparations and family negotiations preceding their departure, and applies Nathalie Heinich’s theoretical framework of the “three moments of identity” (designation, autoperception, presentation) to analyse how the positive and negative experiences they encountered in France influenced their identity transformation. The findings show that, at the individual level, the responsibilities and choices involved in preparing for their stay fostered the development of greater autonomy. Meanwhile, the linguistic, administrative and cultural difficulties faced in France enhanced their self-understanding, adaptive capacities and emotional resilience. At the collective level, participants were frequently perceived as “ Asians ” or “ Chinese ”; this external categorisation initially diluted their Taiwanese identity and compelled them to explain, clarify and defend their identity more actively in everyday interactions, ultimately contributing to its reinforcement. Overall, the study highlights that international mobility constitutes a dynamic process of identity reconstruction, shaped by external designations, self-reflection and repeated interactions. In this process, “ Taiwaneseness ” ceases to be a simple cultural given and becomes a conscious, reformulated and actively performed identity resource within intercultural contexts. Confronted with the homogenising gaze of French society and comparisons with other Asian students, the participants redefined and strengthened their Taiwaneseness, learning to express and assert it in a more autonomous and confident manner. <br> https://ir.lib.ncu.edu.tw/handle/987654321/99297 title: 「凝聚寫作經驗於一書」： 從報導、小說、自傳三方角度解讀嘉碧耶勒・花的作品《隱山》;« Mettre toute son expérience d’écriture en un seul livre » – Une triple lecture de La Montagne secrète de Gabrielle Roy : le journalistique, le romanesque et l’autobiographique abstract: 本研究旨在從報導、小說、自傳三方角度解讀加拿大法語作家嘉碧耶勒・花（Gabrielle Roy, 1909-1983）於1961年出版的作品《隱山》（La Montagne secrète）。這本小說講述畫家皮耶在加拿大北部與巴黎的藝術追尋旅程，全書融合了構成作者寫作特色的三種元素：報導、小說與自傳。 我們假設，根據書中一段文字以及花的文學創作歷程，《隱山》或許可被視為作家「凝聚寫作經驗於一書」的嘗試之作。一方面，書中寫道：「誰不曾夢想過，在一幅畫中、一本書裡，凝聚所有事物、所有主題；自身的一切：所有經驗……」。另一方面，花的創作生涯可分為兩個階段：首先，她透過報導寫作練習寫作小說；後來，她藉由小說書寫為職涯最終目標之自傳書寫做準備。由於《隱山》的出版時間恰巧位於小說家職涯的中心點，它難道不正處於花三種寫作經驗的交會點？ 本論文分為三章，每章分別從報導、小說與自傳三個角度詮釋作品。第一章探討小說近乎紀實地呈現北方地理與人物風情的意圖，並強調其真實書寫與作家早期報導寫作的相似之處。第二章闡明敘事與陳述策略、人物塑造以及自然描繪如何組織故事情節。第三章分析作家在畫家故事中投入自我的線索，包括攸關追尋與創作的互文關係、主題，以及創作此書的潛在動機。 雖然《隱山》佔據花作家生涯的核心位置，並具有重要的主題與風格，但它始終未受到應有的重視。然而，在出版逾半世紀的今日，這部作品仍值得讀者細細品味。因此，本研究企圖從作者的三個寫作面向評析《隱山》在整體與細節、形式與內容層面的巧思。書中，報導、小說與自傳三個面向彼此豐富、相互交織，在嘉碧耶勒・花仍等待完成她那「唯一之作」時，形塑了她獨樹一幟的書寫風格。 ;This study focuses on a (re)reading of French-Canadian writer Gabrielle Roy’s novel The Hidden Mountain (1961) from three perspectives: journalistic, novelistic, and autobiographical. These three angles correspond to three different but complementary dimensions that characterize Roy’s writing and coexist in this novel, whose plot centers around the artistic quest of a painter, Pierre, from northern Canada to Paris. Based on a quote from the novel – “Who has not dreamed, on a single canvas, within a single book, to include once for all the whole object, the whole subject; one’s all, all one’s experience […]” –, we formulate the following hypothesis: from a retrospective point of view, this novel could be considered a pivotal work in which the author incorporates almost all of her writing experiences. Indeed, Roy’s literary journey can be divided into two periods. At the beginning of her career, her journalistic writing allowed her to practice novel writing. Later, by writing novels, she prepared for autobiographical writing, the ultimate goal of her vocation as a writer. Does this novel, which, by chance or by miracle, lies at the “mathematical center” of the author’s career, not precisely mark the point of convergence of the three dimensions of Roy’s writing? Despite its central place in the novelist’s career and its thematic and stylistic importance, this novel remains relatively unknown, even marginal, among Roy’s fictional works. Nevertheless, more than half a century after its publication, this book still deserves our attention and appreciation. Therefore, our research aims to rediscover The Hidden Mountain, examining its particularities and generalities in terms of both form and content, through an approach that combines three constituent dimensions of the author’s writing: journalistic, novelistic, and autobiographical. These three dimensions enrich and interweave one another to create a style unique to Roy, who, in writing this novel, was surely awaiting the realization of her “only work.” <br> https://ir.lib.ncu.edu.tw/handle/987654321/99294 title: 章節式恐怖遊戲《Fears to Fathom 溯源之懼》恐怖感營造研究;Une étude des mécanismes de la peur dans Fears to Fathom vers « l’horrordinaire » abstract: 《Fears to Fathom》(中譯：溯源之懼) 是印度獨立開發者 Rayll Studios 於 2021至 2024 年間製作發行的短篇章節式恐怖遊戲。有別於傳統恐怖遊戲採用超自然主題或嚴峻的動作要素達到恐怖效果，《Fears to Fathom》以一種精簡的遊戲互動設計，將遊戲之時空背景搬移至日常現實生活當中。 本論文將透過該遊戲之不同面向拆解，試圖釐清《Fears to Fathom》如何在日常生活當中呈現恐怖感。研究將分為三部分：開篇以心理學與遊戲學的角度理解「恐懼」及其相近的情緒之定義，以及情緒在遊戲進展時的動態作用關係，並在此基礎上探討 《Fears to Fathom》之分類歸屬問題。期望透過釐清恐怖的定義，分析遊戲媒介所引起之恐懼感，並提出 Horrordinaire –日常現實恐怖的概念。第二部分將研究本遊戲之敘事手法，主要探討遊戲到敘事的時空架構與視角所達到的焦慮感。最後一部分將分析遊戲的互動性設計衍生的恐怖感，藉此瞭解《Fears to Fathom》如何利用精簡的遊戲互動設計達到恐怖感。 本研究期望藉由提出 Horrordinaire –日常現實恐怖的概念開啟一種當代遊戲恐怖感製作的不同觀點與方式。恐怖感將不獨屬於超自然、血腥暴力或動作反應，而是源自平凡甚至平淡的日常現實生活。 ;This study investigates the mechanisms of fear in the episodic indie horror game series Fears to Fathom (Rayll Studios, 2021–2024). Unlike conventional horror games centered on supernatural themes or action-oriented intensity, Fears to Fathom develops a form of realistic fear where ordinary, everyday situations become the source of fear. Positioned at the crossroads of game studies and emotion theory, the research explores how Fears to Fathom constructs fear through the banality of daily life, giving rise to an aesthetic that can be described as “horrordinaire”—the horror of the ordinary. The first chapter establishes the conceptual framework. Drawing on Nico Frijda’s theory of emotions as modes of action readiness, and on Bernard Perron’s distinction between artistic, fictional, and ludic emotions, it clarifies the meaning of fear in the videogame context and defines its specific aesthetic contours. The second chapter analyzes how narrative structure and temporal organization create anxiety. In reference to Leon Festinger’s theory of cognitive dissonance, it shows how the contradiction between reassuring expectations and threatening signs produces a constant state of unease. The analysis highlights the perceptual asymmetry between player and avatar as a key factor of uncertainty. The third chapter investigates how gameplay itself generates fear. By examining developers’ reflections on horror design, it identifies Fears to Fathom’s distinctive tactics—such as the deceptive comfort of companionship and the use of the microphone as a mechanic of vulnerability. These strategies demonstrate how the restriction of player agency becomes a central source of tension. By combining psychological and ludological perspectives, this study contributes to a deeper understanding of fear in video games and proposes the “horrordinaire” as a new aesthetic category that better defines Fears to Fathom than existing labels like psychological horror or survival horror. <br>