zine類美學：臺灣小誌的創生與美學考察

臺灣第一個小誌（zine）市集現身臺北的2013 年，適值臺灣出版業進入產值狂瀉的年代，逆勢成長的意義更形特殊。本研究探討小誌這種由創作者自行製作、發行、流通，且標榜不商業、不專業、小型發行的出版品，如何由西方1990 年代的蓬勃脈絡引進臺灣、並且產生出獨特的在地化性格，甚至反過來吸引國外小誌作者飛來臺灣共同參與。本研究追溯臺灣小誌不到二十年急速形成歷程，利用小誌相關的發言文獻、十三位參與者的訪談之考察，以三個階段勾勒臺灣的小誌發展史：（一）臺灣小誌的兩個源流脈絡：一是2000 年代受西方影響的龐克店出現大量的龐克小誌，二是當時盛行創意市集開始出現小誌攤位，這兩點影響2010年小誌市集的成立以及讀者成為小誌作者的動機；（二）2010 年代市集成立後的風格化：這個時代開始出現風格特殊的書店也開始販售小誌，後期別於大型的小誌市集，在都市角落又生長出新的小誌活動，臺灣小誌逐漸發展出在地化的活動樣態；（三）臺灣小誌形成的獨特美學：後將分作圖文小誌、龐克小誌、合輯小誌三個區塊來分析其異色於一般出版的形式與內容的特質，以及本來是圈外的小誌出版如何做大，從臺灣島內的流通輸出國外，甚至游擊於出版體系。小誌作為最小單位的出版品，以最貼近作者的意圖所誕生的創作反應了臺灣文壇之外的美學價值。

關鍵字

小誌；出版現象；次文化；龐克；另類美學

並列摘要

Just as Taiwan's publishing industry entered a slump, Taiwan's first zine market appeared in Taipei in 2013, making this growth's bucking of the trend even more significant. This research explores how zines — publications that creators produce, publish and circulate themselves, boasted as non-commercial, non-professional and published on a small scale — have been introduced to Taiwan from the West where they flourished in the 1990s, how they have produced a unique localized character, and have in turn even drawn foreign zine authors to fly to Taiwan to participate. This research traces the historical process spanning less than twenty years of the fast formation of Taiwan's zines, using documented statements related to zines and interviews with thirteen participants, to outline the historical development of Taiwan's zines in three stages: first, Taiwanese zine's two origins: the first was the appearance of large numbers of punk zines in punk stores in the 2000s under western influence, the second were the zine stands that started appearing on the creative markets that were prevalent at the time; these two contexts influenced the establishment of zine markets in the 2010s and became the motivation for readers to become zine authors. Second, the stylization after the establishment of markets in the 2010s: the bookstores with particular styles that appeared at this time also started selling zines, and in later stages new zine activities, different from the large-scale zine markets, spawned in the corners of the city, and Taiwanese zines gradually developed localized forms of activities. Third, the unique aesthetic formed by Taiwanese zines: this research then distinguishes image and text zines, punk zines, and compilation zines, to analyze the characteristics that set them apart from the form and content of ordinary publishing, as well as how the publication of zines originally outside established circles expanded, circulating from inside Taiwan to abroad, and even engaged in an attack on the publishing system. Zines are publications by the smallest unit, and as creative works born out of the intentions closest to those of the authors, reflect aesthetic values outside of Taiwan's literary circles.