本論文の目的は、現代中国における公共性概念の再編とガバナンスの新たな担い手としてのサード・セクターの生成・展開という相関する現象について論じることである。主として、文献調査、実地調査、事例研究および比較研究などの研究手法を用いて、伝統的「公」観念と民間結社、国家的公共性の形成とサード・セクター、市民的公共性の台頭とサード・セクターおよびNPOと行政の協働による新しい公共性の可能性などの議論を展開する。 / 博士(政策科学) / Doctor of Philosophy in Policy and Management / 同志社大学 / Doshisha University

如果集體行動的目標是生產為團體共同享用的公共財, 依公共財的特性, 公共財并無 法排除團體中任一成員的享用或消費, 理性的個人為何自願參與集體行動完成集體的 目標? Olson 在其The Logice of Collective Action 中指出, 在大團體中除非具有制裁或 選擇性誘因, 否則大團體的成員很難甚至不可能為集體目標而奉獻。個人理性的抉擇 反而導致集體不理性的結果。Olson 的理論發表后在學界引起廣泛的爭論。而近年來 社會心理學者對社會困局賽局之實驗, 和社會運動的成功發展, 更加深某些學者對Ol -son理論的質疑。 本論文意圖分析在交互依賴的社會情境中, 理性的個人有無可能自顧參與集體行動為 團體的目標奉獻? 作者認為:Olson的理論并未對公共財加以明確的區分, 以致引起理 論上的爭議。因此本論文針對公共財的生產是否具有總和性, 公共財的享用是否具有 可分性, 個人對公共的評價和個人對集體行動的效能感, 來分析理性的個人在何種情 況之下願意參與集體行動。 基本上, 本論文認為: 如果公共財的生產具有總和性, 則公共財的提供因須跨過較高 的門檻, 自願負擔成本者較少; 倘若個人對公共財的評價高、對集體行動的效能感高 或公共財的享用不可分時, 自願負擔成本的人數將較多。然而這并未能解決公共財生 產次適的問題。

本篇論文旨在探討具有明顯外溢效果之地方公共財政的最適供給量。行文中將假設公 共財價格固定，人口在各社區的分佈既定，以及同一社區的人民偏好一致。文分五章 ，約三萬字。第一章為公共財的分類，界定與本文分析有關的公共財。第二章為文獻 回顧，將與本文有關的文獻做簡要敘述。第三章為 佔模型分析，將公共財座落的區 位變數而導致的各社區利益消長加進傳統的 佔模型中，以決定均衡的供給量。第四 章，以遊戲理論的觀念，探討在失衡時，如何經由各社區的偏好顯示，而將公有財（ 因而私有財）供給量導向均衡。第五章為結論與未來發展方向。檢討前面各章分析結 論，指出尚存的問題，及將來繼續研究方向。

本研究係探討臺北縣校園公共藝術規劃之構想、原則、程序、師 生對規劃之認知與意見、教職員對規劃之滿意度等。研究方式採文獻 探討、問卷調查、實地觀察、訪談進行，抽取臺北縣已規劃校園公共 藝術，且施作完成之五所國高中師生572 名為問卷調查對象，以每校 兩位學校教職員為訪談對象。資料採用描述性、以次數百分比統計、 獨立樣本t 考驗、單因子變異數分析、Scheffe′Method 事後比較分 析等方法研析，提出結論與建議。歸納本研究發現，獲致十二點結論， 並提出建議，供校際經驗交流，以提高規劃實務品質。茲將研究結論 摘要概述於后： 一、校園公共藝術之規劃緣起、規劃構想大多結合各校教育理念 與辦學目標，其中校長之教育理念最為關鍵。學校公共藝術規劃重要 原則有：公共性、藝術性、經濟性、教育性等。 二、臺北縣五所國高中校園公共藝術之規劃方式，多為邀請藝術 家製作。其規劃程序，係依據臺北縣政府規定程序進行。 三、臺北縣五所國高中所規劃完成之校園公共藝術，以具體類 型、戶外形式、視覺性、可以多角度觀賞作品為主。 四、學校師生較少參與校園公共藝術規劃；師生對問卷中有關校 園公共藝術規劃之敘述，皆表示同意；其中男性同意平均數，高於女 性；學生同意平均數高於教師。教職員年齡差異，則不影響教職員對 各題項的同意平均數。 五、不同學校規模，對問卷題項之敘述，學校班級數30班以下學 校師生之同意平均數最高。 六、創校歷史差距下，創校10 年以下學校師生，對各題項之同 意平均數最高。 ii 七、對於有關校園公共藝術類型題項之敘述，其中「喜歡公共藝 術類型」、「類型有地方特色」兩題項，以七年級學生之同意平均數最 高。 八、師生在問卷調查各層面中，同意平均數最低題項為：「校園 公共藝術具有教學功能」，次低題項為「公共藝術作品的材料具有地 方特色」。 九、師生在各層面中，同意平均數最高題項分別為：「覺得校園 公共藝術的類型很有創意」、「公共藝術使用了安全材料」、「覺得 校園公共藝術作品美化了校園」、「覺得校園公共藝術作品的色彩很 美觀」、「覺得校園公共藝術設置的地點很適宜」、「覺得很容易接 近校園公共藝術」。 十、臺北縣五所國高中在規劃過程中所遭遇之困難為，臺北縣可 供參考諮詢具有規劃經驗學校案例較少，各校多向臺北縣文化局人員 請教；部分學校在公共藝術設置後，因考量觀賞安全，要求藝術家更 改藝術品造型或作品附近之裝置，因而改變校園公共藝術原貌。 十一、學校教職員對訪談項目滿意程度最高之項目為「校園公共 藝術的規劃程序」；對「規劃構想的宣導」及「作品完成後的宣導活 動」兩項規劃之滿意程度最低。 十二、臺北縣五所國高中教職員依其規劃經驗，給其他學校的建 議：規劃時宜有專家學者、學校師生與家長代表參與；規劃宣導可結 合領域課程與辦學理念；作品宜標示公共藝術之緣起、構想、主題意 涵。 最後，根據以上研究結論與文獻資料，對規劃單位、藝術創作者、 未來研究者，提出建議。 關鍵詞：學校校園、公共藝術、公共藝術規劃 / Thesis Abstract Department of Education, National Chengchi University Management of public arts on the campuses of high schools in Taipei County –take five high schools for examples Yu-Ho, Chen Advisor: Dr. Chi-Min, Tang The purposes of this study are to examine the idea, principles, process, realization and suggestion from teachers and students, the satisfaction of staff. The research adopts various ways such as literature, questionnaire, campus Assessment , and interview to examine the feedback of five Taipei County high schools which have set up public art. The research includes 572 teachers, students, and staff. The conclusion and suggestion are made by carefully examination of descriptive statistics, percentage statistics, Independent Sample t-Testing, and Scheffe  method. Hope the research could provide more chances in exchanging experiences from campus to campus thus raise the quality of further management. The conclusion and detection of this study is as followed: 1. The origin of Taipei County high school public art is resulted from school goals and schools development. The most important factor that affects the public art is principal’s educational expectation. The key principles are publicity, beaux arts, economics, safety, education, integration, and access. 2. The management of Taipei County public art is made by licensed artists. The plan is processing by rules made by Taipei County Hall. 3. They are concrete, outdoor, multi-angled, visual, the campus public art works set up in Taipei County high schools. 4. Not all students and teachers participate in the management of campus public art. They feel the most satisfied with the description of campus public art. Male tend to agree to most of the questionnaire than female do. Students show higher agreement than teachers do. The age discrepancy does not involve in the degree of agreement. 5. Different school sizes affect the result. Students and staffs in the schools which have fewer than 30 classes show the highest agreement to the questionnaire. 6. Different school history involves in the result. Students and staffs in schools with less than 10 years history show the highest degree of agreement about other items. 7. Seven graders show the highest agreement than eight and nigh-graders in items “the art work has local characteristics” and “the fondness of public art”. 8. All the respondents show the lowest agreement toward item “campus public art contains educational function”, and the second lowest item is “the materials of the public art contain local characteristics.” 9. Among the six aspects of types, materials, realization, color, location, and access, students and teachers show the highest agreement toward “I feel the campus public art is creative”, “I feel the color of campus public art is beautiful”, “I feel our campus public art locates in proper location”, “It is easy to access our campus public art.” 10. The difficulties occurred during the execution and establishment of Taipei County high campus public art works are as bellows. First, there are fewer cases and experienced schools for suggestions and references of campus public art management. Most schools try to counsel the members of Taipei County Cultural Bureau to solve this problem. Besides, for the safety side, a few schools will ask to remodel the art work or to change its surroundings which change its original design. 11. The staffs show the most satisfied items toward “The process of management of campus public art”. They show the least satisfaction toward the items “The explanation of the idea of the public art” and “the explanation of the public art after it has been set.” 12. With their experiences, the five Taipei County high schools which have already own the public art work give suggestions to other schools that are processing to have their own public art. First, to have parent representative, students, teachers, and experts join the management of public art. Second, the propagation could combine school curriculum and the ideal of the school. Last, the art work should mark the origin and the meaning of the topics of campus public art. To conclude with the analysis of literatures and the results of the study, ten suggestions are offered to schools which are interested in campus public art. Key words: campus, public art, the management of public art

本文將以目前台灣最大的網路新聞時事討論區──PTT Gossiping看板（以下簡稱「八卦板」）為研究對象，分析透過BBS媒介所形成的網路群眾文化，並探究其民主意涵。有別於一般網路公共領域的研究，本文將由「對抗性公共」與「狂歡節」這兩個概念切入，並借鏡俄國文學批評家Bakhtin所提出的「眾聲喧嘩」與「公共廣場」等說法，嘗試論證透過網路媒介所形成、並帶有集體性狂歡節色彩的社會互動空間，如何落實異於Habermas菁英式公共領域的公共生活想像。 就內容而言，本文可粗略區分為兩部分：首先我們將以Gossiping看板為例，從集體性的角度描繪網路群眾文化的樣貌（第二、三章），接著再進一步說明其民主意涵（第四章）。在第二章當中，我們將藉由回顧八卦板的看板歷程，說明本文所討論的八卦板「網路公眾」，在評論新聞、針砭時事的表面下，其實潛藏著某種不同於理性個人交往的社會關係形態；對於這樣的現象，我們可以暫且稱之為「網路起鬨」。在第三章，我們將透過集體亢奮與狂歡節的概念，進一步擴充網路起鬨現象的抽象意義，並嘗試說明：即便到了今天，人們透過網路媒介進行的互動，仍然表現出「非凡、例外」的強烈集體情緒；這樣的集體性，既不同於公共領域理性論辯的互動方式，亦無法簡單斥之為「非理性」的劣質文化。以此種互動關係樣態為背景，在第四章我們將著重討論帶有狂歡節特質的網路群眾文化，如何透過語言的運用，體現Bakhtin強調多元觀點的「眾聲喧嘩」概念；此種狂歡節語言，能夠跳脫代表語言中心化力量的Habermas公共領域設想，從而落實「公共廣場」概念所描繪的、強調對話而不強加共識的公共生活。最後在第五章結論當中，本文除了對全文進行簡要總結之外，並討論了「社會關係／mob-ility」、「遊戲」以及「日常生活」等等概念，嘗試為網路文化的進一步研究，提供可能的參考方向。 / Taking Taiwan’s largest internet news forum “PTT Gossiping” as research object, this thesis analyses the culture of internet crowds formed through the medium of BBS (Bulletin Board System), and explores its democratic implications. Different from existing researches of “internet public sphere”, this thesis set out its arguments by resorting to concepts of “counterpublics” and “carnival”, and concludes with the notions of “heteroglossia” and “public square”, both proposed by Russian literary critic Mikhail Bakhtin, to demonstrate how a collectively carnivalistic social space of interaction, formed by internet, can provide us with an alternative imagination of public life that is different from Habermasian (elite) public sphere. This thesis consists of two parts: firstly, it analyses the culture of internet crowds from the sociological perspective of collectivity, taking PTT Gossiping as example (Ch. 2 & Ch. 3); secondly, it elaborates the democratic implications of this culture (Ch. 4). In Ch. 2, we review the historical development of PTT Gossiping, in order to demonstrate that the “internet public” constituting this news forum shows a non-personal as well as non-rational mode of social interaction, which we can provisionally describe as “internet mobbing”. In Ch. 3, we elaborate the sociological meaning of internet mobbing, by resorting to concepts such as “collective effervescence” and “carnival”, arguing that the “extraordinary, exceptional” feature of strong collective emotions can still be observed nowadays in internet interactions. This collectivity is neither similar to rational, reasoning mode of interaction proposed by the idea of “public sphere”, nor can it be denounced simply as “irrational” or bad culture. Based on this kind of social interaction, in Ch. 4 we explore how the using of carnivalistic language by internet crowds can embody Bakhtinian heteroglossia. By emphasizing the value of multiple perspectives, the carnivalistic language use of internet crowds breaks away from Habermasian public sphere, and helps to bring about a public life depicted by Bakhtinian “public square”, encouraging dialogue rather than forcing consensus. Finally, in Ch. 5 we sum up the thesis, and discuss ideas such as “social relationship / mob-ility”, “game”, and “everyday life”, which can serve as possible directions for further studies on internet culture.

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

University of Macau / Faculty of Social Sciences and Humanities / Department of Government and Public Administration

隨著經濟的發展與進步，使得人們對都市公共設施及服務的需求，在型態、品質與數 量上都發生了顯著的變化。致使都市公共支出日益擴張，然而財源卻日趨不足。為了 改善地方財務的窘境，加強地方財產稅之合理稽徵固然重要，而「使用者付費」制度 的建立以開拓非稅課財源，更是值得吾人深究。 由於大多數的公共設施及服務，乃是對特定團體與個人提供，這些公共支出若以一般 租稅來支應，實與公平原則相違。若採行「使用者付費」制度，不但符合公平之「受 益原則」，更因價格機能的運用，而使地方公共財達於最適提供水準。因此，「使用 者付費」制度的功能發揮，端賴一合理的費率訂定標準。 本文除了第一章緒論與第二章概述目前公共支出與收入之一般趨勢外，第三章便是探 討各種訂價理論。在最佳經濟情況下，為達成資源配置的效率，應以邊際成本為訂價 法則，然而此種訂價法對成本遞減產業而言，會造成虧損。若以租稅來彌補虧損，則 會產生效率與公平的問題。因此，有此學者另提出平均成本訂價、二段式訂價、尖峰 負荷訂價等法則，以肆應之。第四章則是探討在「使用者付費」制度下對所得分配的 不良影響，以及各種維護公平之制度設計。第五、六章則分別介紹各國實際施行的情 況，及台灣地區目前已有收費之公共設施及服務，並以簡單回歸求出台灣地區對公共 設施及服務之需求情形。 「使用者付費」是一亟待建立的制度，它不僅能紓解地方政府的財務困難，更重要的 是它符合「受益原則」，改變了國人對公共設施及服務的消費觀念。

第一章，介紹本文的研究目的和文獻回顧；第二章，探討歷年來台灣公共部門的規模 ，並且觀察公共部門與私人部門兩者間的關係，對於台灣公營事業在我國經濟發展上 所扮演的角色亦給予探討；第三章，我們將致力於建立一個動態的投資、儲蓄和成長 模型，去導引公共投資影響私人投資的途徑；第四章，將民國四十二年至七十年間的 台灣資料代入本文的模型來作實證分析及應用說明；第五章，我們將以動態的模擬模 型來探討公共投資影響私人投資時間過程的反應；第六章，扼要的說明由本文所得到 的發現以及討論它們在經濟政策上的涵義。 所得到的主要結論如下─台灣公共剖門投資的擴張在長期下不但不利於私人部門投資 ，甚且對於我國整體的經濟發展亦是不利的。因此，今後我國的經濟發展政策似應減 少公共部門投資，而將有限資源讓私人部門來利用，如此才能發揮資源利用效率繼 續追求經濟的快速成長。

《摘要》 1987年解嚴的台灣，邁入一個前所未有的變動，型塑一個世界後進國家之林的民主化特例。在媒體改革部份，莫屬關乎大多數人視聽服務權益之無線電視為首要目標。無線電視的壟斷結構，面臨民主化多元的呼聲，掀起了風起雲湧的「黨政軍退出三台」運動，但在威權政府的支持下依然憾動不搖。另一股電視革新的風潮，為電視技術的徹底改變，從高畫質電視、衛星電視、數位電視等，前撲後繼襲向無線電視，於1998年達到高峰，使無線電視面臨不數位化、就要結束類比獨佔的命運；同一年度，公共電視台開播，注入民主化趨力，使電視結構質變。2000年總統大選，政黨輪替，失去政權庇護的無線電視體制，開始解構，現代化的改革，在渾沌的遲延中，終於再度啟航。 依據總統傳播政策白皮書意向，兩家國有商營電視台將轉換為公共電視台，並與現有規模組成公共電視集團，向後進國家民主化指標看齊。然而，在數位化整面革命的樂觀期盼下，社會既得優勢結構的份子，紛紛以數位化將會帶來頻道爆炸、言論多元為由，期盼終止公共化政策。不過無線電視數位化之路，面臨內在矛盾、轉尋歐洲數位發展模式之後，著實開了一道興革之門，公共化需求不證自明。 數位化無線電視的需求與目的，呼應了一種再現代化過程：從歐洲的數位經驗，引進共同傳輸平台、製播分離制、公部門投資引領研發等政策觀，反而證明公共電視規模的擴大有助數位化達成，同時型塑媒體生態的民主化意涵：﹝一﹞建立無線電視多頻道環境，形成壟斷有線系統之外的選擇；﹝二﹞數位化的訊號匯流，提供無線電視發揮資訊與多媒體傳輸的功能，提供公眾生活需求的指引；﹝三﹞數位電視訊號精準與普及度，得以推廣行動收視服務概念，創造公眾移動活動的附加價值； 在政策醞釀過程中，公共電視學習與國際非營利、公共利益與民間產業的電視組織之交流，吸取數位化經驗，提供政策建言，促進立法部門產業代表、新聞局規劃部門、數位電視產業組織合作力量、與民間電視改革團體的集思廣益，推演符合公共利益的數位發展政策。在建立共同傳輸平台的前提下，預期可優先為「落實公共化政策的下層基礎」打下根基。如此，無線電視的發展將邁向一個新里程碑，象徵第二現代的革新，彌補解嚴後民主化發展的人文斷層，導引視聽文明朝主流文化市場進行改造。這個公共化與數位化的無線電視創新議題，將是台灣民主深化的嶄新指標，值得國人密切關注與參與，一同考驗吾國社會發展抉擇的眼界與智慧。 關鍵詞：公共化、公共電視、民主化、第二現代、數位化、傳播政策。 / Abstract After the lift of Marshall Law in 1987, it was seen Taiwan, as one of the late comers of democratic countries through her exceptional transformation. On media reform, the first and foremost objective was the democratization of TV broadcasting industry. Within the reform missions, a civil television sector was a consensus recalled by means of military, political party and government bureaucracy step aside. However, so long as the Nationalist Party resided in government, this tripartite structure of terrestrial TV industry kept intact. On the other hand, a technological revolution driven by digitization, for example, satellite receiver, high-definition TV, digital TV, forced the analogue terrestrial TV service into its demise started from 1998. Meanwhile, the first public television channel was launched through the pressure of democratic movement. As a result, the over-commercialized television industry is curing. Till 2000, Nationalist Party was defeat by Democratic Progressive Party in a presidential election, a breakdown of television industry structure was gradually rolling out. A (re) modernization of broadcasting industry finally started. According to the White Paper of Presidential Communication Policy, currently two state-owned TV stations, TTV and CTS, are planned to transform into the public service broadcasting. However, the technocrat criticized this policy by emphasizing the diversity and freedom of speech brought by digital media. It rendered the unnecessary to the expansion of public media project. However, the continuous lack of investment on digitization of terrestrial TV service, proved the necessity of public broadcasting system in order to lead an experimental and creative works on this new service. Moreover, the digitization of Taiwan terrestrial television replies to a reform as follows: bringing European experience into the local context, reengineering the structure into the horizontal value-chain, leading development by public sector expenditure. Digitization requests to establish an economic scale of public service broadcasting and result in a health order of broadcasting industry by following goals: (1) providing a multi-channels of digital television other than the analogue ones of dominated cable service; (2) the convergence of signal realizing the universal multimedia service (3) digital transmission enhancing terrestrial broadcast up to a mobile reception and offering public added-values when moving. During the transformation of digitization, public broadcasting service, with the assistance of international non-governmental organizations, public interest and civil society sectors, proposed a policy recommendation and bridged the opinions of legislature, industrial, executive, and reform branches together into a progressive project of digital TV based on public interests. On behalf of uniform platform solution, a new digital public broadcasting service is promising. Conclusively, the digital terrestrial service is heading to a second wave of modernization. To close the gap between technology and humanity in local context, publicizing and digitization of television policy will challenge this democratizing country, Taiwan, whether or not she could move beyond the current status into an advanced industrial and democracy one. Keywords: Communications Policy, Democratization, Digitization, Publicizing, Public Service Broadcasting, Second Modernity