本研究は、今日の日本の地域文化における問題を情報社会の観光や旅行者と関連付けて考察し、解決の可能性を探るものである。考察の対象としては、最も情報化された旅行者であるアニメ聖地巡礼者に注目し、アニメ聖地5カ所を事例に採り上げた。結論として、旅行者は地域文化の担い手と共感者という2つの役割を果たし得ることを論証し、旅行者が関与する地域文化の活性化モデルを図式化した。 / This paper analyzes the relationship between local residents and tourists in an information oriented society. In this analysis, the author tries to clarify the role tourists play in cultural policy. the author makes a study of 5 cities, a location in the animation. The author presents evidence for the relationship between local culture and tourists, based on the model for tourism motivated by the animation. Finally, the author concludes that tourists in an information oriented society can be a person who sympathize for local culture, and also can be the main constituent of culture policy in a local society. / 博士(政策科学) / Doctor of Philosophy in Policy and Management / 同志社大学 / Doshisha University

旅遊業為我國未來產業發展的重點之一，再加上團體套裝旅遊一直是亞洲國家中最普遍及最受觀迎的旅遊型態之一，我國2009年的團體套裝旅遊比例即佔了35.6%。其中，領隊人員可以說是團體套裝旅遊的重要元素，不僅影響著該次旅遊品質的好壞，領隊也可藉由專業的服務取得旅客的信任，而獲得後續帶團的機會；是以，由於我國過去旅行社設立門檻不高，加上領隊掌握一定旅客數，不少領隊帶槍投靠或自立門戶，造成旅行業良莠不齊、競爭激烈。 因此，本研究欲探討現行旅行社對於領隊的管理模式，運用交易成本理論及4C交換成本理論架構，剖析旅行社、領隊與團體旅遊消費者間三方交換之關係，並對於旅行社提出適當的領隊管理建議，期盼能對於旅行產業的市場紊亂情形有所助益。而由於本研究議題過去缺乏學術研究成果且未被有系統的討論，故採用質性研究及深度訪談做為本論文的研究方法。 研究結果得知，透過訪談資料的整理與分析，歸納出兩種現行的領隊管理模式。管理模式1：旅行社著重於處理與消費者間的4C關係，並設法阻礙領隊與消費者間4C關係的建立，使消費者購買團體旅遊產品是出自於旅行社本身，而非領隊；管理模式2：旅行社與領隊共生共榮，在旅行社與消費者的交換關係方面，旅行社著重於產品的外顯單位效益成本；而在旅行社與領隊的交換關係方面，旅行社運用4C的處理得宜，維繫優秀的領隊，鞏固銷售。 本研究以4C交換成本理論，歸納出兩種領隊管理模式，建議後續研究者可針對旅行社背景，探討何種領隊管理模式對其最有利；另外，針對國內網路時代的盛行，有業者引進國外居家旅遊商業模式H.B.T.A.(Home Based Travel Agents)，類似於本研究所提出的管理模式2，後續研究者也可針對此議題進行深入探討。 / Travel industry will be one of the most promising industries in Taiwan; in addition, Group Package Tour is one of the most popular traveling types in Asian countries. In 2009, the percent of Group Package Tour in Taiwan is highly 35.6%. Especially, Tour leader (or tour escort) is the critical element of Group Package Tour.He (or she) can not only influence on the quality of travel, but also can get customers’ trust and the chances of business by professional service. Therefore, because of the low entry barrier of Travel industry and tour leader holding up some customers, lots of tour leaders job-hop or build up their own business. It makes travel industry highly competitive. For this reason, this study wants to use the Transaction Cost Theory and 4C Exchange Cost Theory to discuss current tour leader’s management model, and analyze the exchange relationship among travel agent, tour leader and Group Package Tour customer. Finally, this study wants to propose management recommendations for travel agents. However, this topic was less discussed in the past, so that this study uses qualitative research and in-depth interview as the research method. According to the research result, this study generalizes two kinds of tour leader’s management model. Model 1: Travel agents focus on the 4C relationship with consumers, and manage to hinder the 4C relationship between tour leader and consumer; Model 2: Travel agents cooperate with tour leader. Between travel agent and consumer, travel agents focus on C1. Between travel agent and tour leader, travel agents focus on the 4C relationship for holding up excellent tour leaders. For future research, this study suggests to discuss what travel agent background can benefit from two kinds of tour leader’s management model, or discuss H.B.T.A. (Home Based Travel Agents) deeply.

《兩個閒蕩徒弟的懶惰旅行》(The Lazy Tour of Two Idle Apprentices, 1857) 是一本由查理‧狄更斯(Charles Dickens)與威爾基‧柯林斯(Wilkie Collins)根據他們的旅途見聞再加上各自創作的兩篇短篇故事所集結而成的小說。在過去，許多批評家只單論文本中的兩篇短篇故事，而忽略鑲嵌短篇故事的主架構，把文本切割至互不相連的碎片。本論文主要採取昂希‧列斐伏爾(Henri Lefebvre)對於空間三面向的理論概念來剖析《兩個閒蕩徒弟的懶惰旅行》在文本中反覆出現，並且被不同主體所論述的閒蕩(idleness)一詞，試圖藉由呈現閒蕩的多重意義而把《兩個閒蕩徒弟的懶惰旅行》視為一有機的整體。論文第二章借助空間的再現(representation of space)概念論述看似懶散、不事生產的地景是如何被規劃，最終喪失其神性(deity)。論文的第三章則檢視空間使用者與空間的互動。本章從空間實踐(spatial practice)的角度切入，試圖證明文本中的精神病院(lunatic asylum)、火車站(railway station)與賽馬週(race-week)的空間規劃異化(alienate)了生活在其中的空間居民，而居民無所事事的遊蕩正是此異化的展現。第四章援引再現的空間(space of representation)之概念，試圖證明閒蕩也有其積極面向。藉由檢視故事主人翁法蘭西‧古柴爾德(Francis Goodchild)與湯瑪士‧艾朵(Thomas Idle)既合作又競爭的夥伴關係，閒蕩對於湯瑪士‧艾朵而言，是一種在文本中爭取發言權的手段。至於對缺乏官方實證的怪談野史而言，閒蕩也是一種抵抗大論述收編、並且同時揭露資本主義中金錢對於人性腐蝕的路徑。 / The Lazy Tour of Two Idle Apprentices is a travelogue worked in collaboration between Charles Dickens and Wilkie Collins. Besides noting down what they observe and encounter during the trip, Dickens and Collins also enclose two gothic tales which is written respectively by them. Nevertheless, when most critics mention The Lazy Tour, they limit their concerns to simply the two interpolated tales, which violates the integrity of The Lazy Tour by dissecting it into disconnected pieces. This thesis proposes to apply Henri Lefebvre’s conceptual triad to analyze the recurring theme, idleness, which is interpreted by different subjects. By presenting the variations of the concept of idleness, this thesis attempts to see The Lazy Tour as an organic whole. Applying the idea of representation of space, Chapter Two explains how the seemingly inoperative landscapes are programmed and designed, which results in the demise of the deity of Nature. With the support of the concept of spatial practice, Chapter Three proposes to demonstrate how the spatial designs of the lunatic asylum, railway station, and the festive occasion, the race-week, respectively alienate the spatial inhabitants. The idleness manifested by these spatial inhabitants is the syndrome of their alienation. Chapter Four analyzes the constructive aspect of the idleness with the assistance of Lefebvre’s idea of space of representation. In terms of Thomas Idle, one of the protagonists, idleness serves as a resistant measure to develop his own narrative. As far as the two interpolated tales are concerned, idleness can be compared to a way to resist the incorporation of the narrative framework of The Lazy Tour, and in the meanwhile discloses the moral corruption brought by Capitalism.

国立情報学研究所で電子化したコンテンツを使用している。

《奧菲歐爵士》(Sir Orfeo) 是一首十三世紀晚期至十四世紀初期的傳奇敘事詩，其中重複出現的時空特性強調出奧菲爾斯傳統中「失去」的主題。克服失去的難題顯示了在無常的世界中維持恆常的困頓—如何在娑婆的世間找尋精神的寄託所在，以解失去對於個人時空感受所造成的罣礙，體驗生命的當下？於多數奧菲爾斯版本之中，到冥界挽回尤瑞柢思 (Eurydice) 的旅程是一個重要的場景，其突顯了在無常之中對於秩序與生命延續 (continuity) 的訴求。這首詩中，不同的延續觀出現於聽覺導向的人間王國與視覺導向的精靈王國，再再顯示了維持恆常的重要性。作為重回秩序的工具，奧菲歐的豎琴為此議題提供了重要的線索。問題的重心在於音樂中協調時空的力量，也就是所謂的共時性，其中蘊涵了奧菲爾斯文本中自身與世界的關係，及其與變動時空，延續感，以及重建秩序的關聯。 奧古斯都 (St. Augustine) 的《音樂論》(De musica) 從八世紀晚期到十五世紀以來一直都是一部影響深遠的著作，為音樂中的時間經驗提供了完整的哲學分析。從奧古斯都的音樂時間觀所呈現的先驗及秩序概念出發，此論文目的在於檢視奧菲歐的豎琴中所顯示出中古時期對於無常 (temporalia) 與先驗(transcendence) 的關懷主題。此項研究在於一種經由音樂與時空所協調出的經驗感受。除了探討人類王國與精靈王國之間的辯證關係，也揭示了《奧菲歐爵士》對於存在、當下、以及人類價值 (humanity) 所表現出來的核心態度。誠如奧菲歐與野外動物們共享短暫的和諧經驗所示 (272-80)，奧古斯都的先驗及永恆觀與奧菲歐豎琴中變動的感官特性並不相符。儘管如此，他對於靈魂律動所提出的解釋，以及記憶是一種出於心智印象 (phantasiai) 的看法，為我們提供檢驗精靈王國時空感的理論基礎。 為了解釋音樂中的和諧如何經由時間經驗讓奧菲歐在變動的世界中維持恆心，此篇論文分成四個章節：第一章介紹相關主題及評論。第二章介紹 中古時期與奧菲爾斯神化相關的音樂理論背景並且闡釋奧古斯都音樂論中的時間觀。在第三章中，我將進一步分析《奧菲歐爵士》中的時空觀。奧菲歐的豎琴所帶來的和諧經驗將會以個人內在與變動外在的互動回饋機制來檢視。這樣的內外交流呈現出一種變動的先驗觀，將永恆寄託在一種有機變動中所體驗的延續感。 其同時也揭露了自身與世界互動的關鍵模式，透過精神蛻變 (metamorphosis) 和冥界之旅等面向，增進我們了解失去及無常的主題。最後，我將在第四章以豎琴的社會意義作結，解釋其對於口說傳統的文化傳承帶來什麼樣的影響，並提供其他奧菲爾斯文本一個不同的角度來觀看自身與世界的關係。 / Loss, the dominant theme in the Orphic tradition, is accentuated by the recurring issue of temporality in Sir Orfeo, a late thirteenth or early fourteenth century romance. The difficulty of overcoming loss posts the question of finding spiritual residence and maintaining spiritual progress in the temporal world. The underworld journey to retrieving Eurydice, as a major scene in most adaptations of the myth, signifies the quest of order and continuity through changes. Such an issue of maintaining constancy is highlighted by the different features of continuity appearing in the hearing-oriented human kingdom and the sight-oriented fairy world. Orfeo’s harping, as the means for recovery, offers a significant clue in viewing this issue. The question falls on the meditative power of music itself, i.e. the contemporal experience of sentiments, which reveals the particular self-world relationship embedded in the Orphic texts and its relation to temporality, duration, and the restoration of order. Augustine’s De musica, which had been an influential work from the late eighth century to the fifteenth century (Fitzgerald 575-76), provides an overall philosophical illustration on the experience of time in music and its relation to maintaining order. Deriving from Augustine’s idea of how the experience of time in music contributes to an understanding of transcendence and order, this thesis aims to examine the medieval concern of temporalia and transcendence manifested in Orfeo’s harping. It is a study of a relationship in space and experience of time that is negotiated through music, which explores the dialectic relationship between Orfeo’s kingdom and the fairyland, and also reveals essential attitude toward existence, presence, and humanity in Sir Orfeo. Although Augustine’s conception of timeless transcendence does not match the temporal and sensual nature of Orfeo’s harping, as seen in the temporary harmony Orfeo shares with the wild animals (272-80), his exposition on the movement of the soul, together with the explication of memory as images (i.e. phantasiai) operated in the motions of the mind, provide us a theoretical basis for examining the temporality of the fairy world. To illustrate how the harmonic order generated through the experience of time in music contributes to the maintenance of internal consistency within the temporal world, this thesis is divided into four chapters: Chapter one introduces relevant issues and literary criticism. Chapter two offers a detailed explanation of the historical background of medieval music theories, the associated allegorical readings of the Orphic texts, and Augustine’s conception of time in the experience of music. In chapter three, I further analyze the temporality of music in Sir Orfeo and distinguish two types of temporality, that of Orfeo’s court and that of the fairyland. The harmonic relationship maintained by Orfeo’s harping is examined in terms of the reciprocal interaction between the inner self and the operating world, which prescribes continuity in temporal transcendence and reveals a significant mode of self-world relationship. Such a study contributes to our understanding of the theme of loss and change in relation to spiritual metamorphosis and the underworld journey. Finally, I conclude in chapter four with the social significance of the harping in order to examine the cultural legacy of the bardic tradition. Through the examination of the mediation of music, I offer an alternative view on the self-world relationship in the Orphic texts.