京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第19250号 / 文博第689号 / 新制||文||622(附属図書館) / 32252 / 京都大学大学院文学研究科現代文化学専攻 / (主査)教授 杉本 淑彦, 教授 永井 和, 教授 永原 陽子 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

危機の時代＝アジア・太平洋戦争に活動した四名の料理家の軌跡をたどる。一般にこの時代は食糧難の時代とされ、料理家のような食の専門家の活動の余地は限られていたとされる。本論文では、こうした見方に批判的な検討を加え、食糧難の時代であるからこそ、食や栄養に関する専門的な技能を持った料理家に、例外的な活動の機会が与えられたとする前提に立ち、田中米・香川綾・近藤とし子・東佐与子の四名の活動を詳述する。 / A hundful of cooking specialists, who were involved in Asia and Pacific War, are to be argued in this thesis. Generally, it is said that there is little room for cooking specialsts to develop their skill and opportunity because of food shortage due to the war. By requestioning this view, each articles focuses on extraordinary opportunities given to cooking specialists; Tanaka Yone, Kagawa Aya, Kondo Toshiko, and Higashi Sayoko. / 博士(現代アジア研究) / Doctor of Philosophy in Contemporary Asian Studies / 同志社大学 / Doshisha University

本研究從探討台灣及韓國兩國目前為扶植文化創意、數位內容產業所推動之發展政策比較，介紹兩國目前的推動政策內容以及發展狀態，並探討為振興整體產業，如何運用相關政策而帶動產業發展，且從中國家力量在推動產業時所扮演的角色及力量。透過台灣、韓國對文化創意、數位內容產業之相關推動政策比較，試圖探討執行政策之優缺點，再進一步比較截至目前為止的發展成果。此外，本研究介紹了台灣、韓國兩國近期在相關產業發展過程中所引發爭論的智財議題，在比較分析兩國文化創意、數位內容產業所面臨的智慧財產議題後，探討兩國在知識經濟時代如何保護運用相關智慧財產，及其與產業發展的關聯。為了解台灣、韓國文化創意、數位內容產業界實際現況及對於政府輔助政策的意見，並探討相關推動政策的實效等，本研究在訪談兩國相關企業後，找出目前產業實際問題所在且蒐集來自產業界的意見，最終導出本研究結果，並依據韓國文化創意、數位內容產業發展的歷程，對台灣文化創意、數位內容產業發展提出本研究的建議。 / This study started from the comparison of the Taiwanese and Korean government policies that are intended cultivate the development of culture creative and digital content industry. By introducing the measures and activities taken officially, we can clearly see how each government acts in the development of their culture creative and digital content Industry, following by discussing the pros and cons of the policies and further comparison of the achievements until now in Taiwan and Korea. On top of the background analysis of the culture creative and digital content industry in Taiwan and Korea, this study introduced the intellectual property related issues that were raised during the development, and discussed how they manage to protect and commercialize their intangible assets and how this effects to the industry. Interviews of local companies were conducted in order to evaluate how the Taiwanese and Korean policies work and see if that really meet the demands of the industry. The conclusion of this comparative study comes from the opinions of the industry, and since the Korean had gone further in the development of culture creative and digital content field, the study came out a few suggestions for Taiwan for their future development in these industries.

基於組織、文化與社會三者具有變遷之特性，和彼此互動關係密切的假設，本研究由飲食文化的內涵切入，經由文獻回顧印證魯菜飲食文化的形成暨變遷過程，得知其乃為中國地方文化、社會等互動下的產物。而相對於川、蘇、粵菜系，其較具悠久歷史的孕育、較具有利政經因素的影響、較具獨特資源的供給和較具優勢人文的涵養，固然使魯菜飲食文化成為中國飲食文化的基礎，但也為其埋下了封閉、保守的特性。 本研究以悅賓樓為例，實證結果發現，其所經營的魯菜飲食，無論在物質面向或非物質面向，均有不同程度的改變。前者包括：食材用量結合本地生產，且用量漸增；調味料亦遷就本地消費者習慣，使米酒和提鮮用量增；菜點和烹製技藝方面，則傾向增加水產類菜款，顏色趨於本色但多元，帶鹹菜款比重下降，嫩質感菜款增加和刀工變化與烹調方法趨繁。後者包含：實實在在的管理、正正派派的經營和以客為尊的服務。 由悅賓樓之經營觀之，魯菜飲食文化之變遷主要係受本土化和現代化的影響。而統計與分析顯示，本土化主要表現在菜點和員工兩方面。現代化則顯見於觀念、產品和制度三方面。 本研究其他重要發現則有： 壹、魯菜飲食文化之變遷與形成是漸進的。 貳、魯菜飲食文化變遷之內涵更趨符合現代飲食。 參、魯菜飲食文化變遷的目的非關進步。 肆、魯菜飲食文化的變遷仍持續中。 / Based upon the fact that there are specific features of changes among organizations, culture, and the society, and the hypothesis that they interact closely among one another, adopting methods of historical documents and literature review, this thesis by focusing on the changing content of the cuisine culture; the author proves that the formation and the changes of the Shantung cuisine culture is actually a product of the interaction among regional Chinese culture, the society, etc. In contrast with the Sichuan cuisine, Shanghai cuisine, and Canton cuisine, which enjoy wider popular acceptance, more favorably political and economic influence, better supplied by unique resources, and better humane and social background, the Shantung cuisine culture though has been the base of Chinese cuisine culture, it nevertheless has suffered from being locked-in and conservative. Yueh-Bin-Lou Restaurant is taken as the case study of this thesis. The author found out that the Shantung dishes it serves shows changes to certain extent, both in the material and non-material aspects. The former includes: the amount of the materials used carves relative by proportion of Taiwanese product. The use of seasonings also caters to the tastes of the Taiwanese customers; the consumption of rice wine and MSG increases. The courses and the cookery have shown the following changes: increase of seafood, the color tends to stick to the original but of more varieties; the salty courses are decreasing, tender taste courses appear more often, and more varieties have shown on carving and cooking of food. As to the latter, it includes: practical management, legal operations, and customized services. From the Yueh-Bin-Lou Restaurant case, the author found out that the changes of the Shantung cuisine culture are mainly influenced by indigenization and modernization processes. According to statistics and analysis, the indigenization shows mainly on the ordering of courses, and the hiring of employees; while the modernization can be depicted obviously on concepts, products and systems. Other important findings of this thesis are: 1.The changes and formation of the Shantung cuisine culture are progressive. 2.The content of changes of the Shantung cuisine culture fits more towards modern healthy diet. 3.The purpose of changes of the Shantung cuisine culture has nothing to do with progress. 4.The changes of the Shantung cuisine culture are still undergoing.

馬來西亞位於東南亞南部，由西馬和東馬兩部份組成，共有十三個州和三個直轄區(布特拉再也、吉隆坡、納閩特區)組成。屬熱帶地區，雨量豐沛，宜植物生長，全國森林占總面積的75%，有「綠色王國」之美稱。面積近33. 67萬平方公里，人口26,664,000人(2006年) 馬來西亞華人總人口數為6,215,400人，佔馬來西亞總人口數23.31%，馬來人佔68.52%(包含其他土著)，印度人佔6.97%，其他佔1.2%。華人信仰伊斯蘭教，佔華人總人口數不及1%，佔馬來西亞總人口數的也只有 0.25%，人數很少，儘管如此，它還是一個值得注意的族群。 馬來西亞官方語言為馬來語，馬來語、英語是通用語言。宗教以伊斯蘭教為國教。十六世紀初，馬來西亞先後被葡萄牙、荷蘭、英國統治，二次大戰期間淪為日本屬地。1957年馬來西亞宣告獨立，1963年馬來西亞建國成功，因為馬來人對華人始終心懷疑懼，把華人占多數的新加坡，於1965年逐出馬來西亞。如此，馬來族便成為馬來西亞境內的最大民族，其次為華族、印度族。不同的民族，有不同的文化與宗教。其宗教信仰方面有伊斯蘭教、佛教、印度教、以及民間信仰。在多元民族、多元文化、多元宗教的馬來西亞，不僅內部存在著民族問題，也存在著嚴重的宗教問題。 由於馬來人文化和華人文化有許多不同，甚至相對立的地方。在華人的觀念裡，誤以為伊斯蘭教等於馬來教，穆斯林等於馬來人，伊斯蘭教文化等於馬來文化。對皈依伊斯蘭教的華人，華人也有所謂「進番」的說詞，意即成為「馬來人」或「番仔」。華人皈依伊斯蘭教必須捨棄過去的宗教信仰，改變原有的生活習慣。但是皈依後的華人穆斯林，有些已經符合馬來西亞《憲法》第160條的「馬來人」的規定，甚至馬來化，但是他們仍被馬來西亞政府歸屬為「華族」。 自視甚高的華人，極為擔心會被他們輕視的馬來人所同化，並不喜歡華人信仰伊斯蘭教，甚至對皈依的華人穆斯林加以排斥。但是，皈依後的華人也必須面對許多的困難，首先在文化上和生活上立即遭遇雙重的壓力，而且還要面對社會適應的問題，以及來自國家政策的壓力。他們處在這樣的環境下，文化勢必有融合有衝撞。筆者從2001年到2008年，共七次到馬來西亞田野調查，將所蒐集的專書論著、報章、宗教機構出版品，以及對101位受訪者作深度訪談的一手資料，針對馬華穆斯林的問題，從皈依的原因，皈依後的文化變遷、社會適應的情形，以瞭解馬華穆斯林所處的，所謂五大「文明」，究竟是「文明」抑或「文化」的問題？以及是「衝撞」、「矛盾」、「融合」，或者……的問題？

當全世界風起雲湧將目光投注中共自2004年開始建置之「孔子學院」佈局全球，甚至引發新一波中國「文化威脅論」之際，中共另一「軟實力」（Soft Power）卻正悄悄崛起，其受中共國家領導人重視程度較「孔子學院」有過之而無不及，定位與位階也遠遠高於「孔子學院」之上，那是直屬中國文化部之海外「中國文化中心」。 　　中共於海外設立「中國文化中心」是其整體文化「走出去」戰略實踐方案之一，具有因應國際背景與現實需求、提高國家文化地位、擴大對外影響力與軟實力、以及加深中西文明對話與認同的目的；而在海外設立文化中心是二戰之後全球主要強權國家普遍採用的文化「走出去」戰略，是其推廣本國文化、傳播思想價值、樹立國家形象的重要方式，也是提升國家軟實力重要平臺。 　　在中共30年傲人的經濟發展下，自江澤民於1988年在非洲模里西斯及貝寧設立海外「中國文化中心」開始，目前已在全球建成30個海外「中國文化中心」，預定在2020年達成建設50家的目標，確定從「經濟走出去」到「文化走出去」之戰略布局。近年來，隨著中國國際地位和影響力的迅速提升，海外「中國文化中心」的發展來到前所未有的機遇；惟全球設立家數與主要強權如法國、英國、德國等，仍有相當差距且分布不均，未來中共如何運用中國綜合國力及落實提高國家軟實力，明確制定宏觀總體戰略布局以展現全球文化「魅力攻勢」有其迫切性與挑戰性。 / When the world pays more attention to the Confucius Institute, which has been built by the Chinese Communist Party since 2004, even sparked a new wave of culture threat theory, the other soft power of the Chinese Communist Party is quietly rising. That is the Overseas China Cultural Center, which is affiliated with the Ministry of Culture of the People's Republic of China. It is not only highly valued by the leaders of the CCP than the Confucius Institute, but also has a much higher position and rank than the Confucius Institute. 　　The Overseas China Cultural Center is one of the practices of its comprehensive culture going out strategy by the Chinese Communist Party. It has the purpose of improving the national cultural status, expanding its influence and soft power in response to the international affairs and realistic needs, and deepening the dialogue and identity between Chinese and Western civilizations. The establishment of the Cultural Center abroad is a major policy of culture going out strategy between great powers around the world after World War II. It is an important approach to promote national culture, disseminate ideological value and establish a national image. It is also an important platform to enhance national soft power. 　　In the 30 years of economic development of the Chinese Communist Party, President Jiang Zemin has set up the first overseas China Cultural Center in the Republic of Mauritius and the Republic of Benin in 1988. So far, it has been built 30 Cultural Centers in the world. China Cultural Center is also scheduled to reach 50 targets by 2020. The layout of going out strategy was transitioned from economy to culture. In recent years, with the rapid advancement of China's international status and influence, the development of overseas China cultural center has come to unprecedented opportunities. However, there is still a considerable gap in the number of centers with great powers, such as France, the United Kingdom, and Germany, etc. How can the Chinese Communist Party employ its comprehensive national strength and implement the national soft power in the future, and it is urgent and challenging to formulate the overall strategic layout to demonstrate the global cultural charm offensive.

2000年以來，台灣出版社大量引進翻譯推理小說，日本及美國籍推理作家相繼來台舉辦簽書會，顯現推理小說在台灣有一定市場版圖。相對之下本土推理作品卻寥寥可數，本土推理創作者也鮮為人知。本研究以Bourdieu提出的文化場域理論為研究架構，探討創作者與文化中介者的資本組合與美學標準，如何影響本土推理小說的生產機制、交換條件與流通過程，並形成台灣推理市場以翻譯為主的現象。 本研究先以次級文獻分析法調查彙整近年推理小說市場概況，再透過半結構式深度訪談法相關行動者15位。研究發現2000年後歐美與日本推理小說出版產業成熟，相對於1980年代後才重新起步的本土創作，使台灣出版業者傾向引進翻譯作品，其中文化中介者的特定品味扮演了關鍵影響力。本土創作則以文學獎為生產關鍵。創作者不僅能透過文學獎獲得象徵價值，也能獲得出版社與其他創作者的社會資本，是進入本土推理創作文化生產場域的管道。 本研究也發現，這些本土創作者儘管部分堅持推理小說獨特的美學，但主要是受到翻譯書市場排擠，只能以文學獎獲得出版機會，被迫形成小眾市場。本土推理創作因此在台灣形成「小眾」的「通俗文學」。 / Since 2000 A.D, lots of translated detective novels have being published in Taiwan, and noted American and Japanese novelists come to Taiwan to do signing for new books, which demonstrates that detective novel is popular in Taiwan. Nevertheless, there are seldom local detective novels to be published compared to the large market. The paper quoted the theory of field of cultural production by Pierre Bourdieu, and analyzed how the creators and cultural intermediaries’ form of capitals and aesthetic standards have constructing the production mechanism and logistics process of local and foreign novels in order to understand how the market of detective novels in Taiwan are dominated by foreign products. As for the research method, the paper adopts second documentary analysis and in-depth interview. The former is to calculate the published detective novels from 2001 to Sep. 2015 sold in the dominant on-line bookstore, “Books”, in Taiwan, while the latter is to interview 15 related agencies included writers, editors, translators, and manager of bookstore to understand how the whole market of detective novels has changed in recent 15 years and the process of every agency interact with each other through their own capitals and form the production mechanism. The results contain 3 following issues. First, local production has re-started since 1980’s after a long-time decline, while the publishers in west and Japanese have developed into matured system and produced well-known novelist every years. In contrast with spending large costs to cultivate local writers on their own, Taiwanese publishers prefer to produce noted foreign works, while their taste have an influence on the judgement of works. Secondly, literary awards are the vital way in the production of local works, served as the way that the local creators enter into the field of cultural production. The creators receive symbolic capital through awards, and even obtain more opportunities to publish their works or cooperate with other related organization, which means the acquirement of social capital. Nevertheless, the publishers mainly promote those local works through the reputation of awards, so the novelists are still little-known in the popular market, and they still cannot survive through the creation of detective novels. Finally, the market of local detective novels is forced to be the field of restricted production as a result of supplanted by translated novels. There the local works can only be published through literary awards. As a consequence, the production of local detective novels becomes popular literature of niche market.

日本卡通在台灣相當受到歡迎，其閱聽人不只限於兒童，更擴大到青少年甚至年輕成人的年齡層，已經是台灣重要的電視節目類型。日本卡通除了媒體文本的播映之外，同時亦挾帶大量相關產品叩關，不但創造出廣大的商機，更全面而深入的影響了閱聽人／消費者的休閒娛樂與日常生活空間。 本研究採用問卷調查的方式，以台北市國高中生為研究對象，深入探討國內青少年接受日本卡通與相關商品的情形。研究者首先探討媒介結合商品的廠商策略與市場現狀，繼而從閱聽人使用的角度，追問青少年如何將卡通相關產品使用在日常生活當中，並綜合討論日本卡通影響下的青少年消費文化。 統計結果發現青少年收看日本卡通的時間能夠有效預測日本卡通相關商品的購買頻率，因此證實了收看日本卡通確實能夠提高青少年對於日本卡通相關商品的購買行為。研究發現日本卡通結合相關產品的銷售可以互相增強，而台灣青少年購買最多的卡通相關產品，是兼媒體、商品於一身的漫畫與電動，因此卡通、漫畫、電動三者隱然表現出一種「成套」販賣、使用的特色，甚至對日本流行文化整體的接觸與好感都有互相加強的現象。研究亦發現台灣青少年購買卡通商品時，最主要的意義是「新奇流行」，可知台灣青少年受到消費主義相當的影響，尚未發展出具有真實性、抗拒性的青少年文化。然而資本主義市場邏輯與青少年文化的抗拒特性關係相當複雜，因此台灣青少年是否具有主動性？這個問題仍留下許多值得討論的空間。 / Japanese animation is so popular in Taiwan that it has become a major television genre across children, adolescents, and young adults. It is not only a media text, but also bringing lots of animation merchandise, including comic books, games, clothes, accessories, and so on. Thus Japanese animation industry has created marvelous benefit, and its influence is prevailing and deeply on many aspects of the audience/consumer*s leisure and everyday practice. This thesis takes the adolescents in Taipei for example, exploring the promotion tactics of the industry on the one hand, and discovering how the adolescents use the animation merchandise on the other; then the discussion of youth culture and consumer culture in Taiwan will be carry on. This research finds out that the animation merchandise would reinforce each other and enhance the audience/consumer*s buying frequency. Comics and games are consumed most by the adolescents in Taiwan, implying that the three (animation, comics, games) are sold and consumed in "packages". At the same time, the most important meaning adolescents inscribe to the animation merchandise is "fashion and novelty", revealing that the youth culture in Taiwan is following the market and consumerism, not a original and authentic one.

臺灣已經成為一個富裕的消費社會。隨著經濟能力的普遍提升，文化產品的消費不再只取決於個人的經濟能力。本研究由質疑三種傳統以經濟特性為主的階級指標談起，並根據P.Bourdieu的階級理論建立起第四種文化的階級指標，認為除了經濟因素的考量外，也必須加上個人文化資本的評估，並將這樣的階級觀討論古典音樂文化產品的消費。 　　消費高級文化產品向來具有社會區辨的符號性功能；近來受到科技變遷、大眾媒介和市場經濟出現的影響，資本主義商品生產趨勢擴展至文化領域，文化層級呈現模糊的狀態。這種同時來自生產和文化層級的變化影響了階級和文化消費之間的關係，特別是以消費做為階級社會區辨的展示。 　　針對這種現象，本研究採取政經、歷史分析和深度訪談加以討論，認為有錢並不一定就會有文化，文化消費同時需要購買能力和鑑賞能力，要討論階級和文化消費的關係必須採行文化階級指標的新階級觀；同時類似像古典音樂之流的高級文化仍舊被多數人視為社會區辨的標的，只是不應淪為假意的模仿。

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