指導教授 – 楊淑娟

口試委員 – 梁蓉、林德祐

中文摘要：

英語及法語是當今兩種主要的國際語言，也是台灣藉以和世界接軌，汲取先進知識來提昇國家競爭力的重要媒介。若能在台灣高中和高職把語言教育和文化教學緊密結合，才能使青少年階段的學生更深刻地領會語言的特點，避免語用失誤，進而提高跨文化的交際能力。本論文擬以桃園育達高中法語社團課為例，探討台灣高中職的法語教學現況與發展，並提出建議，供教育單位和法語教師制定更有效的教學策略，以提高法語教學的效果。

全文共有三個章節，並各有引文和結論。分別為第一章台灣高中職法語教學的現況與發展、第二章台灣高中職法語教學的特色及成效、第三章桃園育達高中的法語社團課教學特色及成效。最後，總結前述研究之結果，並再次強調論點，期能加深閱讀者的印象。

英文摘要：

English and French are the two main international languages today, and they are also an important medium for Taiwan to connect to the world and absorb advanced knowledge to enhance national competitiveness. If language education and culture teaching can be closely combined in the high schools and the vocational high schools in Taiwan, the students at the adolescent stage can have a better understanding of the characteristics of the language, avoid pragmatic mistakes and upgrade their intercultural communicative competence. This thesis intends to take the class of the French Club of Taoyuan Yuda as an example to discuss the current situation and development of French teaching in the high schools in Taiwan, and put forward some proposals for educational units and French teachers to formulate more effective strategies to improve the teaching of French.

The study is divided into three chapters, and each contains citations and conclusions. The first chapter describes the current situation and development of French teaching in the high schools in Taiwan; the second chapter focuses on the characteristics and effectiveness of French teaching in the high schools in Taiwan; the third chapter deals with the characteristics and effectiveness of French Club teaching at Taoyuan Yuda High school. Finally, the author summarizes the results of the aforementioned research, and again emphasizes her argument, hoping to deepen the readers’ impression.

相關附件：

指導教授 - 康鈺珮

口試委員 – 徐鵬飛、林玫君

中文摘要：

西蒙波娃在《第二性》中詳細陳述不同女性角色一生中的處境，在波娃主張的理論中，她探討了許多有關女性存在的本質，其中有與沙特存在主義思想相同的概念，因此波娃的女性主義也被後人定義為：存在主義女性主義。波娃認為女人是由社會所建構，而非自然生成，這使得女人只能是客體，窮極一生在追求他人的認可。沙特在《存在與虛無》中提出「自在存在」與「自為存在」兩種意識，前者為無自由、無自主意識的存在客體，後者則為有自由、有意向的存在主體。雖然波娃認為女性是客體般的自在存在，但以沙特所言「人皆是有選擇的」，意味著只要人意識到自己的主體性，在思維上有所解放，改變其面對生命之態度，皆有可能轉為自為的存在。而這也開啟了研究者探討現代女性穿戴胸罩的現象，認為女性在穿戴胸罩上擁有絕對的自主權，且女性應對自身發展擁有「自為」的選擇能力。

「胸罩」是為一般人眼中最貼近女性的衣物，但對於女性本身而言，穿戴者是否真正喜愛穿著胸罩，並且接納它替自己身體雕塑的模樣？胸罩對於不同歷史階段下西方女性的社會角色、性別形象、自我認同產生了什麼樣的影響，讓女性無法完全地擁有穿戴的權利，甚至在女性的心理內化成一種社會約束，塑造了社會對女性的審美標準與刻板印象。研究者以法國胸罩品牌——「奧巴德」與「萊賈比時裝屋」為研究文本，作為驗證法國女性思維逐漸由「自在」轉「自為」之實例。在理論探討方面，研究者主要借用波娃的存在主義女性主義、沙特的存在主義，其次則援引鮑德里亞的消費理論，和福柯與拉岡對於凝視權力的概念，來探究長久以來女性在父權社會下所受到的性別壓迫、女性身上的不平等標籤，以及女性被剝奪的身體自主權。

英文摘要：

Simone de Beauvoir meticulously describes the situations faced by different female characters throughout their lives in The Second Sex. Within Beauvoir's advocated theory, she explores numerous aspects of the essence of female existence, some of which align with Simone de Beauvoir's existentialist ideas. As a result, Beauvoir's feminism has been defined by later scholars as existentialist feminism. Beauvoir argues that women are socially constructed rather than naturally created, which confines women to an objectified state, continually seeking validation from others.

In Being and Nothingness, Jean-Paul Sartre presents two forms of consciousness: “self-being,”an unfree and non-self-conscious existence as an object, and“self-making,”a free and intentional subjectivity. Although Beauvoir views women as self-being, according to Sartre's assertion that“all people have choices,”it implies that individuals can realize their subjectivity, attain mental liberation, and change their attitudes towards life, thereby transforming into self-making. This concept also motivates researchers to investigate the phenomenon of modern women wearing bras and should have the“self-making”capacity for self-development.

“Bras”are perceived as the clothing item closest to femininity in the eyes of the general public. However, for women themselves, do they genuinely enjoy wearing bras and accept the way it shapes their bodies? What impact has the bra had on the social roles, gender images, and self-identity of Western women in different historical periods, preventing women from fully exercising their right to wear bras and even internalizing it as a societal constraint? This has shaped societal aesthetic standards and stereotypes regarding women. Researchers examine French bra brands such as“Aubade" and“Lejaby Maison de Couture”as research texts to validate the gradual shift from“self-being”to“self-making”in French women's thinking. Theoretical exploration mainly draws upon Beauvoir's existentialist feminism, Sartre's existentialism, followed by Baudrillard's consumer theory, as well as Foucault and Lacan's concepts of the power of the gaze, to investigate long-standing gender oppression experienced by women in patriarchal societies, the unequal labels imposed on women, and the deprivation of women's bodily autonomy.

相關附件：

指導教授 - 梁蓉

口試委員 - 楊淑娟、黃馨逸

中文摘要：

自1987年，「永續發展」之概念首度被提出，而「綠色行銷」之環保價值也隨著時代思維之變遷，逐漸融入至人們的日常生活。人們對於「環保」的印象，大多僅停留在它對於自然環境友善之精神，然而這樣的效益往往無法成為消費者的強大消費動機。現今的綠色品牌，為保留產品的競爭力與擴大產業趨勢，透過「綠色」所給予人們的「環保」、「友善」、「利他主義」之形象，打造各式的象徵符號與消費價值，不僅鞏固了品牌的營利需求，更是吸引各式的產業跟著投入「綠化」與「永續」的生產價值。 布西亞認為，大量的產品與服務造成如今的人們不再是為了物的功能性而購買，取而代之地為了產品背後的符號意涵與象徵意義而消費。符號消費的目的在於製造差異，透過物品內涵的符號秩序彰顯個人品味、性格、身分、地位、生活模式等，以此與別的群體區別，進一步實現自我認同，這種消費邏輯加速了消費符號對人們日常生活的掌控，最終導致人們只為了追求自身存在的價值而消費，這種經由消費符號扭曲過後的現實，造就了如今的消費社會。

本研究以L’Occitane en Provence品牌為主要研究案例。透過文獻資料分析、比較及歸納的方法，梳理「綠色行銷」在布希亞的消費理論中所代表的消費符號，分析品牌如何運用「綠色」形象，打造品牌理念與特色，最終得以定義「綠色行銷」之價值所在。 本研究發現: 一、施展綠色行銷，產品能否取得民眾信任感、企業是否保有良好形象乃重要前提。 二、品牌是否運用創意思維，運用綠色行銷之環保形象做出品牌定位，為關鍵要素。 三、綠色化妝品品牌亦會運用各種廣告與行銷手法，打造各式「美」的符號意涵，結合「綠色」之自然形象，強化人們對身體與性別的社會認同感，以此產生商機。

英文摘要：

In 1987, the concept of "sustainable development" was proposed for the first time, the environmental protection value of "green marketing" has been gradually integrated into our daily life. However, the spirit of "environmental protection" cannot become a strong consumption motivation. Nowadays, green brands use the images of green, such as "friendliness" and "altruism", to create various symbols and consumption values, which not only meets the brand's profit needs, but also attracts various industries to invest in "green" and "sustainable" production values. Jean Baudrillard believes that too many products and services have caused people to no longer buy objects for the functionality but for the symbolic meaning behind the products. Through the symbolic order of the connotation of items, to distinguish them from other groups and realize self-identity. This consumption logic accelerates the impact of consumption symbols on people's daily life. This reality distorted by consumption symbols has created today's consumer society. This study selected the "L’Occitane en Provence" brand as the primary research material. Through literature atudy, analyze how brands use the "green" image, create brand concepts and characteristics, and finally to define the value of "green marketing". The result of study shows that:

1. To implement green marketing, the public’s trust in the product and whether the company can maintain a good image are important prerequisites.
2. Whether the brand uses creative thinking and the image of green marketing to make brand positioning is the critical element.
3. Green cosmetics brands also use advertising and marketing to create various symbolic meanings of "beauty", combined with the image of "green", to strengthen people's social identity with body and gender, thereby creating business opportunities.

相關附件：

指導教授：梁蓉

口試委員：黃馨逸、楊淑娟

中文摘要：

近年來，全球化效應下，文化發展的重要性越深植人心，於藝術、教育乃至於文化觀光等 各軟實力項目的經營，皆可見各國群體針對自身文化特色，提出與之相應的發展策略。於此概 念下，以博物館為核心的藝術建設，更成為了各國文化事業的重中之重;不論是已具成熟經驗 的歐美博物館群，抑或是甫獨立的非西方新興國家，博物館作為記錄歷史、保存人類文化產物、 最大化體現各群體特殊性，且能彰顯其擁有者之文化豐富與包容性的一公開場所，無不使博物 館機構於當前的全球化語境中，扮演了重要的文化角色。 另一方面，鑑於文化多樣性與後殖民主義意識的抬頭，長期以西方為首的博物館經營，如 羅浮宮、大英博物館與大都會美術館等，亦開始受到非西方地區的挑戰，尤其針對藏有甚多異 國文物的歐美知名藝術機構，在文物蒐羅過程中的合法性;其中，以主打展藏世界性藝術的「普 世博物館」一類型機構，即是主要的爭議對象，甚且面臨了各文物源出國的返還聲討。然而， 於此情勢下，於 2007 年，隨著法國與阿聯以共創一座普世博物館為理想的跨文化合作，就此 誕生的阿布達比羅浮宮，成為了阿拉伯世界首座普世博物館，卻同時也被寄予了如何提供不同 於過去的經營思維，以回應當代社會對該類型藝術機構的期待。 因此，除了梳理歐美普世博物館群之發展脈絡，本論文旨在以阿布達比羅浮宮的建構為核心，乃至於法國與阿聯這場標誌性的跨國博物館合作，何以適切地反映多元文化發展與普世理 想於全球化世界下的重要性。

英文摘要：

In recent years, the concept of cultural development is becoming more important in a globalized world. It can be seen that each country has different cultural projects based on their own cultural characteristics from fields such art, education and tourism. In this trend, whether for the Western art institutions which have had extensive experience of museum management, or for non-Western emerging countries which are working on developing cultural undertakings, the creation of art museums has become a core part of the cultural constructions. As a public space, a museum has the function of recording history, preserving cultural artifacts, maximizing specificity for every ethnic group in the world, or even showing the cultural inclusiveness of its owners. Put simply, these characteristics make museum institutions play a significant cultural role in contemporary society. On the other hand, due to the effects of cultural diversity and postcolonialism, the hegemony of Western art and cultural field has been challenged, especially for the Louvre, the British Museum, the Metropolitan Art Museum and others large and famous Western museums which are self-declared “universal museum” with the collections of art from all over the world, even though they are facing the debate over the restitution of cultural properties from the countries of origin. However, with these controversies involving Western art museums, the Louvre Abu Dhabi was still born out of an intercultural cooperation between France and the United Arab Emirates in 2007. This first universal museum in the Arab world arouses again a heated debate about the legitimacy and the value of “universal museums”, but attempts to provide a new perspective at the same time. Therefore, this thesis not only aims to sort out the development contexts of European and American universal museums at first, but will also take the Louvre Abu Dhabi as an example to elaborate the creation and breakthrough of this new universal museum, and even now the significant international museum collaboration between France and the United Arab Emirates reflects the importance of multicultural development and universal ideals in a globalized world.

相關附件： 110馬藤萍.pdf

指導教授：徐鵬飛

口試委員：梁蓉、許凌凌

中文摘要：

《科諾克或醫學的勝利》是于樂-羅曼的戲劇。它是二十世紀法國最著名的戲劇之一。主角科諾克醫生的格言：「健康的人都是不自知的病人」，揭示了過度診斷的問題，也體現了衛生專業人員操縱身體的方法。 2019年底，冠狀病毒席捲全球，無形的病毒使人產生了無法控制的焦虑，同時也對死亡感到極度恐懼。這般情況下，爲了保護自己免受病毒侵害，所有人變得更注意日常的衛生習慣和身體的健康狀態。這正是科諾克醫生對聖莫里斯人民的做法。他提倡預防醫學，讓人民對疾病感到恐慌。如今，人們對健康的渴望導致市場上出現了五花八門的健康產品，醫生也開始在熒幕上傳播他們的「白色魅力」。不難發現，醫學的功能已被最大化的利用。 爲了闡明醫療權力在現代社會的展現，本論文研究了西方醫學的歷史背景。接著，我們轉向莫里哀十七世紀的經典戲劇《無病呻吟》（Le Malade imaginaire），以追溯醫生在過去的形象，强調其在現代所形成的鮮明對比。之後，我們深入分析《科諾克》的情節、人物，特別是他操縱人民的手法。最後，我們剖析生命政策於新冠肺炎期間的实施，看這部劇如何反映我們現實生活中的衛生狀況。

英文摘要：

Knock or the Triumph of Medicine is a play by Jules Romains. It is one of the most famous French plays of the 20th century. The maxim of the main character, Dr. Knock: “Healthy people are sick people who do not know that they are sick” reveals the problem of overdiagnosis and the way of manipulation of the body by health professionals. At the end of 2019, the coronavirus swept the world. The invisible virus and physical pain have brought us uncontrollable anxiety and made us extremely afraid of death. In this case, everyone becomes more aware of daily hygiene practices and the state of their health to protect themselves from the virus. This is precisely what Dr. Knock has been doing to the people of Saint-Maurice. He advocated preventative medicine to put them in fear of illness. Nowadays, the desire to be healthy has made plenty of healthy products emerge on the market. Doctors have also started spreading their "white charms'' in the mass media. In this way, we have noticed that the function of medicine has been maximized. To shed light on the deployment of medical power in modern society, this research examines the historical context of Western medicine. Then, we turn to Molière's classic 17th century play The Imaginary Invalid (Le Malade imaginaire) to trace the doctor's image in the past, which contrasts well with the one in modern times. After that, we analyze Knock profoundly to its plot, characters, and especially the method of manipulation by Dr. Knock. Finally, we examine the implementation of biopolitics during Covid-19 and see how the play reflects the health situation in our real life.

相關附件： 110胡嘉渝.pdf

指導教授：徐鵬飛

口試委員：廖潤珮、黃士賢

中文摘要：

2019年台灣國際女性影展策畫以「女性復仇」電影為主題的單元，挑選五部橫跨1960至1980年代初的亞洲電影，將數位修復版本的異色作品再度搬演。藉由數位修復工程喚起曾經紅極一時，卻在影史中不斷被忽略的剝削電影。女性復仇電影以女體裸露以及血腥暴力元素作為電影宣傳話題，並帶給觀眾無限視覺快感與想像，不僅成功在當時刮起一陣風潮，也捧紅不少飾演「復仇女主角」的女明星。 本論文針對女性復仇電影中的女性形象轉變作為研究主題，探討當中女性復仇角色從受害者到施暴者間的轉折。首先從社會背景及影像中女性所呈現的刻板印象切入研究，檢視該類型電影的興起，以及在各地發展的情況。接著，研究女體如何被暴露在該類型電影中。最後挑選台灣的《瘋狂女煞星》及法國的《黑衣新娘》作為研究文本，重點分析與比較兩部電影中女性復仇形象的特色與差異。

英文摘要：

Taiwan Women Make Waves International Film Festival curated a section themed on "Female Revenge" movies in 2019, selected five Asian films from the 1960s to the early 1980s, and rerun the digitally restored versions of these cult genre movies. Thanks to digital restoration projects reminds us that there has the history, the exploitation films that were marginalized in the history of cinema for a long time. The female revenge movie with female nudity and shocking elements, brought the audience visual enjoyment and unlimited imagination, successfully blowing up a wave at that time and making a celebrity effect to play the heroine of revenge. This thesis focuses on the transformation of the female image in Female Revenge movies as a research theme, studies the metamorphosis of women: From victim to executioner. Starting from the social environment and the stereotypes of women in the image, we will examine the context of this type of film and its development in various places of the world. We also analyze how the female body is exposed to the images, in order to examine how this genre of film shows female nudity in the scene. Finally, we chose two films, one from Taiwan and another from France on the theme of "female revenge", The lady avenger and The Bride Wore Black as a corpus to analyze them and compare the image of revenge feminine.

相關附件： 110黃敬淇.pdf

法文題目：

《 La quête de l'identité à travers des images dans les films Confusion chez Confucius, Mahjong et Yi Yi d'Edward Yang 》

指導教授：馬朱麗

口試委員：徐鵬飛、羅仕龍

中文摘要：

楊德昌導演是第一位拿下坎城影展最佳導演獎的台灣電影導演，他在二十年的電影生涯中只留下了七部長片，但是他在每一部作品中都展現出無以倫比的才華與獨樹一幟的風格。楊德昌導演與其同時代的電影導演截然不同，當其他人試著透過童年記憶或是個人、家族歷史來重建台灣的身分認同之際，他卻總是力求描繪社會的現狀，而他的電影所具備的多線、複雜的敘事也讓他與同時代的電影人大異其趣。 本論文以楊德昌導演的最後三部創作於二十世紀末九零年代的電影作品《獨立時代》、《麻將》以及《一一》作為研究主體，將這三部電影視為認同三部曲，因為九零年代對於台灣而言是一個嶄新時代，經歷了財富的快速積累、更加開放的政治環境，與集體認同的崩解。 本論文分為三個部分，首先研究的是《獨立時代》這部電影，以剖析出這個在台灣人生活中無所不在的過去，然後在第二部分中，研究的是《麻將》這部電影的時代氛圍與其躁動。最後，我們要在《一一》這部電影中見證台灣身份認同重生的可能性。 藉著分析作者在這三部電影中所企圖呈現的台北文明樣貌以及作者刻畫這片文明景緻時所使用的獨特電影手法，本論文試圖在分別代表過去、現在與未來的三部電影中，探求楊德昌這位電影作者在畫面呈現與鏡頭運動當中所呈現出的，屬於認同的空間。

英文摘要：

Edward Yang is the first Taiwanese director who won the grand prize for directing at the Cannes Film Festival in 2000. In twenty years of career, Edward Yang has only made one medium-length film and seven feature films, but he has showed unparalleled talent and a unique style in each of his works. He is a very different filmmaker with his colleagues from the New Taiwanese Cinema. When others sought to reestablish a Taiwanese identity through childhood memories and personal or family history, he always sought to describe a society in its present state. Moreover, the plural and complex narration of his films distinguished him from other filmmakers of his time. We are going to take his last three films as a corpus of study: A Confucian Confusion, Mahjong and A One and a Two, three films completed in the 90s, at the end of the twentieth century. We're going to regard these three films as a trilogy of identity quests, because the 1990s was a brand-new era for Taiwan, after a rapid accumulation of wealth, a more open political environment, and a collapse of the collective identity. First, we are going to study A Confucian Confusion to dissect this past imbued in the lives of Taiwanese. Then in a second movement, Mahjong and the turmoil of its time will be studied. Finally, we will look at A One and a Two to bear witness to the possibility of a rebirth of Taiwanese identity.

法文摘要：

Edward Yang est le premier réalisateur tawanais qui a remporté le grand prix de la mise en scène au Festival à Cannes en 2000. En vingt ans de carrière, Edward Yang n’a fait qu’un moyen métrage et sept longs métrages, mais il a montré un talent inégalé et un style unique dans chacune de ses œuvres. Il est un cinéaste bien différent avec ses confrères du Nouveau Cinéma Tawanais. Quand les autres cherchaient à rétablir une identité taiwanaise à travers des mémoire d’enfance et de l’histoire personnelle ou de la famille, il a toujours cherché à décrire une société dans son état présent. D’ailleurs, la narration plurielle et complexe de ses films l’a bien distingué des autres cinéastes de son époque. Nous allons prendre ses trois derniers films comme corpus d’étude : Confusion chez Confucius, Mahjong et Yi Yi, trois films achevés dans les années 90, à la fin du vingtième siècle. Nous allons traiter ces trois films comme une trilogie de la quête d’identité, car les années 90, c’était une époque toute nouvelle pour Taiwan, après avoir une rapide accumulation de richesse, un environnement politique plus ouvert, et un effondrement de l’identité collective. Dans un premier temps, nous allons étudier Confusion chez Confucius pour décortiquer ce passé imprégné dans la vie des Tawanais. Puis dans un deuxième mouvement, sera étudié Mahjong et l’agitation de son époque. Enfin, nous allons nous pencher sur Yi Yi pour témoigner de la possibilité d’une renaissance de l’identité tawanaise.

相關附件： 110賈翊君.pdf

法文題目：

《 La réforme de l’enseignement de 2019 à Tawan et les perspectives de l’enseignement de la philosophie en France : Quelles inspirations pour le développement de l’enseignement de la pensée critique à Tawan ? 》

指導教授：馬朱麗

口試委員：博佳佳、楊淑娟

中文摘要：

隨著科技發展的進步，未來也會有未知的變化，而台灣社會面臨少子化、人口逐漸高齡化，網路及資訊發展快速、新興工作不斷增加，現在教育也該因應社會需求、與時代俱進，讓孩子擁有面對多元挑戰的能力。 台灣的教育培養出了缺乏學習意願的孩子，學生學習是為了獲取高分、為了日後工作賺錢，導致對於就業市場相對冷門的科目不受到重視，而以往台灣教育不培養無法測量的能力，過度注重考試成績，導致學生空有知識而不會應用。 教育部為培養能面對未來轉變的孩子，而制定了十二年國民基本教育課程綱要，其以「自發」、「互動」、「共好」為基本理念，以「成就每一個孩子—適性揚才、終身學習」為願景，而訂定四項課程目標：一、啟發生命潛能；二、陶養生活知能；三、促進生涯發展；四、涵育公民責任。

第一章介紹台灣語法國教育制度以及批判性思考教育發展 第一小節介紹台灣教育歷史，以了解台灣教育是如何發展至今，認識台灣教育的發展脈絡，之後介紹台灣現在的教育制度，從幼稚園到大學是如何規劃實施以及其入學與考試體制，同時也簡單介紹2019最新課綱的內容。從第一小節，了解台灣教育制度之後，接著第二小節來看在新課綱實施之前，在這樣的教育制度下，產生何種文化影響，分別從三個層面-教育、社會、學生來看，從而瞭解導致現今台灣缺乏思考教育的可能原因。第三節介紹法國思考教育的脈絡，以及其優缺點，以提供台灣在思考教育的參考方向，最後比較法國思考教育與台灣思考教育的發展的不同，以便之後做為參考。

第二章介紹台灣教育改革的歷史與改革目的 第一小節介紹台灣教育史上的重大改革，每次教改的目的及其改革方向，從升學管道的改變到課程內容的重大變革，最後詳細介紹最新課綱的內容。第二小節介紹在教育改革的方向中，關於批判性思考教育上的發展脈絡，從每一次的改革方向，從一開始的基本能力到學科知識，再到新課綱的適性學習，了解台灣在批判性思考教育發展上的進步。從上述的結果中，在第三節我們將整理出到目前為止，台灣在批判性思考上尚需加強的部分，例如批判性思考育的師資培訓，缺少教材，以及目前新課綱所面臨的問題等。

第三章將訪談現任教師，了解他們的教學理念與理想，對於現新課綱的想法，以及在因應新課綱教學上所遇到的困難，對於新課綱的想法與建議。第一小節對於訪談內容作綜合性說明，包含每位教師的教學理念、課程規劃，最後是老師們對於課綱的想法與建議第二小節首先了解新課綱中所蘊含的批判性思考概念。再參考訪談內容中關於課程實踐過程中的批判性思考內涵概念，綜合以上所述，提出台灣再批判性思考教育所遇到的困境，以及未來可能改進的方面。第三分析法國的批判性思考教育能帶給台灣什麼樣的參考方向。這部分由三個面向來進行分析。分別是師資訓練、課程主題、最後是教學方法。

英文摘要：

With the development of technology, there will also be unknown changes in the future. In recent years, Taiwanese society has faced declining birth rates, gradual aging of the population, rapid development of the Internet, and emerging jobs continue to increase. Now, Taiwanese education must meet social needs so that children can have the ability to meet multiple challenges in a rapidly growing future. The 12-year basic education curriculum guidelines have been developed based on the spirit of holistic education, adopting the concepts of taking initiative, engaging in interaction and seek the common good to encourage students to become spontaneous and motivated learners. Chapter 1 - The school system and the teaching of critical thinking in Taiwan and France The first step is to present the French Taiwanese education system and the development of the teaching of critical thinking in Taiwan. We will first explain the historical development of Taiwanese education to understand the development background of Taiwanese education. After that, we will study Taiwan's current education system, how it is planned and implemented from kindergarten to university, and its entrance and examination system by briefly introducing the contents of the latest curriculum. Then, after understanding the education system in Taiwan, we will examine the cultural influence of such an education system before the implementation of the new curriculum, from the perspective of three directions - education, society and students, to understand the reasons possible reasons for the lack of thought education in Taiwan. Finally, we will look at the context of teaching critical thinking in France, as well as its strengths and weaknesses, in order to provide a reference direction for critical thinking in Taiwan by comparing the development of critical thinking in France and critical thinking in Taiwan for future reference. Chapter 2 - The Evolution of Educational Reform in Taiwan Second, we will present the history and purpose of educational reform in Taiwan. We will first introduce the major reforms in the history of education in Taiwan, the purpose and direction of each education reform, from the change of entry into higher education to major changes in the content of the program, and finally the content of the last program will be presented in detail. Then, we will explain the context of the development of critical thinking in education in the direction of educational reform. We will discuss the direction of each reform, from “Ability” to “Subject Knowledge” at the beginning, to “Optional Subject” of the new curriculum, to think about the progress in teaching critical thinking in Taiwan. Finally, we will classify, so far, the parts of Taiwan's critical thinking teaching that can be strengthened, such as teacher training for critical thinking teaching, lack of teaching materials and problems of the current new program. Chapter 3 - Current practices of critical thinking in the Taiwanese school system and possible solutions for developing critical thinking in Taiwan Finally, we will present the results of the questions posed to secondary school teachers in Taiwan to understand their teaching philosophy and ideals, their thoughts on the new curriculum and the difficulties encountered in teaching the new curriculum, as well as their ideas and suggestions for the new program. First, we will give a comprehensive analysis of the content of the interviews, including each teacher's teaching philosophy, program planning, and finally the teachers' ideas and suggestions on the program. Then, we will first situate the concept of critical thinking in the new program before then identifying its place during the practice of teachers in their application of the program. This will help to highlight the difficulties encountered in teaching critical thinking in Taiwan and to suggest possible avenues for future improvement. Finally, we will identify what type of reference orientation the teaching of French critical thought can bring to Taiwan. This part is analyzed under three aspects. These are teacher training, course topics and finally teaching methods.

相關附件： 110陳芊穎.pdf

指導教授：馬朱麗

口試委員：徐鵬飛、羅仕龍

中文摘要：

《兩天一夜》是比利時導演達頓兄弟於2014年所發表的作品，內容講述一位女性工人桑德拉，因罹患了憂鬱症而停止工作，當她準備復職，卻發現公司認為她表現不如從前，讓大家投票決定讓她被解雇，好處是給其他的員工一千歐元的獎金。為了自己的權利，桑德拉必須在兩天一夜裡，一個一個親自拜訪她的同事們重新投票支持她回到原來的職位。達頓兄弟這部影片突顯了現代社會的經濟困境，每一組《面對面》的鏡頭，展現了人與人之間面對利益衝突的攻防和選擇。 本論文從達頓兄弟擅長的鏡頭《臉》，《特寫》出發，除了分析他們慣於使用的電影語言，更把這部電影作為主體探討其中包含的許多哲學觀點和倫理問題。他們以法國哲學家列維納斯的倫理觀點:他者優先的哲學作為根據，目標是要喚起人們對於社會上弱勢他者的重視。因此在論文中也比較許多其他近代的哲學家的理論和觀點，探討自己和他人無法切割的連結，在兩者難以避免的衝突中找出自我的責任並思考利他的必要性。

英文摘要：

Two days, one Night is a 2014 Belgian film written and directed by the Dardenne brothers. In the movie, the main character, Sandra, after almost a year-long sick leave, who has learned about that she couldn’t keep her job. The factory manager delegates responsibility for this decision to all her colleagues, who must vote either to give up their annual € 1,000 bonus so that Sandra can be employed, or to lay her off and keep their bonuses. In the first poll, the majority vote for her reintegration. For her own right and justice, during the weekend, she has to meet face-to-face with each other of her coworkers and convince them to switch her vote. This film shows not only the difficulty of the contemporary economy, but also the inevitable conflict of interest for the human relationship. In this thesis, we begin from the take of the “visage”, which is the “close-up” that the Dardenne brothers are apt at interpreting. Other than the analysis of their cinematographic language, we try to discuss the point of views of the western philosophy and ethical issues which are related to our film. Their thinking is based on the philosophy of Emmanuel Levinas: the priority of the Other, to waken the people’s attention to the weak and feeble other. Also, we’d like to find out the connection of the “self” and the “Other”, and think about our own responsibility and the altruism to the Other.

相關附件： 110洪嘉珮.pdf

指導教授：張國蕾、Catherine DESSINGES

口試委員：Fabienne BOISSIERAS

中文摘要：

自1970年代溝通式教學法 (l’approche communicatique) 的出現，遊戲便在法語教學中盛行。從角色扮演到嚴肅遊戲(Serious game)，遊戲在外語教學中仍然不斷創新。許多研究都證實遊戲能為教學雙方帶來正面影響，其有助啟發思考、分析、理解、創造等能力。而實踐教學法(la perspective actionnelle)的出現更令學生能透過任務、遊戲等方式在「真實」的情境中學習目標語言在日常生活的應用。 法語教學在台灣發展至今已超過半個世紀。隨著教育政策的改革，法語的學習由大學學習階段延伸至高中、國中，甚至國小。全台現今約有一萬五千名不同程度的法語學習者，是繼日語之後最多人學習的外語之一。雖然台灣的法語教學在政策上已有卓越的發展，但是在教學上我們仍然面對困難，像是學生學習動機偏低、教學成效不理想等。特別對於高中階段的學習者，必修課和升學的壓力更影響他們學習法語的態度。本研究旨在了解遊戲活動在法語教學中的角色，並透過問卷調查了解遊戲對台灣高中生法語學習的影響及其成為課堂主要教學方法的可能性。 本研究的第一章聚焦於遊戲與教育、遊戲與法語教學、遊戲與學習動機三個層面的相關理論。而第二章將會介紹台灣外語教學的發展，特別是高中階段的英語和法語教學。第三章為研究方法的介紹及問卷分析。

英文摘要：

Since the emergence of Communicative language teaching (l'approche communicative) in the 1970s, games have become popular in French teaching. From role playing to serious games, they are still constantly innovating in language teachings. Many studies have proved that games can bring a positive impact on both teaching and learning, which can also improve the abilities of thinking, analyzing, understanding, and creating. Plus, the appearance of task-based language teaching (la perspective actionnelle) allows students to learn the language in "authentic" situations through tasks, games, which places emphasis on learning how to use the language in everyday speech. French as a foreign language (FFL) has developed in Taiwan for more than fifty years; its learning has extended from the university to high school, junior high school, and even elementary school due to the reforms of the education policy. Today, there are about 15,000 learners of French of various levels in Taiwan, as French has become one of the most popular foreign languages after Japanese. Although FFL teaching has achieved remarkable developments in the policy aspect in Taiwan, difficulties in the teaching field remain, such as students with weak motivation and less effective teaching outcomes. Especially for the high school students, the pressure of compulsory courses and entry to the higher establishment always affect their attitude towards learning French. The purpose of this study is to understand the role of games in FFL teaching. We investigated the impact of games on the FFL teaching of Taiwanese high school students and the possibility of games becoming the main teaching method in FFL through questionnaire surveys. Chapter I focuses on three aspects of relevant theories: game and education, game and FFL teaching, and game and learning motivation. Chapter II introduces the development of foreign language teaching in Taiwan, especially the teaching of English and French in high school. Chapter III introduces of the methodology and the analysis of the questionnaire.

相關附件： 109吳沚盈.pdf