本研究旨在結合記憶的時間特質及敘事理論產生敘事形式的表現策略，發展以自傳式記憶故事為主題的繪畫創作。
敘事學硏究以文本、話語、敘述為結構本體發展理論，經二十世紀以來的結構主義、現代主義、以及當代藝術思想洪流洗禮後，迄今敘事學已臻成熟並呈現多元運用局面。而在繪畫敘事運用上，隨著對藝術的新理解及符號學、圖像學及形式分析概念的催化，敘事傳達形式已脫離現實模仿、進入主觀性、符號指向、形而上表現，繪畫的時間表述不再是侷限，敘述身分與視角更延伸至畫家外的他者共同創作的局面。
敘事繪畫原意就是圖像會「說」故事，若滲入文化語彙，作品更能吸引共鳴撼動人心。故事的事件場景以瞬間凍結形式獨立存在，隨創作者意圖在時間軸任意交錯與翻轉，產生饒富意境哲思的形式組合，配合記憶感知的線性時間與情感主觀性，更讓敘事創意得以如虎添翼般的無限延伸。
本研究的〈萍泊記憶故事〉屬於自傳式記憶，首先從記憶現象及其時間特質分析，發現具有共時、層次、擬真及反差等結構形式，據此發展多視點、敘事角度變換、柵欄效應、與視聽共感的形式表現策略，以迴形、楔形、沙漏形、及柵形等佈局構圖，及異質共存、漸層、色塊等色彩表現運用，進行繪畫創作。作品共十四幅，為生命各階段生活變遷，以故事性及精神性投射，是對過去的牽掛、快樂與對未來的惆悵，仿如流浪浮萍四處，不斷尋找停泊處的無奈，它不僅對我是自身歷史記憶的影像紀錄，更隱含對普羅大眾的共同記憶。

This study is aimed to produce a narrative painting of the autobiographical memory stories, through a narrative form expression strategy created from the integration of the memory’s temporal traits with narrative theory.
Narratology studies use text, discourse, and narration as the foundation for structural ontology development. After the baptism of structuralism, modernism, and contemporary art thoughts since the twentieth century, narratology has become mature to present in various purpose. In narrative painting, with the new understanding of art and the catalysis of semiotics, iconology and form analysis, the narrative communication form has been separated from the imitation, into subjectivity, symbolic orientation, metaphysical expression. The time expression for painting is no longer a limitation. Both of narrator’s identity and its perspective extend to the situation where the others outside the painter co-creates together.
The narrative painting is the image telling the story. If it permeated into cultural vocabulary, it will be more thought-provoking and inspiring. The various story event is existed independently in the form of frozen moments, which can be randomly intertwined and flipped in the time axis with the author's intent, and which also results in a sophistic combination of artistic conception and philosophical thinking. If further mixed with both memory’s linear time and subjective nature, the narrative creativity will be further enhanced.
My study of Pingbo memory story is a kind of autobiographical memory. Firstly, the memory phenomenon and its temporal traits are analyzed to find structural forms such as synchronicity, hierarchy, immersive and contrast. From which, the form expressiveness strategy is developed in aspects of multi-viewpoint, narrative angle transformation, fence effect, and audio-visual perception. Afterwards, during painting, the story characters and scenes are constructed in accordance with the shape like such as curve shape, wedge shape, hourglass shape, or grid shape, and the use of color scheme are heterogeneous coexistence, gradation, color block. The Pingbo memory story contains 14 pieces of works, which are life-changing experience in all stages of life. They are projected into story type and spirit. They are a concern, jealousy, and happiness from the past to the future. It is just like a wandering duckweed, constantly moving around looking for the berth. It is not only an image record of my own historical memory, but also implies a common memory of the general public.

中文書籍

巴瑞特(2010)。《綁架本能的世界》陳雅雲譯。究竟。
史奎爾&肯戴爾(2001)。《透視記憶》洪蘭譯.。遠流出版社。
格勞特&帕利斯卡(2010)，《西方音樂史》[美] (余志剛譯)，人民出版社。
普洛普‧弗拉基米爾(2006)。《民間故事形態學》(1928出版)賈放譯。中華書局。
愛德華‧貝蒂(2013)。《像藝術家一樣思考》張索娃譯。木馬藝術08。
達彌斯(2002)。《雲的理論》董強譯。楊智出版社。
德拉伊斯瑪‧杜威(2013)。《記憶的風景》張朝霞譯。台北漫遊文化社出版。

中文期刊雜誌
申丹(2009)，〈20世紀90年代以來敘事理論的新發展〉，中國民俗網，參考 2017.9.3http://www.chinesefolklore.org.cn/web/index.php?Page=5&NewsID=4552。
江守義，〈修辭·敘事·倫理—論韋恩·布斯的修辭學批評〉，壹學者，2016。參考 2018.3.5 http://www.1xuezhe.com/WeMedia/WeMediaContent?id=36。
郭世恆(2017)。〈意識與時間：時間為甚麼成為現象學的難題？〉。哲學文刊 2017/09/15。
普洛普‧弗拉基米爾(2010），〈叙事理論〉，新浪博客，取自2017.8.20 http://blog.sina.cn/dpool/blog/s/blog_64142dcb0100hrfw.html。

英文書籍
Alpers, Svetlana (1983), Epilogue: Vermeer and Rembrandt, in The Art of Describing: Dutch Art in Seventeenth Century.(Chicago: University of Chicago Press).
Armes, Roy( 1976), the Ambigious Image, Narrative style in modern European cinema, London Secker and Waburs.
Baxandall, Michael(1971), Giotto and the Orators. Humanist observers of painting in Italy and the discovery of pictorial composition 1350-1450, Oxford University Press New York: Oxford University Press.
Chatman, Seymour(1978), Story and Discourse - Narrative Structure of Fiction and Films, Cornell University Print.
Clement Greenberg: The Collected Essays and Criticism. John O'Brian, Ed. (Chicago: University of Chicago Press, 1986).
Lessing, Gotthold E., Laocoön, An essay on the Limits of Painting and Poetry . Trans. Edward Allen McCormick. (New York: Bobbs-Merrill Company, 1984).
Nicolas, Serge(2017), Victor and Catherine Henri on earliest recollections, Piolino Lab Mémoire et Cognition, Université Paris Descartes, France.
O'Toole, Michael (1994), The Language of Displayed Art, Fairleigh Dickinson Univ. Press, 1994.
O'Toole, Michael(2008), Thinking with your own Eyes: Magritte and Logical Metafunctions, Systemic Functional Linguistics in Use.
O'Toole, Michael, Systemic Functional Semiotics of Art, Semiotics 82-3/4(1990), 0037- 1998/90/0082-0185, Walter de Gruyter.
Richard Wendorf, Articulate Images. (Minneapolis: University of Minnesota Press, 1983).

英文期刊雜誌
Albers, Josef(1962), “Homage to the Square: Ten Works by Josef Albers”, MoMA.
Barthes, Rolland(1966), “Introduction to Narrative Structure Analysis”, Communication.取自2017.8.2. https://www.birmingham.ac.uk/Documents/.
Bissell, Roger(1997), The Essence of Art”, Objectivity Volume 2, Number 5.取自 2017.9.3 http://www.rogerbissell.com/id11h.html.
Cohen, Michael (2009), “Auditory recognition memory is inferior to visual recognition memory”, Proceedings of the National Academy of Sciences of the United States.
college-artslaw/history/cccs/stencilled-occasional- papers/1to8and11to24and38to48/SOP06.pdf
data/AS/ValueofArt/Representation.pdf.
Davies, Paul(2006), “That Mysterous Flow”, Scientific American.
Farmer,Robert & Epstein,Jean(2010), “Sense of cinema journal”.取自2017.8.9 http://sensesofcinema.com/2010/great-directors/jean-epstein/.
Hassel, Lisa (2013), “18 tips for telling a story through an artwork”, Digital Art 2013/8. 取自2017.9.1 https://www.digitalartsonline.co.uk/features/illustration/18-tips-for- telling-story-through-artwork/#2.
Hoakley(2016), “Painting Story: Narrative Painting Mode ,General Painting”, The ECLECTIC Light Company.取自2017.8.2.https://eclecticlight.co/2016/06/02/the- story-in-paintings-modes-of-painted-narrative/.
Lacewing, Michael, “Art and performance: Good art should portray reality”, Routledge. 取自 2017.9.4.http://cw.routledge.com/textbooks/alevelphilosophy/.
O'Toole, Michael (2008), “Thinking with your own Eyes: Magritte and Logical Metafunctions”, Systemic Functional Linguistics in Use.