2002年在文建會積極倡導推動「台灣世界遺產潛力點」之下，將世界遺產的保存觀念陸續引進國內，形成一股風潮，也衝擊著台灣二十餘年來，在文化資產保存工作上的偏差與不足，不論是在保存項目上、保存觀念上、保存工法上、保存法令上，都明顯跟不上世界潮流。世界遺產的研究議題也在這股風潮帶動下逐漸興起，其所涵蓋的學術領域包羅萬象，是門必須跨學科領域的綜合學問。 2005年「文化資產保存法」修正後，文化事權已統一，台灣文化資產保存工作也進入另一個新時期。值此，在國內文化資產保存維護工作如火如荼的向前邁進，並與國際觀念接軌之際，不管是有形的文化資產或是無形的文化資產，都要從世界遺產保存的新視野，重新審視如何加以保存與維護。以世界遺產的觀點來探討雅美族文化資產的保存，希望能從中進一步對台灣文化資產的保存有所省思，提醒我們對於這塊土地最原始的原住民族，所遺留下來具有豐富台灣特色的原住民族文化資產，在長期受到忽視及邊緣化的情形下，有機會被正視及喚醒。 蘭嶼面對全球化、現代化過程，造成雅美族傳統文化的衝擊，值得雅美族人及各界共同關注。而朗島傳統聚落本身就是一部真實且具體的人類文化紀錄，隨著時空環境的演變過程在朗島留下痕跡。維持朗島傳統聚落及文化景觀的永存是一項持續不斷的工作。也必須在保存時不斷思索探討創新問題，以確保其在新的經濟條件下能持續發揮其功能。朗島傳統聚落及文化景觀的永續保存，對當代及未來人類歷史都在在豐富了其在文化上的多樣性與豐富性。而且其中無形文化資產，如傳統歲時祭儀、技藝、語言等，相較於傳統聚落、住屋、船屋等有形文化資產，更有保存的急迫性，因為這些有形文化資產，在拆之前都還有機會留下或復原，但那些無形資產則容易隨著年代久遠而消逝。所以，除了保存，更重要的是傳承，這也是世界遺產強調的精神所在。雅美族人對其後代子孫或全人類究竟要保存些什麼？傳承些什麼？端視雅美族人自行深思與決定。本論文並不期望探討蘭嶼是否能成為世界遺產，而是希望能將世界遺產的保存觀點、管理機制、案例等介紹給雅美族人，讓雅美族人現在及未來面對自己的文化資產保存問題時，多一種思考保存的選項。期盼藉由本論文的研究，呼籲各界重視最具台灣特色的原住民族文化資產，並且讓以往台灣在文化資產保存維護觀念上累積的錯誤經驗，不要重蹈覆轍在原住民族文化資產的保存上。

台灣的傳統產業在過去時代扮演重要角色，但因市場環境變動、競爭日益劇烈而漸漸失去優勢，在競爭力衰退下不得不力求轉型。近年來政府開始大力推動本土文化的保存與發展，積極把傳統產業或具有特色的地方性產業加以推廣，藉此來改善產業的經濟情形，加深地方認同感和在地連結。 過去以生產為主的傳統產業想轉型利用文化加值，首先在觀念上需要有所突破，從專注在製造產品到著重消費者的感受，由物質的生產進化到與知識經濟、體驗經濟、美學經濟相關。台灣在文化創意產業中的「創意生活產業」是不同於其他國外文化產業的分類，以創意整合生活產業的核心知識，是提供高質美感和具有深度體驗的產業，呼應了台灣朝向精緻、創意及高品質的趨勢。 本研究欲探討企業由傳統產業轉型經營創意生活事業的過程，透過動態能力的架構來了解企業如何培養新的能力以適應環境的變化。讓更多欲轉型的傳統企業有合適的參考典範。 本研究之研究問題有四點：1. 傳統產業轉型經營創意生活事業的動機為何？ 2.傳統產業轉型經營創意生活事業的過程為何？ 3. 傳統產業如何將產業文化資產活化再利用？ 4. 轉型後的企業如何經營創意生活事業？ 本研究之研究結論如下： 傳統產業受限於企業規模與產業特性，要從原本單純的製造生產跨足創意生活事業往往需要有適當的契機。 傳統產業轉型經營創意生活事業的過程中，發展新能力所需的核心知識，通常是來自於過去經營時對該領域專業知識的深度了解以及豐富的產業經驗。 傳統產業轉型經營創意生活事業的過程中，除了過去的製造能力外，會藉由專業人員指導、國內外類似企業參訪、實做經驗或從消費者的反饋來培養服務能力。 傳統產業轉型經營創意生活事業的過程中，企業會從產業文化的核心去擬定目標確立發展的主體，將其產業文化資產的特色充分發揮、創造價值。 傳統產業轉型經營創意生活事業的過程中，會將在地特色、創意與教育等元素融入產品以及體驗服務中，並以生活化的方式表現出來，以使顧客有深度且豐富的體驗感受。

本研究為長期性的敘事研究，運用了Wenger (1998)的「實踐社群」社會學習理論(communities of practice)，以及Norton(1995)的投資理論 (investment)，研究目的是為了探索一位台灣的英語教學研究所博士生的學術成長經驗及其所衍生的意義，特別是針對他奮勉進行學術研究投稿、完成博士學位、並進而開啟他未來的學術生涯等等的過程。本研究主要追蹤了研究參與者在其博士生涯的三個形成階段中，他的學術投稿經驗的心路歷程，一路到研究參與者最後在全球的英語教學領域之學術社群中取得更完全的參與度階段。為了能夠對於研究參與者其經驗有深入的了解，本研究採用了「敘事研究法」，收集了研究參與者的學習經驗自傳、敘說訪談的錄音及其逐字稿、研究者的現場筆記及研究筆記、以及其他由研究參與者所提供的文件等資料，以便能分析參與者的言談資料、且對資料進行敘事性的分析、並進而產出情節故事作為研究結果。研究結果發現，研究參與者持續努力來達成其所認定的學術投稿要求，確實增長了他在學術素養的成長，並足以成為學術社群當中的一員。在其過程當中，研究參與者對於實踐其學術投稿的過程當中相關資源的運用方式，與在Wenger ‘s (1998) 「實踐社群」社會學習理論的非正式學習的特色是相互呼應的。研究參與者在學術社群當中所獲得的參與度，也表現出了其所累積的文化資產。最重要的是，從研究參與者的經驗透露出，就其受到英語教學社群的社會文化的影響之下來看，研究參與者埋首致力於學術投稿活動不僅僅是為了當下於英語教學社群的參與，也為了即將到來的終生志業進行Norton (1995)理論當中的個人投資的傾向。這樣的情況顯示出，要學習成為一個英語教學研究領域的學者，的確是涉及了諸多層面的複雜構面及諸多意義上的磋商。而就整個過程來說，也是與研究參與者，他身為初階的年輕學人，身處於台灣的社會情境當中，為了能夠符合全球各地諸多種類專業社群的規範，他以放遠全球的思維來，來實踐在地的行動，成長中的信念是有所共鳴的。最後，本研究將針對台灣高等教育環境中的英語教學研究領域之博士班課程提出建議並討論，以促進年青學人們在學術領域的發展。 / Drawing on Wenger’s (1998) social learning theory as well as Norton’s (1995) notion of investment, this longitudinal qualitative study aims to investigate and derive meanings from the academic experience of one former Taiwanese TESOL doctoral student as he struggled to write for scholarly publications, survived the Ph.D. program, and initiated his academic career. The study mainly traces the twists and turns of his publishing experience in three stages of his forming years till the participant finally has acquired a fuller membership in the global TESOL academic community. To capture and derive an in-depth understanding of the experiences, a narrative inquiry approach was adopted, collecting the young scholar’s written autobiography, recorded narrative interviews and transcripts, the researcher’s research notes and other related documents that the participant provided, so as to thematically analyze the narrative data and then exert the narrative analysis to configure the happenings and events into seven emplotted narratives as the research results. The findings indicate that the participant’s continual endeavor to meet the perceived and assumed requirements for publishing indeed rendered him the academic literacy development necessary to become a member of the academic community. In the process, the participant’s ways of utilizing resources situated in the practice of publishing echo the features of informal learning in Wenger’s (1998) social learning theory. The membership in the academic community gained by the participant also indicates the accumulated cultural capital. Most importantly, the participant’s experience as a doctoral student, being socially and culturally medicated by the TESOL academic community, reveals a tendency to engage in academic tasks for scholarly purposes not only for the current participation in the TESOL academic community but also for personal investment (Norton, 1995) for the coming life-long career. This suggests learning to become a TESOL scholar indeed involves multiple layers of complexity and challenges, and the whole process is also a resonant to his growing faith as a novice young scholar, situated in the social context of Taiwan, to act locally and think globally, in order to conform to norms of various discourse communities around the world. Suggestions for TESOL doctoral programs in Taiwanese higher education to help and support young scholars’ academic development are discussed.

有視於許多珍貴人類文化資產或因全球化導致文化均質化，或因武裝衝突、發展觀光及環境惡化等因素，面臨毀壞甚至消失的危機，聯合國教科文組織和許多國際組織透過制定及締結國際公約喚起國際社群的關注，凝聚國際間的集體力量，帶動國際文化保護保存的合作，以維護文化的多樣性、推動文化對話及族群相互尊重包容。基於全世界對於文化資產保護的文化共識，1954年《海牙公約》制定至今已逾一甲子，《保護世界文化和自然遺產公約》至今也邁向近半世紀之久，我國1982年公布實施《文化資產保存法》，至今亦已有卅餘年。 本論文研究目的在檢視國際公約有關文化保存保護的歷史發展，及我國現行文化保護保存法規與實務問題。採質性研究、個案研究法，將我國最高行政法院文化資產相關判決整理分析，期從研究發現中獲得文化保護行動的反思與我國修法的參考。 研究發現我國文化法規整體規範尚未包含無形文化遺產的保護保存，此一部分亟待未來立法。此外，現行法規內容及文物分類與國際公約所行方式不同，另一方面，我國文化事務主管機關執行政策時所遇困難，可參酌國際公約與他國現行方式，本於我國文化資產特性與文化整體特色因應調整。除立法修法建議之外，本論文亦從個案分析與比較研究發現，我國對於文化資產保存的概念採物質取向，衍生文化物私權凌駕公權之上的衝突情況，若期文化永續發展，宜將「文化資產」概念轉化為「文化遺產」觀點，從更高的文化哲學層面執行我國文化事務的全面保護保存政策。 / Regarding the destruction of many precious human culture, either due to globalization to cultural homogenization, or because of armed conflict, environmental degradation and other factors, the arouse concerns and collective strength of international cultural cooperation led to maintain cultural diversity, promoting cultural dialogue and mutual respect for ethnic coexistence. Based on the world's cultural consensus for the protection of cultural heritage, firstly the 1954 Hague Convention and consequently the Protection of the World Cultural and Natural Heritage Convention, both have built up a well-organised system for culture preservation and conservation. In Taiwan, The Culture Property Preservation Act has also been implemented in 1982. This paper explores historical development of the relevant international conventions on cultural preservation and protection as well as the existing cultural legislation and practical issues in Taiwan. Drawing upon case studies as qualitative research method, the analysis of twelve cases selected from the highest administrative court judgments illuminates currently controvercial issues and leads to make suggestions of what action of amending should be considered to empower authorities and provide more effective administration to enhance domestic culture policies. The result of analysis indicates that the intangible cultural norms and regulations have not been viewed as an important issue and legislation for intangible cultural heritage should be put on top priority in national culture development policies. The difficulties encountered while implementing policies of cultural affairs shed lights on central and local hieracheical institutions that the realm of autonomy should be distinctively clarified so that administrative agency could be helpful to solve conflicts and diversities. In addition, the case study and comparison also found that collective rights on the preservation of cultural assets were derived overriding private rights. However, if the sustainable development of culture would be expected then a balance between collective and provate rights on cultural affairs should be taken as legal norms

國內過往對於古蹟的保存手法，造成古蹟去生命化的後果，原因除了其忽視再利用面向之經營規劃外，純粹性的觀光政策也簡化了古蹟的社會文化功能。故 「再利用」一詞，於近幾年問被各界提出與熱烈討論，試圖去轉變「古蹟」的消極功能。但事實上，現今國內古蹟保存政策法令，在支援「再利用」此概念時，仍有不足之處。《文化資產保存法》自民國七十一年公佈施行以來，歷經四次之增訂修正，對古蹟保存之發展提供改善的空間。然而對於再利用工作，始終未能有突破性的規範，導致古蹟保存工作就在體制不全的情況下，未能積極發揮其角色所蘊含的意義。緣此，本研究旨在分析自四○年代以來，國內古蹟保存政策之歷程，隨著社經環境的變遷，瞭解現階段古蹟保存政策法令與經營管理上之不足，並擬議古蹟保存再利用之整體配套策略，提供當前古蹟保存政策之參考。 首先，本研究藉由整理分析文獻資料與論述古蹟再利用之意義，進而依據時間序列，探討各階段之古蹟保存政策重點；並分別就行政、立法與社會結構面向，說明古蹟保存的當前困境。此外，藉由問卷調查方式，以釐清再利用機制應參酌的相關面向；並輔以個案調查訪談，以瞭解現行古蹟保存再利用工作之執行情形，作為研訂古蹟保存再利用策略之參考。最後，規劃古蹟保存再利用策略機制，確認古蹟保存再利用之目標，並建立再利用階段性策略，以對國內古蹟保存困境提出改善之道。 本研究結果在現況課題解決方面，建議釐清再利用之定義、建立行政資源統籌部會與修正私有古蹟委託管理相關條文規定；在問卷調查與個案研究方面，發現私有古蹟衝突有待化解、保存誘因不足、欠缺公開透明的再利用經營管理審查機制與經營管理方式欠缺監督與彈性化之問題；另於再利用機制之配套法令方面，建議應提高再利用計畫之執行位階、釐清再利用、修復工程計畫與經營管理工作三者間的關係，並且規範管理再利用收益事項。本研究參酌問卷調查結果，研擬再利用策略之執行機制，在參與主體對象上，建議古蹟所有權人、政府機關與非營利組織之投入；在推動方式方面，建議以社區總體營造、公私合作與商圈再造方式進行；於再利用階段性策略上，共分為三階段：前置基礎階段建議進行古蹟調查研究，以建立完整的歷史資料庫；第二階段強調再利用計畫與修復工程建設的平行協調；第三階段進行古蹟經營管理維護計畫，建構古蹟經營管理機制。期以上述之建議與策略機制，對國內古蹟保存工作有所助益。 關鍵字：古蹟保存政策、再利用、古蹟經營管理、文化資產保存法 / As for the historical preservation in Taiwan, we overlook the fact that preservation is to "reuse" a historical monument by management and planning, and the tourism policy only focused on "one dimension@Tourism", which simplified the social and cultural functions of historical monuments. As a result, we fail to revitalize our historical monuments. The catchphrase "reuse", in an attempt to transform the passive function of historical monuments, has been the center of attention among communities in recent years. However, the laws regulating the protection of historical monuments are not fully supportive to the concept of "reuse". "Cultural Assets Protection Law" enacted in 1982, had undergone four revisions due to the need to improve the development of historical preservation. Even so, we hardly see any breakthrough of the laws for the works of "reuse". The current legal system fails to take an active role in terms of historical preservation. Concerning this, the thesis aims to analyze the development of historical preservation policies since 1951. With the changes of social and economic environments, we need to understand the insufficient respects of policies or regulations in terms of management in the current stage, and propose a set of compatible strategies as a reference to the policies of historical preservation. At the first stage, the thesis is to compile and analyze existing documents looking for the significance of reusing historical monuments. Furthermore, in a chronological order, it studies the measures and policies of historical preservation in different stages in order to draw a picture of the difficulties that have been encountered in administrative, legislative and, social structural levels. In addition, the supplement of questionnaires is to clarify different perspectives that should be considered in terms of "reuse". Also, this study provides with individual interviews of the execution of "reuse" mechanism, to further understand the current situation and to offer reference to the policy makers. In the end, the thesis offers a framework to achieve the "reuse" mechanism and to confirm the goals of both preservation and reuse. With the establishment of reuse policies in different stages, the thesis offers a solution to improve the current difficult situations. As to the solution of existing problems, the thesis suggests that we clarify the definition of "reuse", establish a department for the administrative management, and revise the articles as well as clauses regarding private historical monuments. From the questionnaires and case studies, we find problems like the conflicts of private historical monuments, the lack of incentive for preservation, the absence of a transparent mechanism for examining reuse management, the absence of the inflexibility and the supervision over the management. As to the laws related to reuse mechanism, we suggest to raise the priority of implementing reuse projects, clarify the relationship among reuse, monument-repair projects, and administrative works, as well as regulate and manage the profits from reuse projects. Based on the result of the questionnaires to frame the implementation mechanism of the reuse strategies, we suggest participation of reuse by the owner, government and the NPOs, and community empowerment, public-private partnership and commercial region reconstruction to set into action. There are three stages on reuse strategies. First, we recommend monuments investigation and studies to establish the complete database; second, strengthening the parallel relationship of reuse projects and monument-repair projects; third, executing monument management project and construct its mechanism Based on above strategies, we believe historical preservation would benefit. Keywords : Historical Preservation Policy Reuse Historical Monument Management Cultural Assets Protection Law

「北管」一詞實為一集合名詞，不僅指稱樂種，也指稱劇種，更指稱了一種傳統藝術文化型態，廣泛融入臺灣漢人的宗教、民俗與生命禮儀的各個層面，在移民社會中產生了新的傳統與認同。 「臺北靈安社」為子弟軒社，是臺灣北管文化圈內重要的團體類型。清同治10年（1871），為配合霞海城隍的祭典活動，由大稻埕地區從商的信徒們集資，共同籌組而成，係臺北霞海城隍廟的輿前子弟團。 臺北靈安社在以城隍信仰為中心所展現的一系列儀式行為上，不僅具有軒社、曲館與神明會的本質，負責在慶典時排場扮仙或迎神遶境，並展現出軒社與大稻埕在地公廟—霞海城隍廟、法主公廟、慈聖宮，以及比鄰的大龍峒保安宮，在人文地理與自然地理的緊密連結。另與大稻埕、大龍峒地區，以及臺北、基隆、宜蘭，乃至中臺灣、南臺灣等地之各子弟軒社、曲館、宮廟等單位，形成多元型態的交陪與競合關係，並隨歷史、社會的脈動而變遷。 本研究以民族誌（ethnography）之研究技術，嘗試詳盡的深描（thick description）臺北靈安社在臺灣民間宗教活動中的三大類型北管演出型態：「排場」、「出陣」和「演戲」。將北管音樂視為一種文化符碼（cultural code），對於臺灣的漢人而言，其表徵和指涉便是「儀式（ritual）之進行」，無論是聖誕慶典的遶境排場，或是婚喪喜慶的生命禮俗，北管音樂的聲響暗示人們處於某種閾限（仲介）狀態（liminality），是神聖與非常時期；儀式進行者以北管音樂宣告儀式之開始、延續儀式之進行，最後再以北管音樂來終止儀式。 本研究中臺北靈安社所展現的文化意涵，是以臺灣民間宗教的神話與神仙系譜中，所形塑之城隍爺神格特質為基礎，延伸出陪祀的文武判官及謝范將軍，並在合境平安的信仰訴求下，由臺北靈安社雕塑神將，負責執行遶境的儀式行為。臺北靈安社的遶境，傳承臺灣地區以北管帶領神將、神轎的三段式陣頭模式。同時為此儀仗陣頭製作出各式裝飾文物，充分發揮傳統民間工藝水準，包括西燈、彩牌、花籃鼓架及大量的繡旗等。 此外，為作戲酬神，也為遶境所需，傳習福祿派的北管音樂系統，將儀式行為與信仰象徵延伸至北管扮仙戲的舞臺上，同時也因此奉祀了傳統戲曲之神—西秦王爺，自稱梨園子弟，形成一個由北管音樂傳習及西秦王爺信仰所凝聚的社群（social group）。 臺北靈安社透過上述一系列的儀式行為，將虛擬的神聖世界以象徵化的手法與世俗生活連結，並透過神將、北管等傳統藝術之傳習，以及城隍爺、西秦王爺的信仰凝聚力，還有與各宮廟、軒社間的連結交陪，形塑出獨特的子弟軒社文化；成為臺灣民間風俗、宗教活動中不可或缺的要素，具備傳統性、地方性、歷史性、文化性及典範性。 但臺北靈安社在展現子弟軒社文化的同時，也面臨軒社經營與北管牌子散軼、俗化的困境。歷經清代、日治、民國三代，臺北靈安社不斷因應著臺灣社會環境的變遷，遵循不同政權的政策法令，加入不同的協會組織，嘗試與學術文化界合作，致力於文化資產保存工作；這些歷史上先賢們與目前社員們多元的努力，都為臺北靈安社的延續與發展提供了進路，這些記錄對其他軒社、曲館、武館、神明會等，這些和臺灣民間宗教相關的團體都將有所貢獻。 / “Pei-kuan” is a collective term, which refers not only to music genre but a type of genre as well. Moreover, it refers to a kind of traditional artistic and cultural type. It merges Chinese religions, folk customs, and rituals of life in Taiwan, which results in a new tradition and identification in the migrating society. . “Taipei Ling-An Association” is voluntary association, which one of the important associations in the Pei-kuan cultural circle in Taiwan. In 1871, the tenth year of Tungji period, in order to serve the festival held by Xia-Hai City God, the association was established by its believers engaging in business who came from Dadaocheng and raised the money to set up the voluntary association of Taipei Xia-Hai City God Temple. The rituals developed by Taipei Ling-An Association are based on the belief in City God. The rituals have derived their essence from Voluntary Association, Music Association, and the Association of gods. Besides, Taipwi Ling-An Association is in charge of playing the role of God, welcoming God, and Pilgrimage Procession, which show the tight alignment between cultural geography and natural geography of Voluntary Association and the Local God Temple in Dadaocheng-- Xia-Hai City God Temple, Fachukong Temple, Cihsheng Temple, and Dalongdong Baoan Temple nearby. The multiple modes of accompanying and competitive relations formed by the connection among Voluntary Association, Associations of Music, temples located in Dadaocheng, Dalongdong area, Taipei, Keelung, Yilan, the central Taiwan, and the Southern Taiwan are changed with the flow of history and social changes. This study is based on ethnography to conduct a thick description of the three important types of pei-kuan performance performed in Taiwanese folk religions in Taipei Ling-An Association: “concert,” “procession,” and “drama.” Taking music of pei-kuan as a cultural code, for the Han Chinese living in Taiwan, people here deem Pei-kuan as a symbol and reference to “the procession of ritual.” Whatever the procession and concert in birthday celebration of gods or the life rituals of marriage, funeral, or festivals, Pei-kuan music implies people are in a kind of liminality, between the period of divinity and critical moments; the performers of the rituals begin, continue, and end the rituals with Pei-kuan music. In this study, the cultural content bringing forth by Taipei Ling-An Association is based on the divine characters of City God who is listed in Taiwanese folk mythology and the genealogy of gods, and then develop the literary and martial judgements and General Hsieh and Fan accompanying the rituals. Basing on the appeal of peace around the area, Taipei Ling-An Association was commissioned to carve the image of God General and conduct the procedure and ritual of entering the area. The pilgrimage activity of Taipei Ling-An Temple inherits the three-segmented mode of the leader of the procession—God General and God palanquin led by Pei-kuan. Meanwhile, the ritual of the procession has created different kinds of historical relics, as shows the spirit of the traditional folk artefacts, including palace lantern, carved plaque, carved drum stand, and great numbers of embroidered flags. Besides, in order to perform a drama for thanking gods and meet a demand from the pilgrimage activity, the musical system of pei-kuan follows the Fulu style to extend the ritual activities and the symbol of religions to the drama of playing the role of God on the stage. In this way, the tradition forms a social group made from the combination of the tradition of Pei-kuan music and the belief in Lord Xiqin, the God of traditional Chinese drama and called himself as the Children of the Pear Garden. Through the rituals mentioned above, Taipei Ling-An Association combines the virtual divine world with the secular living styles by means of symbolization. It also forms a unique voluntary association culture by inheriting the traditional arts of General God, Pei-kuan, and merging the beliefs in Lord City God and Lord Xiqin, and the experience exchange with different temples, and voluntary associations. All of these create a necessary elements in Taiwan’s folk customs and religious activities, which has the essence of tradition, historicity, culture, and paradigm. While Taipei Ling-An Association is developing the culture of voluntary association, it is facing the dilemmas of the operation of the association and the dispersing and secularization of Pei-kuan sheet music as well. Through Quing dynasty, Japanese occupation period, and the Republic of China, Taipei Ling-An Association is devoted to following different policies and regulations of different political powers, participating different organizations, attempting to cooperate with academic and cultural fields, and preserving cultural heritages. Owing to the efforts taken by the predecessors and the current members, Taipei Ling-An Association is able to continue and develop. These records have great contributions to other folk religion associations in Taiwan, such as voluntary association, music association, martial arts association, and the Association of gods.

「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。

本研究以國中生基本學力測驗成績為例，採問卷調查法，以89學年度台北市四所國中之三年級學生共286人為樣本，探討學習資產對學業成績的影響。研究所稱之學習資產係指社會資產與文化資產二者之合稱，前者意指經由人際互動創造出來的教育期望、參與及人際關係等學習資源；後者則包含參與各種不同文化活動、接受文化刺激等。不同的學生具有不同的學習資產，因此對學業成績的影響各不相同，研究的目的即在探討不同種類之學習資產對學業成績的影響效果，以及不同種類學習資產相互間之關係。 主要研究發現如下數點：1.文化資產與學業成績有關，具備不同文化資產的學生彼此間學業成績有所差異，文化資產較豐富之學生成績較佳，文化劣勢之學生學業成績較為不佳；2.社會資產與學業成績有關，社會資產較豐富之學生學業成績較佳，社會資產不足學生之成績較為不佳，學生具備不同社會資產彼此間學業成績有所差異；3.學習資產多寡隨家長學歷不同有明顯差異，家長高學歷之學生，學習資產較為豐富，家長低學歷之學生學習資產較為不足，並進而影響學業成績；4.社會資產和文化資產有密切的相關，文化資產對學業成績的影響，受到社會資產的影響，文化資產需透過社會資產產生作用，二者密不可分。 分析結果發現，最明顯影響學業成績的文化資產變項為是否補習，其他文化資產變項如課外閱讀或是參與高層文化活動等則效果較不明顯。朋友成績、家長參與親師活動、學習態度及教育期望等四個社會資產變項對學業成績有顯著影響；家中手足人數及家長對子女學校生活及關心成績的影響效果較不顯著。在控制家長教育因素之後，學習資產對學業成績的影響仍然顯著。結果顯示，家長透過提供學習資產而影響子女的學業成績。綜言之，本研究發現豐富的學習資產能創造出較佳學習環境，而透過較佳的學習環境，有助於提升學生之學業成績。 根據研究結果，建議家長與子女經常進行進行關於學業方面之互動及溝通，多參與親師活動，提供充足的文化刺激，同時提高教育期望等，有助於提升學生學業成績。同時，師生間的互動及期望、教師經常與家長保持連繫及互動對學生學業成績也有正面幫助。 / Academic achievement is often used as an explanatory factor of students' future SES, though academic achievement is affected by other variables. This article attempts to investigate important factors associated with academic achievement. Using a sample of 286 junior high school students in Taipei city, we investigate the role of social and cultural capital on academic achievement. The study confirms a consistent finding of earlier research in capital theory-----academic achievement is significantly affected by social and cultural capital. Results suggest the importance of social and cultural capital in the educational process, and the involvement of parents in this regard, should be an important policy promotion. KEYWORDS: social capital, cultural capital, learning capital, academic achievement

本研究著眼於原住民文化產業智慧資源規劃的議題，特別是以原住民工藝產業當中的編織工藝作為研究對象。在智慧資源的創造和保護方面，對於原住民民俗創作的法律討論和立法行動，在我國雖然已有初步成果，但卻仍有許多爭議尚待解決，因而仍無法提供原住民族人充足的保護，不過即使如此，產業仍然需要在此模糊不清的法律狀態下，尋找最佳的發展路徑，換言之，從智慧資源的管理和應用方面，在盡可能建立智慧資源的基礎之後，管理者應如何透過原先具備或後天取得的資源，促使經營的事業體找出適當的發展模式，毋寧更是原住民文化產業能否永續發展的優先考量。而在產業發展較成熟之後，若再回頭主張產業從業者真正需要的法律規範，或許更可以提供規範制定者值得參考的意見。 在上述的法律和管理並重的思考邏輯之下，本研究從文獻探討開始，檢視國際間、各國和我國在處理原住民民俗創作保護時的問題現狀，在確定文化資產和智慧財產各有其規範角色，卻又會互相影響的前提之下，推導出存在於原住民文化產業當中，同時可以致力於文化資產活化，以及智慧財產創造的幾種可能的發展模式，供作本研究後續個案的探討模型，以及未來的產業從業者決定發展方向時的可能參考選項。 故在本研究個案部份，即同時反映上述類型化模型的思考。第四章的第一個個案就是較具有公共性(commons)本質的尤瑪‧達陸與野桐工坊個案，而第五章的第二個個案就是較具有完整企業經營理念的湛賞文化藝術工作坊，此二個案同時都是以編織工藝為主要經營項目，但是因為經營者的目標不同，因而展現出不同樣貌，本研究透過此二個案呈現經營面向的議題，同時也針對智慧資源規劃議題，給予個案未來發展之建議。 最後的結論與建議，本研究主要針對於政府機關和產業從業者兩方面，從之前論述當中發現的議題和可參考的適例，重新思考現存問題的解決方案，期待在研究者的共同努力下，台灣原住民文化產業能夠走上更亮麗的舞台。 / This research is focused on intelligence resources planning of indigenous cultural industry, especially in the field of knitting techniques. From creation and protection of intelligence resources perspective, legal discussion and legislative movement for aboriginal people’s cultural expressions seem to achieve slight success in Taiwan, but there still exists many unresolved issues, resulting in insufficient protection for aboriginal people as before. However, even in such legally ambiguous situation, the industry still needs to find its way out, looking for the best path to develop itself. In other words, from management and application of intelligence resources perspective, after trying best efforts to set up the foundation of intelligence resources, how the managers are devoting to figure out the suitable model for the business unit, by using original or adopting resources, becomes the first priority of concerns of whether the indigenous cultural industry can be sustainable. When the industry becomes more mature, the participants of the industry may look back, to propose their real needs for regulations, and at the same time, these proposals may be very valuable for the regulators. Based on the above thinking in accordance with both legal and managerial logic, this research makes observation to problems when dealing with aboriginal people’s folklore expressions in international society, in various countries and in Taiwan, from the beginning part of literature analysis to the latter parts; then, this research makes sure that cultural heritage and intellectual property both play parts on the focused topics, while each has its regulatory role as well as has impact on the other, and such nature and connection becomes the premise of the following several models respectively for activation of cultural heritage and creation of intellectual property at the same time in indigenous cultural industry. These models will be used as the analytic tools for the following case study and as the referable choices of business development for future participants in the industry. Furthermore, case study of this research reflects foregoing categorical models. The first case in Chapter 4 is commons-oriented Yuma Taru and Lihang Studio case. The second case in Chapter 5 is under complete company management, which is Siku Sawmah Cultural Art Workshop case. Both cases’ major revenue come from knitting techniques, but the managers have different business goals, resulting in different business models. This research tries to reveal managerial issues when running workshop through these two cases; this research will also gives suggestion to them in relation to intelligence resources planning. In the final part of conclusion and suggestion, this research aims at governmental departments and participants in the industry, and for them it rethinks solutions towards existing problems regarding previously found issues and referable cases. This research expects the indigenous cultural industry in Taiwan to eventually get on a more radiant stage with the cooperation of all the researchers and participants.