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Take the Lead: A Dance-Off Novel

為了解決Romance novel的問題，作者Daria, Alexis 這樣論述：

From Alexis Daria, author of the critically acclaimed, international bestseller You Had Me at Hola, comes a fun, sexy romance set against a reality dance show.Gina Morales wants to make it big. In her four seasons on The Dance Off, she’s never even made it to the finals. But her latest partner, t

he sexy star of an Alaskan wilderness show, could be her chance. Who knew the strong, silent, survivalist-type had moves like that? She thinks Stone Nielson is her ticket to win it all--until her producer makes it clear they’re being set up for a showmance. Joining a celebrity dance competition is t

he last thing Stone wants. However, he’ll endure anything to help his family, even as he fears revealing their secrets. While the fast pace of Los Angeles makes him long for the peace and privacy of home, he can’t hide his growing attraction for his dance partner. Neither wants to fake a romance for

the cameras, but the explosive chemistry that flares between them is undeniable. As Stone and Gina heat up the dance floor, the tabloids catch on to their developing romance. With the spotlight threatening to ruin everything, will they choose fame and fortune, or let love take the lead?

Romance novel進入發燒排行的影片

于晴小說研究

為了解決Romance novel的問題，作者吳依陵 這樣論述：

于晴是九０年代言情小說的代表作家之一，二十多年來，台灣本土言情小說從崛起、興盛，衰落到轉型。在這期間，于晴一直佔有一席之地且不斷與時俱進。此論文對于晴小說進行文本分析，欲對其創作歷程中不同階段的寫作風格，寫作手法的特色以及其作品中所書寫的價值觀有全貌的探究，以期歸結出于晴為何能在淘汰快速的言情界占據一方天地，她的作品是否能脫離學者們對言情小說只是通俗娛樂產物的評價，證明即便是言情小說，也能藉由情來談論人性。本論文共分為六章，各章節內容論述如下：首章為緒論，說明研究動機及目的，研究範疇及義界，文獻回顧及分析，以及研究方法及步驟。第二章介紹台灣本土言情小說的發展史，簡介于晴的創作風格，將其創作歷

程分成青澀期、沉穩期及開放期，並將于晴作品分類概述。第三章則是分析于晴小說的敘事手法、情節特色，以及其喜愛的敘事結局。第四章是深入分析于晴小說中的人物角色探析。分別探討女主角及男主角的性格塑造，主角的家族成員、友人及部屬的形象分析。第五章則是探討于晴小說中的主題意識。除了愛情主題之外，尚有三大主題意識：其一是自我認同，其二是宗教觀，其三則是政治意識。除了建構了美好的愛情世界，于晴也呈現了真實人生中的灰色面，為虛構的世界與現實社會搭建了一道橋樑。第六章是結論，歸納前五章重點，比較于晴與當代其他作家的相異之處，並進行于晴作品價值分析。

The House on Rockaway Beach

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為了解決Romance novel的問題，作者Burstall, Emma 這樣論述：

A gripping tale of family secrets, sibling rivalry and summer romance. Sophie spent many happy summers at Rockaway Beach, visiting her beloved grandmother. Endless days playing in the sand with her sister Celia, watching day trippers come and go, never straying far from the quaint old house on the e

dge of the sea.Then, one summer, the visits stopped. Sophie knows her mother and grandmother fell out, but she never found out why. So, many years later, it comes as a huge shock when she learns that her grandmother left the house to her and Celia in her will.Together, the sisters return to Rockaway

, but they cannot agree on anything. Sophie wants to keep the house, Celia is determined to sell. It seems they will never see eye to eye, until Sophie makes a chance discovery which will make her question everything...Why do she and Celia have such different memories of their grandmother? What caus

ed the rift with their mother? And who is the mysterious old woman watching them from afar? What readers are saying about Emma Burstall: ’A charming, warm-hearted read ... Pure escapism’ Alice Peterson.’Burstall is a great writer, and this is not your usual run-of-the-mill chick lit ... I was grippe

d from the start’ Daily Mail.’The literary equivalent of a gin and tonic on a hot summer’s day ... A delicious, delightful and decadent tale’ Bookish Jottings.’Burstall has created a little sanctuary, which will have readers eager to book a Cornish holiday as soon as possible ... A heart-warming, ’f

eel-good’ novel that makes you feel warm and fuzzy inside. I can’t wait for the next book in the series so that I can return’ Bookbag.’Burstall has a true knack for transporting you to her world, amidst beautiful Cornish countryside’ Jane Corry. Emma Burstall was a newspaper journalist in Devon an

d Cornwall before becoming a full time author. Tremarnock, the first novel in her series set in a delightful Cornish village, was published in 2015 and became a top-10 bestseller. emmaburstall.com @EmmaBurstall

迷境:一個時/空錯置的偽裝之新媒體創作研究

為了解決Romance novel的問題，作者紀俊年 這樣論述：

本創作研究以「偽裝」概念為核心，結合3D技術發展新媒體藝術創作，偽裝是生物的自我保護作用，使其不被看見或看不清，兩次創作個展《迷境》與《Dazzleland》利用3D虛擬空間的維度產生視覺上的「錯置」，圖與地的分野不再清晰，並與偽裝的策略結合，探討人與環境間的關係。本研究先梳理偽裝在藝術中的發展脈絡與文化上的轉譯，偽裝本是動物的生存策略之一，一次世界大戰轉借偽裝的概念，融合與破壞性的著色方式，用於保護軍事武器設備或人員，影像創作中的時間與空間的錯置感與偽裝模糊輪廓相仿，兩者維度相互影響而產生模糊不清的變化，從偽裝的看不見與看不清中，使其產生多義的性質，在文學與藝術創作上都有相同之處，因著每個

人對於曖昧不明的影像中有多重的闡釋。藝術中有許多透過偽裝的概念創作，將空間扁平化、錯置是其中的特徵之一，或是利用時間的錯置展現於作品之中，透過偽裝可以使人與環境做區別或是連結，創作《迷境》與《Dazzleland》的偽裝是透過點、線、面、體不同空間為度之間的映射與轉換的錯置，來產生「偽裝」的認知效果，時間維度也是如此。創作研究發現偽裝是一種將空間維度提升或降級的動作，也就是藝術創作是在不同維度之間做轉換，包含同維度的映射、轉換，以及不同維度的增維與降維，本論文將「偽裝」視為一種時／空錯置的現象，提出以時／空維度的錯置作為「偽裝」的新程序，並提供一種新的觀看模式。