本論文以空間的視角,研究馬來西亞檳城山海宮的媽祖信仰,討論其如何在國家與在地菁英的缺席中,達到信仰的普遍化。首先,在廟宇的空間佈局方面,神明和香爐的擺設以及拜祭實踐象徵了當地的宇宙觀。其次,神誕節慶活動空間的佈局,更締造一種宗教的神聖感,迎合當地信徒的喜好。另外,動態的活動空間方面,整個二零零九年檳城媽祖的儀式透過網路影片仿效台灣的媽祖繞境形式,適度的因地制宜來吸引當地人。引起巨大的共鳴, 使得山海宮名揚島外,受邀為其他神廟節慶表演助興。文章引用Bourdieuc 場域與資本的理論來討論山海宮海外媽祖信仰的經營模式及其現代性意涵。
From the perspective of spatial analysis, this thesis shows how Shanhai Gong Temple promotes Mazu religious activities in Penang, Malaysia. First, the spatial design of the statues, the censers, and the worship practices manifest the local worldview. Second, the spatial organization of the festivals such as the birthday celebrations of the deities also produces a sense of sacredness that devoted to localtastes. Moving from still to interactive spatial distribution, the festivals of different locations influence each other through various spatial contacts. For instance, in 2009,Shanhai Gong temple borrows elements from Taiwanese Mazu rituals through video clips on the Internet. However, to resonate with local participants, Shanghai Gong adjusts the “pirated” Taiwanese version. The Shanhai Gong version is so-well received that temples outside Penang invite Shanghai Gong to perform in their religious festivals. This phenomenon demonstrates that Shanhai Gong first actively implants Taiwanese Mazu rituals from cyberspace to real space in Penang then later transplants the “adjusted version” to elsewhere in Malaysia. To conclude, the production of Shanhai Gong Mazu festivals shows a mode of connection and expansion that suggests a significance of modernity