請用此 Handle URI 來引用此文件:
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| DC 欄位 | 值 | 語言 |
|---|---|---|
| dc.contributor.advisor | 吳茵茵 | zh_TW |
| dc.contributor.advisor | Yin-Yin Wu | en |
| dc.contributor.author | 王子瑄 | zh_TW |
| dc.contributor.author | Tzu-Hsuan Wang | en |
| dc.date.accessioned | 2026-08-21T16:11:17Z | - |
| dc.date.available | 2026-08-22 | - |
| dc.date.copyright | 2026-08-21 | - |
| dc.date.issued | 2026 | - |
| dc.date.submitted | 2026-08-11 17:50:47 | - |
| dc.identifier.citation | 范堯寬 [Fan, Y.-K.]. (2016). 戲劇表演訓練對逐步口譯學習之助益研究 [A study on the benefits of acting training to the learning of consecutive interpreting] [Master’s thesis, National Taiwan Normal University]. 臺灣博碩士論文知識加值系統. https://hdl.handle.net/11296/f8fv9r
Amos, R. M., & Pickering, M. J. (2020). A theory of prediction in simultaneous interpreting. Bilingualism: Language and Cognition, 23(4), 706–715. https://doi.org/10.1017/S1366728919000671 Amos, R. M., Seeber, K. G., & Pickering, M. J. (2022). Prediction during simultaneous interpreting: Evidence from the visual-world paradigm. Cognition, 220, Article 104987. https://doi.org/10.1016/j.cognition.2021.104987 Angelelli, C. V. (2004). Revisiting the interpreter’s role: A study of conference, court, and medical interpreters in Canada, Mexico, and the United States. John Benjamins. Bao, K.-L. (2025). Perceptions and preferences of simultaneous interpreting versus machine-generated live subtitles: A case study on audiences in Taiwan [Master's thesis, National Taiwan University]. NTU Institutional Repository. https://doi.org/10.6342/NTU202500430 Bendazzoli, C., & Pérez-Luzardo, J. (2022). Theatrical training in interpreter education: A study of trainees’ perception. The Interpreter and Translator Trainer, 16(1), 1–18. https://doi.org/10.1080/1750399X.2021.1884425 CAPRI. (2025a). CAPRI 2025 annual forum: Building resilience on shaky ground in the Asia Pacific. Center for Asia-Pacific Resilience and Innovation. https://caprifoundation.org/capri-2025-annual-forum/ CAPRI. (2025b). CAPRI official YouTube channel [YouTube channel]. YouTube. Retrieved December 2, 2025, from https://www.youtube.com/@caprifoundation Carnicke, S. M. (2009). Stanislavsky in focus: An acting master for the twenty-first century (2nd ed.). Routledge. Carnicke, S. M. (2022). Dynamic acting through active analysis: Konstantin Stanislavsky, Maria Knebel, and their legacy. Methuen Drama. Diriker, E. (2011). Agency in conference interpreting: Still a myth? Gramma: Journal of Theory and Criticism, 19, 27–36. https://doi.org/10.26262/gramma.v19i0.6321 Fantinuoli, C., & Prandi, B. (2021). Towards the evaluation of automatic simultaneous speech translation from a communicative perspective. In Proceedings of the 18th International Conference on Spoken Language Translation (IWSLT 2021) (pp. 245–254). Association for Computational Linguistics. https://doi.org/10.18653/v1/2021.iwslt-1.29 Gile, D., Dam, H. V., Dubslaff, F., Martinsen, B., & Schjoldager, A. (Eds.). (2001). Getting started in interpreting research: Methodological reflections, personal accounts and advice for beginners. John Benjamins. https://doi.org/10.1075/btl.33 Gillies, A. (2019). Consecutive interpreting: A short course. Routledge. Giustini, D., & Dastyar, V. (2024). Critical AI literacy for interpreting in the age of AI. Interpreting and Society, 4(2), 196–213. https://doi.org/10.1177/27523810241247259 Hagen, U. (1991). A challenge for the actor. Scribner. Kadrić, M. (2014). Giving interpreters a voice: Interpreting studies meets theatre studies. The Interpreter and Translator Trainer, 8(3), 452–468. https://doi.org/10.1080/1750399X.2014.971485 Kendrick, K. H., Holler, J., & Levinson, S. C. (2023). Turn-taking in human face-to-face interaction is multimodal: Gaze direction and manual gestures aid the coordination of turn transitions. Philosophical Transactions of the Royal Society B: Biological Sciences, 378(1875), Article 20210473. https://doi.org/10.1098/rstb.2021.0473 Knebel, M. (2021). Active analysis (A. Vassiliev, Ed.; I. Brown, Trans.). Routledge. Krasner, D. (2000). Strasberg, Adler and Meisner: Method acting. In A. Hodge (Ed.), Twentieth century actor training (pp. 129–150). Routledge. Lincoln, Y. S., & Guba, E. G. (1985). Naturalistic inquiry. Sage. Martin, J. R. (1992). English text: System and structure. John Benjamins. McKee, R. (1997). Story: Substance, structure, style, and the principles of screenwriting. ReganBooks. Ouyang, S., Hrinchuk, O., Chen, Z., Lavrukhin, V., Balam, J., Li, L., & Ginsburg, B. (2025). Anticipating future with large language model for simultaneous machine translation. In Proceedings of the 2025 Conference of the Nations of the Americas Chapter of the Association for Computational Linguistics: Human Language Technologies (Volume 1: Long Papers) (pp. 5547–5557). Association for Computational Linguistics. https://doi.org/10.18653/v1/2025.naacl-long.286 Papi, S., Polák, P., Macháček, D., & Bojar, O. (2025). How “real” is your real-time simultaneous speech-to-text translation system? Transactions of the Association for Computational Linguistics, 13, 281–313. https://doi.org/10.1162/tacl_a_00740 Pöchhacker, F. (2004). Introducing interpreting studies. Routledge. Querol-Julián, M., & Fortanet-Gómez, I. (2012). Multimodal evaluation in academic discussion sessions: How do presenters act and react? English for Specific Purposes, 31(4), 271–283. https://doi.org/10.1016/j.esp.2012.06.001 Sandrelli, A., & Bendazzoli, C. (2006). Tagging a corpus of interpreted speeches: The European Parliament Interpreting Corpus (EPIC). In Proceedings of the Fifth International Conference on Language Resources and Evaluation (LREC 2006) (pp. 647–652). European Language Resources Association. https://aclanthology.org/L06-1093/ Sperber, M., de Seyssel, M., Bao, J., & Paulik, M. (2025). Toward machine interpreting: Lessons from human interpreting studies. In Proceedings of the 2025 Conference on Empirical Methods in Natural Language Processing (pp. 23338–23353). Association for Computational Linguistics. https://doi.org/10.18653/v1/2025.emnlp-main.1191 Stanislavski, K. (2008). An actor’s work: A student’s diary (J. Benedetti, Trans.). Routledge. Stanislavski, K. (2009). An actor’s work on a role (J. Benedetti, Trans.). Routledge. https://doi.org/10.4324/9780203870921 Swales, J. M. (1990). Genre analysis: English in academic and research settings. Cambridge University Press. Szczepek Reed, B. B., & Raymond, G. (Eds.). (2013). Units of talk, units of action. John Benjamins. https://doi.org/10.1075/slsi.25 Šveda, P., & Poláček, I. (2025). Interpreter training in the age of AI. L10N Journal, 1(4), 5–20. https://l10njournal.net/index.php/home/article/view/51 Tsai, H.-Y. (2025). Processing English relative clauses in simultaneous interpretation: A corpus study of human and AI outputs [Master's thesis, National Taiwan University]. NTU Institutional Repository. https://doi.org/10.6342/NTU202502799 Wadensjö, C. (1998). Interpreting as interaction. Longman. Wong, J., & Waring, H. Z. (2021). Conversation analysis and second language pedagogy: A guide for ESL/EFL teachers (2nd ed.). Routledge. Wu, Y. (2023). Phrasal verbs in European Parliament conference English: A corpus-based pedagogical list. The Interpreter and Translator Trainer, 17(2), 301–318. https://doi.org/10.1080/1750399X.2023.2183452 Yu, D., Zhao, Y., Zhu, J., Xu, Y., Zhou, Y., & Zong, C. (2025). SimulPL: Aligning human preferences in simultaneous machine translation. arXiv. https://doi.org/10.48550/arXiv.2502.00634 | - |
| dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/104027 | - |
| dc.description.abstract | 現有比較人類口譯與 AI 即時翻譯字幕(AI live translation,以下簡稱 AI 即時字幕)表現的研究,多以內容準確性為主要評估標準。此一取向有助於衡量資訊傳遞的完整程度,卻未必足以呈現口譯所涉及的溝通行動。另一方面,有關人類口譯價值的論述常指出,口譯員較能掌握現場氛圍、理解互動脈絡、預判話語走向,並傳達言外之意。這些說法雖具說服力,往往仍停留在描述層次,較難轉化為可操作且可檢視的分析架構。
為補充準確性導向評估所能觀察的面向,本研究引入史坦尼斯拉夫斯基(Stanislavski)的戲劇節拍(dramatic beats)概念,作為比較人類口譯與 AI 即時字幕表現的分析視角。節拍在本研究中作為切分語篇與定位話語行動轉折的操作單位。研究聚焦講者於各節拍中所執行的話語行動,檢視這些行動能否在不同輸出版本中被辨識出來。 研究語料取自 CAPRI 2025 年度論壇的座談場次,包含原文演說、專業人類口譯輸出與 AI 即時字幕輸出三種對應版本。分析首先依話語行動的轉折將原文演說切分為節拍,再以原文節拍為基準,逐一檢視兩種輸出是否保留各節拍中的話語行動。若某一輸出仍能呈現該節拍的行動功能,即判定該話語行動獲得保留。研究並依據此一以原文節拍為基準的分析程序,選取代表性時刻進行細部分析。 本研究首先設定一項方法論目的,即將戲劇節拍轉化為可操作的分析單位,用以追蹤原文演說中的話語行動在不同即時翻譯輸出中是否仍可辨識。研究另提出兩項問題:第一,專業人類口譯與 AI 即時字幕保留原文各節拍話語行動的程度為何;第二,兩種輸出在何種條件下能保留原文節拍中的話語行動,又在何種條件下雖保留字面內容,行動功能卻未保留。 整體而言,專業人類口譯比 AI 即時字幕更穩定地保留原文各節拍中的話語行動,但兩者的差距會隨原文行動的呈現方式而變化。當原文的行動鋪陳明確,且主要由字面形式承載,兩種輸出的表現較為接近;當行動仰賴語氣、發話角色、隱喻結構、聽眾導向,或節拍之間的推進關係時,兩者差異最為明顯。細部分析進一步顯示,兩種輸出呈現不同的行動保留模式,因此不宜簡化為單一的人機優劣之分。人類口譯較能透過重組、壓縮與改寫,保留節拍之間的關係及具有表演性的行動;AI 即時字幕則在字面形式明確且系統正確解析原文時,較能保留由表層形式直接呈現的行動。 透過在準確性之外加入話語行動的分析層次,本研究為人類口譯與 AI 即時字幕的比較提供另一個觀察角度。研究結果顯示,人類口譯的價值之一,可具體呈現在其取捨與重組話語行動的方式上,使講者的話在傳遞資訊的同時,仍能持續推進話語行動。節拍分析因此為既有評估架構較難掌握的人類口譯價值,提供一套更具體且有分析依據的描述方式。 | zh_TW |
| dc.description.abstract | Current comparisons between human interpreting and AI live translation are largely based on accuracy, especially the degree of propositional matching between source and target output. While this approach is useful for assessing informational transfer, it may not fully capture interpreting as a form of communicative action. Arguments for the value of human interpreters point instead to abilities such as reading the room, sensing interactional dynamics, and conveying implied intent. Although these claims are persuasive, they remain difficult to operationalize and test empirically.
This study therefore explores an alternative evaluative perspective by introducing the concept of dramatic beats from theatrical analysis. Drawing on Stanislavski's beat analysis, it treats a speech as a sequence of beats, each representing a stretch of discourse in which the speaker is doing one thing in one way, pursuing a single communicative action by a single means; a new beat begins where that action or means changes. Beats serve here as segmentation units, marking the points where action turns become perceptible so that those turns can be traced across output versions. The study draws on panel discussion data from the CAPRI 2025 Annual Forum and compares source speeches, professional human interpreting output, and AI live translation output. The source speech is first segmented into beats, and each output is then read against that structure, so that a beat is marked in an output only where the output preserves the action of the corresponding source beat. Representative moments are selected from within that beat structure because they show especially clearly how action turns are preserved or lost across outputs. This study pursues a methodological purpose and two empirical questions. The methodological purpose is to operationalize dramatic beats as a workable analytical unit for tracing the action of a source speech across interpreting outputs. Building on that unit, the two empirical questions ask to what extent professional human interpreting and AI live translation preserve the action each source beat performs, and under what conditions each output re-performs that action rather than retaining only its wording. Across the corpus, the professional human interpreting output preserved the action of source beats more consistently than the AI live translation output did. Action preservation is treated here as one dimension of performance, not as a comprehensive measure of translation quality. The size of this difference varied with how the source action was realized. When the action was explicitly signposted and carried largely by surface form, the two outputs were more similar. The difference widened when recoverability depended on tone, voicing, metaphorical framing, audience orientation, or the progression across adjacent beats. Close readings further revealed distinct preservation patterns. Human interpreting more often used restructuring, compression, and reformulation to preserve relations among beats and actions that depended on performance. AI live translation was more likely to preserve actions that were directly encoded in surface form, provided that the source was correctly parsed. By adding communicative action to accuracy-based evaluation, this study offers a more concrete way of describing one dimension of human interpreting value. The findings show that this value can be observed in how interpreters selectively reorganize discourse so that a speaker’s words continue to advance as action while information is being conveyed. | en |
| dc.description.provenance | Submitted by admin ntu (admin@lib.ntu.edu.tw) on 2026-08-21T16:11:17Z No. of bitstreams: 0 | en |
| dc.description.provenance | Made available in DSpace on 2026-08-21T16:11:17Z (GMT). No. of bitstreams: 0 | en |
| dc.description.tableofcontents | Acknowledgments i
Abstract ii 摘要 iv Table of Contents vi List of Tables ix Chapter 1 Introduction 1 1.1 Research Background 1 1.2 Beat-based action analysis 3 1.3 Research Purpose and Research Questions 4 1.4 Scope and Data Sources 5 1.5 Research Value 6 1.6 Structure of the Thesis 7 Chapter 2 Literature Review 9 2.1 Interpreting Quality Assessment: Human versus Machine Output 9 2.2 AI Progress and Current Constraints 11 2.3 The Value of Human Interpreting 12 2.4 Beats and Action Turns 14 2.4.1 Beat Segmentation 15 2.4.2 Action Turns 19 2.4.3 Preserving Action Turns 19 2.4.4 Beat and Existing Analytical Tools 20 Chapter 3 Research Methods 24 3.1 Research Design 24 3.2 Research Materials 25 3.2.1 Source Speech 29 3.2.2 Human Interpreting Output 30 3.2.3 AI Live Translation Output 31 3.3 Analytical Framework 34 3.3.1 Beat Segmentation 34 3.3.2 Preservation Assessment 35 3.3.3 Beat Segmentation Applied to AI Output 35 3.4 Analytical Procedures 36 3.4.1 Beat Boundary Marking 37 3.4.2 Cross-Version Comparison 38 3.4.3 Descriptive Quantification 39 3.4.4 Representative Moments 40 3.5 Trustworthiness and Analytical Transparency 41 3.5.1 Coding Stability Review 41 3.5.2 Trustworthiness 42 3.6 Statement on AI Tool Use 43 Chapter 4 Analysis 45 4.1 Descriptive Overview 45 4.2 Representative Moments 49 4.2.1 Relational and Performed Action 51 4.2.2 Surface-Carried Action 77 Chapter 5 Discussion and Conclusion 89 5.1 Summary of Research Questions 90 5.2 Discussion of Findings 93 5.3 Contributions 96 5.4 Implications for Interpreter Training 97 5.5 Limitations 98 5.6 Future Directions 100 5.7 Conclusion 101 References 103 Appendix A 108 Appendix B 109 Appendix C 110 Appendix D 111 | - |
| dc.language.iso | en | - |
| dc.subject | 戲劇節拍 | - |
| dc.subject | 行動 | - |
| dc.subject | 人類口譯 | - |
| dc.subject | AI 即時字幕 | - |
| dc.subject | 口譯評估 | - |
| dc.subject | dramatic beats | - |
| dc.subject | action | - |
| dc.subject | human interpreting | - |
| dc.subject | AI live translation | - |
| dc.subject | interpreting assessment | - |
| dc.title | 從「訊息轉換」到「話語行動」:以戲劇節拍探討人類口譯與 AI 即時翻譯 | zh_TW |
| dc.title | From Information to Action: Exploring Human Interpreting and AI Live Translation through Dramatic Beats | en |
| dc.type | Thesis | - |
| dc.date.schoolyear | 114-2 | - |
| dc.description.degree | 碩士 | - |
| dc.contributor.oralexamcommittee | 王婉容;吳敏嘉 | zh_TW |
| dc.contributor.oralexamcommittee | Wan-Jung Wang;Min-Jia Wu | en |
| dc.subject.keyword | 戲劇節拍; 行動; 人類口譯; AI 即時字幕; 口譯評估 | zh_TW |
| dc.subject.keyword | dramatic beats; action; human interpreting; AI live translation; interpreting assessment | en |
| dc.relation.page | 111 | - |
| dc.identifier.doi | 10.6342/NTU202603626 | - |
| dc.rights.note | 同意授權(全球公開) | - |
| dc.date.accepted | 2026-08-14 | - |
| dc.contributor.author-college | 文學院 | - |
| dc.contributor.author-dept | 翻譯碩士學位學程 | - |
| dc.date.embargo-lift | 2026-08-22 | - |
| 顯示於系所單位: | 翻譯碩士學位學程 | |
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