https://ir.lib.ncu.edu.tw/handle/987654321/350 Search the Channel s https://ir.lib.ncu.edu.tw/simple-search 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> Fri, 06 Mar 2026 10:34:11 GMT 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> Fri, 06 Mar 2026 10:34:00 GMT 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> Fri, 06 Mar 2026 10:33:47 GMT https://ir.lib.ncu.edu.tw/handle/987654321/97748 title: 言與不言之間：程抱一法譯唐詩中的言外之「譯」;Entre dire et ne pas dire : une poétique du non-dit dans les traductions de poésie Tang par François Cheng abstract: 唐詩是中國古典文學的重要象徵，其藝術成就與文化深度不僅在中國歷代文人心中佔有崇高地位，也成為中外文化交流的重要橋樑。自18世紀起，唐詩陸續傳入法國，開始了一場橫跨語言與文化的翻譯歷程。每一世紀的譯者在不同時代背景下，對唐詩的理解與詮釋方式亦各不相同：18世紀的傳教士主要著眼於知識的傳播，透過唐詩介紹中國文化與思想；19世紀的譯者則傾向於文學性再創作，強調異國情調與審美想像，常將唐詩作為重塑東方意象的素材；而進入20世紀後，隨著中法學術交流的深化與漢學研究的專業化，更多具有語言與文化雙重背景的譯者投入其中，翻譯取向也逐漸轉向詩意與形式的保留，並強調中詩法譯中的節奏感與內涵。 在此脈絡下，程抱一（François Cheng）以其獨特的文化背景與創作理念，於20世紀後期在法語世界中開闢出一條與眾不同的唐詩翻譯路徑。他生於中國，成年後定居法國，之後歸化為法國籍。正是因為經歷過流亡與文化融合的生命歷程，所以使他對詩意的理解具有深刻的中法雙重文化色彩，這也是其譯作被視為中法文學對話中的關鍵成果之因。 本研究以程抱一的作品《中國詩語言研究》（L’Écriture poétique chinoise）裡的唐詩翻譯為分析核心，觀察並歸納其譯詩風格，進而提出「non-dit（未言）」作為理解其翻譯風格的重要概念。「未言」一詞並不是程氏親自命名的理論，而是經由本研究對其譯詩語言操作的歸納與比較，所歸納出的核心策略。程氏在翻譯唐詩時，避免過度解釋與文化註腳，反而透過語法與標點的謹慎運用，例如動詞的刪減、主詞的省略、標點的選擇，營造出開放、含蓄且富有張力的閱讀空間，使讀者能自由體會詩中的情感與意境。 本論文共分為三章：第一章從歷史與比較的角度出發，回顧十八至二十世紀，法語世界中唐詩翻譯的主要傾向與代表譯者，並與程抱一的翻譯策略進行對照；第二章探討程氏「未言」美學的形成背景，從他的雙重文化認同、流亡經驗與道家思想等面向切入，並分析他對自然詩與邊疆詩的偏好如何與語言留白策略互相呼應；第三章則聚焦於文本分析，具體呈現「non-dit」在翻譯實踐中的展現方式。 「未言」不只是語言的省略，而是一種讓讀者得以進入詩意空間的翻譯方式，也是一種「言外之譯」，讓原詩未明言的意境，於譯文中繼續發酵。程抱一的譯詩，不僅是對原文的再現，更是在中法文化之間展開的一場深層對話。透過「未言」的策略，他讓詩的含蓄、留白與餘韻得以在譯文中延續與重生。本研究希望指出，「未言」並不代表語言的缺席，而是一種詩性與文化共鳴的表達形式，也為當代詩歌翻譯提供了另一種可能的路徑與思考方式。;Tang poetry is an important symbol of Chinese classical literature. Its artistic achievements and cultural depth not only hold a high position in the minds of literati throughout Chinese history, but also serve as a key bridge for cultural exchange between China and the world. Since the 18th century, Tang poetry has been gradually introduced into France, beginning a translation journey across languages and cultures. In different historical contexts, translators in each century have had different understandings and interpretations of Tang poetry: 18th-century missionaries mainly focused on the transmission of knowledge, introducing Chinese culture and thought through Tang poetry; 19th-century translators tended toward literary recreation, emphasizing exoticism and aesthetic imagination, often using Tang poetry as material for reshaping Eastern imagery; and after entering the 20th century, with the deepening of Sino-French academic exchange and the professionalization of Sinology, more translators with bilingual and bicultural backgrounds participated, and the direction of translation gradually shifted toward preserving poetic meaning and form, emphasizing rhythm and philosophical content in Chinese-to-French translation of poetry. In this context, François Cheng, with his unique cultural background and creative vision, opened a distinctive path for the translation of Tang poetry into French in the late 20th century. He was born in China, settled in France in adulthood, and later became a naturalized French citizen. It was precisely because of his life experience of exile and cultural fusion that his understanding of poetic meaning carries a profound dual Sino-French cultural perspective. This is also why his translations are seen as key achievements in the literary dialogue between China and France. This study centers on François Cheng’s L’Écriture poétique chinoise as its primary text of analysis non-dit (the unspoken) as an important key to understanding his translation aesthetics. The term “non-dit” is not a theoretical term coined by Cheng himself, but a core strategy deduced from this study through observation and comparison of his language practices in translation. In translating Tang poetry, Cheng avoids over-explanation and cultural footnotes, and instead carefully uses grammar and punctuation—such as the reduction of verbs, the omission of subjects, and the selection of punctuation—to create an open, implicit, and tension-filled reading space, allowing readers to freely experience the emotions and imagery within the poem. This thesis is divided into three main chapters: Chapter One starts from a historical and comparative perspective, reviewing the main tendencies and representative translators of Tang poetry in the French-speaking world from the 18th to the 20th century, and contrasts them with François Cheng’s translation strategies; Chapter Two explores the background of Cheng’s non-dit aesthetics, focusing on his dual cultural identity, experience of exile, and the influence of Taoist thought, and analyzes how his preference for nature and frontier poems aligns with his strategy of linguistic openness; Chapter Three focuses on textual analysis, concretely presenting how non-dit is manifested in his translation practice. Non-dit is not merely the omission of language, but a translation approach that allows readers to enter a poetic space. It is also an aesthetic choice. François Cheng’s translations are not simply reproductions of the original texts, but a deep dialogue between Chinese and French cultures. Through the strategy of non-dit, he allows the implicitness, openness, and lingering charm of the poems to be continued and reborn in translation. This study not only deepens our understanding of François Cheng’s translational poetics but also opens up new possibilities for future comparative studies on poetic translation between Eastern and Western literary traditions. <br> Fri, 17 Oct 2025 03:51:26 GMT