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  • 學位論文

臺灣「獨立刊物」文化生產場域自主性研究

Research on the Autonomy of Cultural Production of "Independent Periodicals" in Taiwan

指導教授 : 廖仁義

摘要


臺灣近年未似「主流圖書出版運行方式」現身的實體刊物中,其定名與風格皆無定論,本文暫以「獨立刊物」稱之,並以2011至2014年為時間範疇,認識到產製「獨立刊物」動機是個人表達或集群匯聚,風格多樣且不易以既有文類區分,例如:是來自文字或影(圖)像創作(攝影集或文字為主的刊物)、個人誌(zine或個資出版)、立基於地方或集群的觀點呈現(獨立音樂或書寫各主題),或者,紙本作為整體行動的其中一環(如文宣)。 以刊物「實體」為索引,在各式相對定義下,行動者(產製與推廣者、讀者)與平臺的實作是「臺灣獨立刊物文化生產場域」的形成,也歷時而變動。以本文所及範圍而言,行動者形成的場域特性如述:行動者自生活空間至地理幅員的特性,流露于刊物的產製材料與文本觀點;而行動者因認同而投入的產製方式,使成本組構異於主流圖書出版、亦豐富文本,來自不同領域行動者亦因而引動預期與非預期讀者。 而今日釋義與類型多樣的「獨立刊物」與「獨立」意指,為行動者的著手實作「實體獨立刊物」的選擇與目標:是從刊物內容、產製過程到流通異於主流產製「以盈利為目標」的選擇,與期待個體「自我定位」到「集群特性」的成形,亦是行動者們感於現階段社會文化以經濟資本積累為重的現況,期待在場域中能有所平衡。尤其現階段(參與者比例未高),以推廣者角色而言,以「不侷限」保有「獨立」、「保持參與趣味」且「一人就可以獨立完成」作為時時容納「多樣化」之方,亦尚無需論創作優劣或規模,也常見其以新詞義「zine、誌、紙本」使定義不固著,且不以「獨立」作為下一項值得大量、單向消費之標的;因此,當下行動者的「獨立」概念辨識與實作形成場域特性,亦為自主性的形成。 因此,產製「物」是選擇,亦是相遇關鍵。現階段以實體相對稀少為表,「不以積累經濟資本為最大目標」是異質「獨立刊物」的匯聚內涵,遂見各文類與內容同時出現類似平臺,並因特性(而非文類或品味)相似互成讀者與社群,這樣不分類別的串聯是現有實景:獨立書店-出版社、獨立音樂-廠牌、獨立媒體-組織、到各領域個人-集群之刊物-文宣-物件,匯流並不陌生。而討論「獨立」概念時,出版物質條件與文學出版歷時轉變、一九八○以降的出版自由與「非主流」、九○年代後產製工具普及與數位化脈絡,亦時而浮現。時至今日,以「獨立刊物」行動者的實作軌跡與目標,認識一種產製方法與其場域自主的論題,與各自的實作目標併行。

關鍵字

獨立刊物 文化生產場域 刊物 紙本 獨立

並列摘要


“Independent Periodicals,” which so called non-mainstream publications(Independent publish, or zine, etc.) has not yet comes to common consensus on titles or styles.This dissertation focuses on the autonomy of cultural production through interviews with actual production systems, i.e. producers and promoters, and viewers, i.e. readers and platforms here in Taiwan, from 2011 to 2014. At this point(2014), “Independent Periodicals” still vary in the of meanings or types. Many factors determine “how independence” the publication will be. It depends on what contents producers chosen, how devoted are them, and whether their self-positioning transformed into collective values. "Independent Periodicals" differ from profitable mainstream productions in content, division, distribution, and circulation. “Objects” (the hard copies) are people’s choices, and also the key to people's encounters. The rareness minority and non-profit characteristics, not by genres nor tastes, mutually generate both “Independent Periodicals” and its readers and communities into each other. The connections and confluences in people has overflown out of social inhabitations, independent bookstores/publishers, independent media/newspapers. When it comes to the meaning of “independence,” it changes through time. Publishing material and literature environment are always changing. The freedom of publishing bursted radically from 80s to 90s in Taiwan. After 90s, the popularisation of publishing increases more through digitisation on the internet. Styles and forms varies in “Independent Periodicals.” From text to image, or from photography or creative writing, or from personal blogs to zine, or from self-publishing to on-demand printing, etc. One could find every copy under different advocacy. Some might be personal expression or some might be community aggregations. Communities have been long existing producers in independent publishing, people gather from underground music, independent media, film critics, concerned local residents, or green agriculture farmers. They consider their actions and voices could establish a balance with tilted mercantilism in Taiwan. In this specific field of cultural production, the physical existence of “Independent Periodicals” becomes as an index, leading us to find the specific space and time, materials and views of those producers and readers. Identifying is the main factor for those to devote themselves in producing. It creates a different and random atmosphere of distribution and circulation from mainstream book or magazine publishers. There is no limitation. There is a lot of fun and self-sufficient. They do not care about scale or competitions. They are the word “diversity.” Call it “zine,” “誌,” or “紙本,” it would not fix it’s meaning on anything. “Independence,” the only belief, leads “Independent Periodicals” towards autonomy of cultural production.

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