說故事(Storytelling)是人類傳達資訊與知識的一個有效方式，不僅文學、戲劇中需要說故事，在藝術、設計創作與企業的溝通、說服上，也都需要 Storytelling。人類文明藉由「說故事」得以保留傳統的過去並加以流傳擴散，也透過「說故事」探索與擘劃對未來的想像。本篇論文以三元認知(Triadic Cognition)與三元符號學(Triadic Semiotics)為理論基礎，研究數位說故事(Digital Storytelling)中的三元結構(Triadic Structure)，並以亞里斯多德《詩學》中所提，三一律的時間、空間、行動三個面向，分別探討 Digital Storytelling 的表現方法與創作發展可能性。輔以動畫教學實驗，針對數位媒材的時間、空間與行動的三元結構進行分析與探討，並提出所有創作(行動)都是發生在時間、空間的維度中，都是一種維度、符號的轉換，期作為學校教育及未來研究之參考，在說故事研究的相關發展上有所幫助。

研究問題如下:
一.探討說故事的三元結構與人類三元認知。
二.說故事的時間敘述、空間敘述與行動敘述，其過去、現在、未來。透過教學實驗，分析時間、空間與行動在三元結構數位說故事中的意義。
三.動畫創作藉由時空想像的分離與壓縮，重構時間與空間在故事軸線上的行動，找出數位說故事創意的多元可能。

Storytelling is an effective way for human beings to convey information and knowledge. Not only literature, drama, art, and design need to tell stories, business communication, and persuasion also need to be effectively conveyed through storytelling. Through “storytelling” in civilization, the tradition from the past has preserved and circulated. Through “storytelling” the imagination about the future has been explored and drafted. Based on Triadic Cognition and Triadic Semiotics, this paper studies the Triadic Structure in Digital Storytelling and uses Aristotle's poem. In the study, the three aspects of time, space and action of the Three Unities are to discuss the performance methods and creative development possibilities of Digital Storytelling. It is supplemented by animation teaching experiments, which analyzes and discusses the ternary structure of time, space and action of digital media, and proposes that all creations (actions) occur in the dimensions of time and space, all of which are dimensions and symbols. The recommendations beneficial to the development of story creativity have been made in this study that shall be used for reference in school education and research. It is hoped that it shall be helpful in the relevant development of story-telling research in the future as well.

The research questions are as follows:
1.Explore the ternary structure of storytelling and human ternary cognition.
2.Time narrative, spatial narrative and narrative of storytelling, past, present and future. Through teaching experiments, analyze the meaning of time, space and action in the story of the ternary structure.
3.The animation creation reconstructs the movement of time and space on the story axis by separating and compressing the space-time imagination and finding out the multiple possibilities of the storytelling.

中文部分
木村博之 ( 2012 )。設計的邏輯：INFOGRAPHICS深入人心的視覺法則 (インフォグラフィックス : 情報をデザインする視点と表現 ) ( 楊宗訓譯 )。台北市：旗標。( 原作2010年出版 )
北岡誠司 ( 2001 )。巴赫金：對話與狂歡 ( バフチン：対話とカーニヴァル ) ( 卞崇道主編，魏炫譯 )。河北：河北教育出版社 。( 原作1998年出版 )
立德威 ( Lidwell, W. )、荷登 ( Holdern, K. )、巴特勒 ( Butler, J. ) (2008)。設計的法則：100個影響認知、增加美感，讓設計更好的關鍵法則 ( Universal Principles of Design : 100 Ways to Enhance Usability, Influence Perception, Increase Appeal, Make Better Design Decisions, and Teach Through Design ) ( 呂亨英譯 )。台北：原點。( 原作2003年出版 )
李麗娟 ( 2009 )。文本互涉與聖經詮釋。輔仁宗教研究，(19)，151-166。
亞理斯多德 ( Aristotle ) ( 2003 )。亞理斯多德《 創作學 》譯疏 ( 王士儀譯 )。台北：聯經。
林倩妏 ( 2014a )。2014林倩妏作品集Réflexion映射。台北：全華。
林倩妏 ( 2014b )。動畫的創意與實踐 ( Creativity and Practice of Animation )。台北：全華。
林倩妏 ( 2016 )。動畫串媒體說故事研究 ( Research of Digital Transtelling )。台北：全華。
林倩妏、王年燦 ( 2010 )。動畫創意發展的方法研究。國立臺灣藝術大學多媒體動畫藝術學研究所，新北市。
林倩妏、林達隆 ( 2014 )。動畫中的陰影及其特性對深度知覺之影響The Influence of Shadow and Characteristics in Animation on Perceived Depth ( Dec 2014)。IJDMD International Journal of Digital Media Design，6(2)，54-63。
哈洛克 ( Horrocks, C. ) ( 2002 )。麥克魯漢與虛擬世界 ( Marshall McLuhan and Virtuality ) ( 楊久穎譯 )。台北：貓頭鷹。( 原作2000年出版 )
湯黎 ( 2013 )。量子叙事 : 一种全新叙事模式。國外文學，(4)，11-18。
黃漢疇 ( 2003 )。符號學理論的應用 - 以耶穌五則比喻的文學象徵詮釋為例。未出版之碩士論文，輔仁大學宗教學研究所，新北市。
黃興芳 ( 2004 )。動畫原理。上海：上海人民美術社。
趙毅衡 ( 2012 )。符號學。台北：新銳文創。
劉康 ( 2005 )。對話的喧聲:巴赫汀文化理論述評。台北：麥田出版有限公司。
鄭麗玉 ( 2006 )。認知心理學：理論與應用 (頁214-215)。台北：五南。
賴聲川 ( 2006 )。賴聲川的創意學。台北：天下雜誌出版。
韓笑 ( 2005 )。影視動畫場景設計 ( Layout Design in Animated Film and Video )。北京：海洋。
薩基、潘恩典 ( 2002 )。腦內藝術館：探索大腦的審美功能。台北：商周。

英文部分
Abbott, E. A. (1884). Flatland: A Romance of Many Dimensions. 6th edn. New York: Dover 1977.
Adams, E. W. (2013). Resolutions to some problems in interactive storytelling. Doctoral dissertation, University of Teesside.
Albæk, K. R., Arsovski, A., Baceviciute, S., Chu, X., Lancor, T. B., & Zilmer, L. (2011). The Influence of Interactivity on Immersion Within Digital Interactive Narratives. Aalborg University Copenhagen. Accessed February, 28.
Alexander, L. (2007). Storytelling in time and space: Studies in the chronotope and narrative logic on screen. Journal of Narrative Theory, 37(1), 27-64.
Bakhtin, M. M. (1984). Rabelais and his world (Vol. 341). Indiana University Press.
Bachtin, M. (1981). Forms of Time and of the Chronotope in the Novel: Notes toward a Historical Poetics. The dialogic Imagination: four essays, 84-258.
Balet, O., Subsol, G., & Torguet, P. (2001). Virtual Storytelling Using Virtual Reality Technologies for Storytelling. In Conference proceedings ICVS 2001.
Beiman, N. (2007). Prepare to Board. Focal Press.
Belfiore, F. (2017). The Triadic Structure of the Mind: Outlines of a Philosophical System. Hamilton Books. Kindle Edition.
Bernstein, M. (2007). The Tinderbox Way. Eastgate Systems, Inc.
Birn, J. (2006). Digital Lighting & Rendering – Second Edition, New Riders. USA.
Block, B. (2008). The Visual Story – Creating the Visual Structure of Film, TV and Digital Media, Focal Press. USA.
Boje, D. M. (2014). Storytelling organizational practices: Managing in the quantum age. Routledge.
Brown, T. (2009). Change by design. Kindle Edition.
Butcher, S. H. (1951). Aristotle's theory of poetry and fine art: with a critical text and translation of the Poetics. With a prefatory essay, Aristotelian literary criticism (Vol. 42). Courier Corporation.
Carson, D. (2000). Environmental storytelling: Creating immersive 3D worlds using lessons learned from the theme park industry. Published online in Gama Network’s Gamasutra. com. 1.
Churchland, P. M. (1986). Scientific realism and the plasticity of mind. Cambridge University Press.
Clarke, A., & Mitchell, G. (2001, September). Film and the development of interactive narrative. In International Conference on Virtual Storytelling (pp. 81-89). Springer, Berlin, Heidelberg.
Cook, N. D. (2012). Harmony, perspective, and triadic cognition. Cambridge University Press.
Dai, D. Y., & Sternberg, R. J. (Eds.). (2004). Motivation, emotion, and cognition: Integrative perspectives on intellectual functioning and development. Routledge.
Dalle Vacche, A. (Ed.). (2003). The visual turn: classical film theory and art history. Rutgers University Press.
Dannenbaum, J., Hodge, C., & Mayer, D. (2010). Creative filmmaking from the inside out: Five keys to the art of making inspired movies and television. Simon and Schuster.
Einstein, Albert. (1961). Relativity: The Special and the General Theory—A Popular Exposition. (Robert W. Lawson, trans. ) New York: Crown Publishers.
Escher, M.C.(1994). The Magic Mirror of M. C. Escher (p.83). USA: Taschen GMBH.
Everett III, H. (1957). " Relative state" formulation of quantum mechanics. Reviews of modern physics, 29(3), 454.
Gaines, E. (2006). Communication and the semiotics of space. Journal of Creative Communications, 1(2), 173-181.
Goldschmidt, G. (2014). Linkography: unfolding the design process. MIT Press.
Gruen, D., Rauch, T., Redpath, S., & Ruettinger, S. (2002). The use of stories in user experience design. International Journal of Human-Computer Interaction, 14(3-4), 503-534.
Herman, D. (1999). Spatial cognition in natural-language narratives. In Proceedings of the AAAI fall symposium on narrative intelligence (pp. 21-25). sn.
Howald, B. S. (2011). The transformation of spatal experience in narrative discourse. Georgetown University.
Joyce, M. (1991, September). Storyspace as a hypertext system for writers and readers of varying ability. In Proceedings of the third annual ACM conference on Hypertext (pp. 381-387). ACM.
Juanes-Méndez, J. A., Palomera, P. R., Briz-Ponce, L., & Ledesma, M. J. S. (2016, November). 4d visual environment on mobile devices for learning in the human anatomy field. In Proceedings of the Fourth International Conference on Technological Ecosystems for Enhancing Multiculturality (pp. 467-471). ACM.
Kenyon, S. (2011) Enactive Interface Perception and Affordances.
Kern, S. (2003). The culture of time and space, 1880-1918: with a new preface. Harvard University Press.
Lambert, J. (2013). Digital storytelling: Capturing lives, creating community. Routledge.
Landau, N. (2010). 101 Things I Learned® in Film School. Grand Central Publishing.
Lankow, J., Ritchie, J., & Crooks, R. (2012). Infographics: The power of visual storytelling. John Wiley & Sons.
Lasseter, J. (1987, August). Principles of traditional animation applied to 3D computer animation. In ACM Siggraph Computer Graphics (Vol. 21, No. 4, pp. 35-44). ACM.
Lin, C. W., & Lin, T. L. (2014). Using Triadic Semiotics in Storytelling. Art and Design Review, 2(04), 78.
Lin, C. W., & Wang, N. T. (2010). A Research on Methods to Enhance Creativity in Animation. 한국디자인학회 학술발표대회 논문집, 300-303.
Liston, D. D. (1994). Story-telling and narrative: a neurophilosophical perspective.
Lucas, G. (1999). The Phantom Menace: Star Wars: Episode I. Del Rey.
Mani, I. (2010). The Imagined Moment.
Manovich, L. (2001) The Language of New Media. NY: MIT Press.
McKee, R. (1997). Substance, structure, style, and the principles of screenwriting. NY: HarperCollins.
Miller, C. H. (2014). Digital storytelling: A creator's guide to interactive entertainment. Focal Press.
Movshovitz, D. (2015). Pixar Storytelling: Rules for Effective Storytelling Based on Pixar's Greatest Films. CreateSpace.
Nakajima, Y. & Kawamura, T. (2002). Ghibli Museum, Mitaka Catalog. Japan: The Tokuma Memorial Cultural Foundation for Animation.
Nakevska, M. (2015). Interactive storytelling in mixed reality (Doctoral dissertation, Technische Universiteit Eindhoven).
Neumüller, M. (2003). Hypertext semiotics in the commercialized Internet. diplom. de.
Nicolae, C. (2016). The semiotics of staged reality. In The Proceedings of the International Conference “Communication, Context, Interdisciplinarity”. Section: Language and Discourse.
Nitsche, M., & Richens, P. (2006, December). Telling stories through space: the mindstage project. In International Conference on Technologies for Interactive Digital Storytelling and Entertainment (pp. 61-71). Springer, Berlin, Heidelberg.
Ohler, J. (2006). The world of digital storytelling. Educational leadership, 63(4), 44-47.
Panofsky, E. (2005). Perspective as Symbolic Form. New York: Zone Books.
Peirce, C. S., & Buchler, J. (1955). Philosophical writings of Peirce: Selected and edited, with and Introduction, by Justus Buchler. Dover Publications.
Pfautz, J. D. (2002). Depth perception in computer graphics (No. UCAM-CL-TR-546). University of Cambridge, Computer Laboratory.
Phillips, A. (2012). A creator's guide to transmedia storytelling: How to captivate and engage audiences across multiple platforms. New York: McGraw-Hill.
Price, D. A. (2008). The Pixar Touch. Vintage.
Prince, G. (1974). A grammar of stories: An introduction (Vol. 13). Walter de Gruyter.
Proust, M. (1982). Remembrance of Things Past, trans. CK Scott Moncrieff and Terence Kilmartin (New York: Vintage-Random House, 1982) vol, 1, 706-7.
Ricoeur, P. (1984). Time and narrative (Vol. 1). Chicago: The University of Chicago Press.
Scolari, C. A. (2009). Transmedia storytelling: Implicit consumers, narrative worlds, and branding in contemporary media production. International Journal of Communication, 3, 21.
Segel, E., & Heer, J. (2010). Narrative visualization: Telling stories with data. IEEE transactions on visualization and computer graphics, 16(6), 1139-1148.
Shalin, D. N. (2007). Signing in the flesh: Notes on pragmatist hermeneutics. Sociological Theory, 25(3), 193-224.
Sharda, N. (2007). Applying movement oriented design to create educational stories. International Journal of Learning, 13(12), 177-184.
Solomon, C., Unkrich, L., Anderson, D. K., & Lasseter, J. (2015). The Art of Toy Story 3. Chronicle Books LLC.
Stapp, H. P. (1972). The copenhagen interpretation. American journal of physics, 40, 1098-1116.
Stenslie, S. (2011). Virtual Touch: A study of the use and experience of touch in artistic, multimodal and computer-based environments. Oslo School of Architecture and Design.
Stephens, G. J., Silbert, L. J., & Hasson, U. (2010). Speaker–listener neural coupling underlies successful communication. Proceedings of the National Academy of Sciences, 107(32), 14425-14430.
Thomas, F. & Johnston, O. (1995). The illusion of life: Disney animation. New York: Hyperion.
Tsatsou, P. (2009). Reconceptualising'time'and'space'in the Era of Electronic Media and Communications.
Tuan, Y. F. (1977). Space and place: The perspective of experience. U of Minnesota Press.
Vogler, C. (2007). The Writer's journey. Studio City, CA: Michael Wiese Productions.
Walker, J. (2005). Telling Stories Across Networks. In Internet Research Annual: Selected Papers from the Association of Internet Researchers Conferences (Vol. 3, p. 91). Peter Lang.
White, T. (1988). The animator's workbook. Watson-Guptill Publications.
Williams, R. (2001). The Animator's Survival Kit. Faber. USA.
Wilson, B. (2000, May). Of diagrams and rhizomes: Disrupting the content of art education. In 2000 International visual arts conference. Art education and visual culture (pp. 25-52).
Wilson, M. (1998). The text, the intertext and the hypertextual: A story. Keynote address delivered to the Virginia Art Education Association.
Wittgenstein, L.(2007). Remarks on Colour. University Of California Press, USA.
Wood, R., & Bandura, A. (1989). Social cognitive theory of organizational management. Academy of management Review, 14(3), 361-384.
Zhou, Z., Cheok, A. D., Pan, J., & Li, Y. (2004, September). Magic Story Cube: an interactive tangible interface for storytelling. In Proceedings of the 2004 ACM SIGCHI International Conference on Advances in computer entertainment technology (pp. 364-365). ACM.

網頁資料
詹姆斯合唱團James (2014). Moving On. Retrieved December 10, 2017, from https://vimeo.com/92767692
Microsoft Power BI (2017). Timeline Storyteller custom visual for Power BI. Retrieved December 30, 2017, from https://www.youtube.com/watch?v=bwiMfwBVsSQ&feature=youtu.be&t=16m7s
James (2011)。基督徒的時間觀。2018年1月5日，檢自：http://james-hts.blogspot.tw/2011/05/72-20110515.html
殷穎 (2011)。永生中沒有時間與空間。2018年1月3日，檢自：http://www.ebaomonthly.com/ebao/readebao.php?a=20110907