在圖畫書中，以「情緒」為主題的內容不在少數。人類情緒的發展，已經溯及到胎兒的情緒心理，一般都認同孕婦的情緒好壞，對子女未來人格有所影響，因此現代人多注意胎教。到了幼兒時期，逐漸有了自己的意志，在與外界環境的大量接觸之下，情緒的發生會更加複雜化，表現形式也更為多樣。情緒有正向情緒，也有負面情緒，在負面情緒中，恐懼是很常見的，因恐懼而產生的反應因人而異，但不管如何，要如何面對恐懼、處理恐懼，這是人生的一大課題，我們可以藉由經驗來學習如何克服恐懼。藉由兒童圖畫書圖文交織的模式，讓孩童去揣摩或是回憶情緒，不失為情緒發展的一項輔助利器。 圖畫書中的插圖，多是成人插畫家的傑作，其作品可能是以理論，或是自其經驗中擷取靈感創作，但是對閱讀對象──兒童而言，同樣的故事情節，他們內心又是如何呈現該情節的圖像？本文欲探討兩者在圖像上情緒認知的異同。主要的研究目的如下：一、 整理圖畫書插畫家如何表現故事中關於恐懼的圖像。二、 瞭解同樣的故事文本，對於恐懼情節的畫面，低年級學童是如何想像的。三、 比較原插畫家作品與低年級學童對於恐懼圖像元素的認知，以及情緒上認知的異同。四、 提供研究結果為插畫家之參考依據，讓圖畫書中關於恐懼的圖像一方面更貼近兒童的意象，一方面也能從設計改良中達到情緒教育的功能。 歸納本研究之研究結果，主要有以下幾項結論及發現：一、 圖像形式的表現遷就於個體的經驗。低年級學童的經驗來自生活；插畫家的經驗來自於年幼經驗、蒐集來的現時兒童經驗，以及學理研究經驗。二、 移情作用的發生，低年級學童多用「旁觀者」角度描繪，插畫家則是刻意以「我」的角度去表現畫面。三、 低年級學童表現模式有「見樹不見林」的傾向，插畫家須抓住藝術精神，呈現更全面的情緒性圖像語言。四、 低年級學童多不擅於自發性的恐懼情緒藝術表現，但可以透過畫面，判斷哪一種背景具有恐懼元素。五、 學童對恐懼情緒的後設認知處於準備階段，因此表現格局有限，插畫家卻有豐厚的後設認知背景，來達成更全面性的創作。 根據研究所得的結果，提出若干具體建議，以作為兒童圖畫書插畫家、導讀者以及後續研究者之參考。 It is frequent for the picture books take the “mood” as the subject in the content. The development of human emotion can be traced back to embryo's mood psychology. Generally, pregnant woman's mood quality has been recognized can influence the children’s future personality, therefore the modern people pay much attention to the prenatal education. Individuals will have consciousness raising in early childhood. Under massive contacts with external environment, occurrence of one’s emotion will be more complicated, and the form of expression also will be diversified. There are positive and negative emotions. Fear emotion is very common in the negative mood. The response of fear is different from person to person. How to face and overcome fear emotion is a big life topic. We can learn how to deal with fear by experience. The picture books are also helpful to emotion development. Because of the picture books’ illustration–word interwork, children can try to fathom or recollect the feeling of emotion. Most illustration of the picture books is from adult illustrator's creation. Their inspiration of work may come from the theory or their life experience. However, how children as the object of reading represent the images in the picture books of the same story plot? The research will explore the similarities and dissimilarities of the illustrtors’ and children’s emotion perception on the picture books’ images. The purpose of this research are as follows:1. Sort out how illustrtors represent the fear images in the picture books.2. Understand how elementary school lower grade students imagine the frame of the fear plot in the same story texts.3. Compare the cognition and the sensation of the fear images between the illustrators and the lower grade students.4. Offer the illustrators the research findings as the references to make the fear images in their picture books close to the mind of children, and approach the education function through the design improvement. The conclusions and findings of this research are as follows:1. The representation of image forms is related to individuals’ experience. Elementary school lower grade students’ experience comes from their life, while illustrators’ experience comes from their childhood, the collection of the modern children’s life, and the theory research.2. Most elementary school lower grade students are like onlookers while illustrators take the views of “self” when using transference to represent the frame.3. The elementary school lower grade students cannot see the wood for the trees when they represent the frame. The illustrators have to hold artistic spirits to present maximal language of emotional image.4. The elementary school lower grade students are not good at automatic art representation of the fear emotion, but they can judge which background of the pictures contains the fear elements.5. Students’ metacognition for the fear emotion is at the preparatory stage, therefore their performance pattern is limited. The illustrators have rich metacognition background to achieve the integrity creation. Based on the study, several concrete suggestions were provided for the illustrators of the picture books, the guide-reading, and subsequent researchers.
