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？

本研究利用電影院的殖民建築、設計以及週遭的城市歷史變遷過程，探討「上海電影院」的空間歷史與殖民性。 　　進入本文分析之前，先從文獻中了解「後殖民」意義與源起。建立基本認知後，一併對後殖民理論重要概念，「東方主義」、「戲擬」與「混雜性」加以耙疏，歸納整理出後殖民主義的批評觀點，以作為本文在探討上海殖民及後殖民現象在問題上提供反思與運用。緊接著透過對「全球化」理論的認知，勾勒出上海作為後殖民城市的全球及在地思考。同時，為了讓思考更為緊密，分別就「後殖民主義與全球化」、「後殖民主義與民族主義」、「後殖民主義與帝國主義」作一整組概念的理解，以作為本研究的理論與概念架構。 　　本文分析十九世紀末到二十世紀的上海電影院與城市之歷史系譜，檢視上海殖民租界時期的影院建築與城市。其次，在殖民之後，對中國社會主義主政下的上海影院與城市做一發展脈絡的理解。最後，基於對上海影院與城市歷史的認知，進一步探求當前全球化架構下，「西方」與「中國」對上海城市及影院所採取的觀看方式與干預形式，是否存在著（後）殖民文化意義的肇因轉變。 　　研究結果發現，進入九○年代後，上海存在著「向前看」與「向後看」的兩股想像力量，同時影響上海城市與影院發展：一股「向前看」的想像力量，是在全球化架構下，國家與跨國資本合力打造了一座座新式電影城的崛起，淘汰了老舊電影院的動力來源。同時，在上海城市空間的劇烈變動過程中，中國有意引渡香港作為「第三勢力」，以便在上海城市影城發展上與西方跨國資本勢力抗衡。另一股「向後看」的想像力量則存在於後殖民語境裡。中國政府投入大量資金進行影院改建工程，大面積的修改、摹仿了原初殖民影院建築，以展露出一個全新的歷史空間。在這種狀況下，當前標誌著殖民霸權的上海影院跟過去有了分別：現在的上海殖民影院是中國政府通過與資本共謀，戲擬式的營造出三○年代老上海電影宮的摩登形象，以投射出中國政府積極推動下新的混雜產物。這一切的改變，使得原初上海影院空間所夾雜的殖民符號在意義的閱讀與指涉上有了不同。新創建的殖民影院不僅成了上海城市產業上文化空間及休閒娛樂的消費賣點。同時在九○年代上海懷舊熱潮席捲影響下，也開啟了殖民影院被重新閱讀及詮釋的可能。本文以為，當西方帝國以戀物凝視姿態持續對上海殖民影院刻版印象作確認，以維持“殖民凝視（殖民規訓）”穩定的同時，也一併在國家意志與懷舊氣氛當中，經由各種懷舊媒材創作、重寫，賦予了過去特性新的內涵，虛構了新的歷史深度。 / The study aims to explore the spatial history and colonialism of cinema, process as cinema of architecture, design and urban evolvement in colonial Shanghai. Prior to embarking on the textual analysis, a concise literature review has been made to instill a rudimentary conception on the significance and origin of post-colonialism, which is then used to discern some of the crucial concepts of post-colonial theories: Orientals, mimicy, mestizo. Drawing from post-colonialism, these critical viewpoints are adopted to facilitate the attempt of this study and to examine the issues of colonial and post-colonial phenomena in Shanghai. What follows is, through globalization theories, to map out a global and local thinking on Shanghai as a post-colonial city. In order to conclude the theoretical examination and conceptual ascertaining, this study sorts out the serial subjects of “Colonialism vs. globalization”, “Post-colonialism vs. nationalism”, and “Post-colonialism vs. imperialism” as a comprehensive understanding. 　 This paper reviews the paradigmatic relation between the city and the colonial cinema of Shanghai from late 19th to 20th century. Then, after the colonization, a comprehensive discerning of Shanghai cinemas and the city as a whole under the control of Chinese socialism is examined. Lastly, based on the understanding of Shanghai cinema and the city history, a further attempt is to figure out if there’s catalytic change of significance of the Shanghai City and its cinemas on (post) colonial culture from the West’ and China’s viewpoint and intervention. The study findings reveal that in the 90’s, there are two imagined forces: “looking forward” and “looking backward” that exist in Shanghai and the two forces have influenced the development of Shanghai cinemas and the city. The “looking forward” imagined force had spurred the mushrooming of cinemas, which are advocated by cross-nationally joint venture under the framework of globalization, and that became the dynamic for eliminating the old cinemas. Meanwhile, with dramatic changes in Shanghai, the Chinese regime intends to bring in Hong Kong industry as a third counterforce to withstand the dynamic of Western multinational capital in Shanghai city’s cinema development. On the other hand, the “looking backward” imagined force can be seen in the post-colonial context of China. In order to demonstrate a new historical space, the government of China invested quite a lot to reconstruct cinemas via simulating but refining the original colonial architecture style. Thus, it can be distinguished form the present Shanghai cinemas to the past: the present colonial cinemas in Shanghai are the new mestizo by the efforts of China government, and they have built a modern mimicry of old Shanghai cinemas in the 1930s. The process of transferring has made a difference in the textual meaning from old Shanghai cinemas to the new ones. As the cultural and entertaining space in Shanghai, the newly constructed cinemas has not only become the popular area for consumption, but also turned on the possibility of re-read and re-interpretation under the trend of nostalgia. As a result, when the Western imperialism continues to acknowledge its stereotype and takes a materialistic stance toward Shanghai to maintain the stability of a colonial doctrine, those old features are new-minted different meanings by various kinds of nostalgic creature, so that a new historical depth is fabricated at the same time.

薩爾曼•魯希迪的《摩爾人的最後嘆息》運用想像與史實描繪出一個印度家族的故事。這個四代家族所經歷的時間橫跨整個二十世紀，一般說來在這個世紀前半部分大多數國家經歷了殖民統治與帝國主義，而在後半部分則面臨去殖民與國家主義的風潮。因此，書中論及的這些殖民與後殖民的經驗也引發了一些重要的議題，像是混雜、多元文化，和國家主義。霍米•巴巴提出‘閾限空間’這個概念有助於對這本小說做深入的評價與賞析，特別是能促進對以上三個議題更深入而具體的認知。霍米•巴巴將許多概念納入‘閾限空間’這個總括性術語的討論範圍，因此本論文將從中擷取三個概念來論述這本小說，分別是混雜、文化差異、及國家意識。 本論文的導論先闡釋霍米•巴巴‘閾限空間’這個概念並且發掘魯希迪這本小說中許多重要的後殖民議題。這些議題與‘閾限空間’ 這個概念的關係密不可分，因此這個概念所延伸論及的理論便可用於理解並賞析這本小說。接下來的三章將分別以混雜、文化差異、及國家意識來發掘並建立《摩爾人的最後嘆息》與‘閾限空間’這概念之間的關係。第二章將藉由霍米•巴巴對殖民者與被殖民者之間的矛盾關係的論述進而深入理解小說中意欲呈現的殖民混雜與後殖民混雜。這種矛盾的關係理論上與他者化的過程有關聯，在這過程中身分認同與主體化不論是在後殖民理論還是此本小說中都是值得商榷的議題。第三章利用霍米•巴巴的‘文化差異’來重新檢視並且重新定義所謂的多元文化。魯希迪在小說中巧妙地將現在的印度重疊在過去由摩爾人統治的西班牙之上，這種後殖民的羊皮紙影像便可藉由文化差異與多元文化的概念得到更具體的意義。此外，閾限空間也是一種不同文化的接觸地帶，這樣的中介地域也有助於理解魯希迪在流行文化與高等文化間所採的折衷主義。第四章則著重於探討霍米•巴巴如何發展閾限空間與國家意識的理論關係，還有國家與敘事之間的關係。此章也將利用國家與敘事的關係來理解魯希迪是如何在這本小說中運用許多文學技巧在小說世界中重構國家形象，尤其是文本互涉的材料與歷史的指涉這樣的技巧。 最後的總論將重申在本論文中提及的一些重要的論點，藉由重申這些論點來總結論文提及的一些重要概念的大意，並且讓魯希迪的《摩爾人的最後嘆息》與巴巴的‘閾限空間’這個文本與理論相互闡釋並佐證的關係更為清楚。 / Salman Rushdie’s The Moor’s Last Sigh delineates, fictively and historically, a family saga in India. The four-generation family approximately spans the twentieth century that, generally speaking, has gone through colonization and imperialism in the first half as well as de-colonization and nationalism in the second half. Accordingly, they bring forth a few significant issues, such as hybridity, multiculturalism, and nationalism. Homi Bhabha’s idea of ‘liminal space’ is conducive to the evaluation of the novel, and expressly to the discussion of the above three concepts in a more specific way. He subsumes a lot of ideas under the umbrella term ‘liminal space’, so this thesis is to extract three ideas—hybridity, cultural difference, and nationness—to elaborate on the novel. The introductory chapter expounds Bhabha’s idea of ‘liminal space’ and also explores a few post-colonial issues in the novel. The issues in question are related to Bhabha’s idea of ‘liminal space’, from which some key ideas are derived so as to appreciate the fictional world Rushdie constructs in the novel. The following three chapters are respectively based on the three liminality-related ideas, whereby to find the relation of the novel with Bhabha’s ‘liminal space’. The second chapter is to obtain a deeper apprehension of colonial and post-colonial hybridity through Bhabha’s argumentation concerning the ambivalent relationship between colonizer and colonized. The ambivalent relationship is theoretically associated with the othering process. In the process, identification and subjectification are moot questions not only in post-colonial theory but in the novel as well. The third chapter is intended to make use of Bhabha’s idea of ‘cultural difference’ to review and redefine what the word ‘multiculturalism’ is like. In turn, it helps to shed much more light upon Rushdie’s palimpsesting modern India over Moorish Spain. In addition, liminal space refers to a contact zone of cultural difference that elucidates Rushdie’s eclecticism between popular culture and high culture in the novel. The fourth chapter is to discuss the way Bhabha colligates liminal space and the idiolect ‘nationness’ and the way he relates the idea of nation to narration. The relationship between nation and narration is applied to the understanding of how Rushdie utilizes literary techniques, especially intertextual materials and historical allusions, for a re-construction of a nation in a fictional world. The conclusive chapter is to reiterate some important arguments that are germane to the above key concepts and to the reciprocal clarification between Bhabha’s ‘liminal space’ and Rushdie’s The Moor’s Last Sigh.

本文試圖探究行動電話於當代普及所帶來的影響。一直以來，網際網路及隨之而生的「模控空間」都被看作是我們這個時代最重要的媒介與文化發展。然而，晚近十年間的電子媒介技術發展卻顯示出，行動電話已然成為網際網路之外同樣影響人們日常生活甚鉅的一種媒介。甚至，如同Howard Rheingold所指出的，它已逐漸地改變了我們當下與未來的生活形式。循此，簡言之，本文的目的即在於，試圖理解行動電話所帶來的是什麼樣的生活世界，以及這又是如何可能的？在回答此一問題時，本文所採取的基本理論觀點與分析架構乃是一種試圖超越過去技術決定論的新取徑。亦即，立基於「人─技術─世界」相互關連的關係性基礎上，本文主張，人們日常使用與操作技術的實作實際上總是展開於技術物所形塑的結構脈絡之中，同時，此一結構脈絡本身卻也是由人們的實作過程「有方法地」反身維繫與再建構的。換言之，本文將說明，實際上行動電話普及所帶來的影響不僅僅導因於技術特性的結構作用，同時也是人們日常實作持續建構與維繫的結果。 更清楚地說，在論文中我們指出了行動電話普及所導致的結構性變遷與影響為（1）由行動電話「水平嵌合」的延伸形式所帶來的「混雜實在」。也就是說，行動電話的使用者實際上是處於一種「雙面舞台」的情境之中。透過行動電話的中介，人們如今理所當然地將其脈絡視為是混雜交織著虛擬／物質、遠處／近在的指涉。（2）源自於行動電話「流動」的技術特性而逐漸形成的「即刻化時間」與「個人化社會空間」的時空框架。正是在這一轉變的時空框架中，浮現了本文稱之為「隨傳隨到的個人社群」的新形態人際關係樣態。而這些結構性的變遷與影響，在本文看來，同時也是人們日常實作持續「有方法地」完成、維繫與再生產的產物。以俗民方法學為基礎，本文回到實際日常使用與操作行動電話的實作過程中，探究人們是如何有方法地完成「打行動電話」的日常生活。例如，我們指出了「體現」與「轉譯」乃是人們操作行動電話理所當然地依賴著的方法；此外，由於「打行動電話」的實作仍「在」當下既存的互動場景之中，其完成也就有賴於「協同實作」的打造；人們的實作也顯示出，並不只是由於行動電話的技術特性與設計，更是因為人們總是有方法地管理、完成「打行動電話」的過程，人際之間的連結才呈現為「個人化即刻連繫」之樣態。 總之，藉由這些觀察與分析，本文試圖指出行動電話造就的「結構」實際上也是實作建構的產物。然而，雖然本文主張人們實際上參與了框限著自身的「結構」的建構，但這並不意味著人們就必然只能如此生存著。相反地，從「人─技術─世界」的相互關連來看，既然我們的日常生活並非單純由「技術」所決定的、既然我們的生存樣態同樣也取決於自身的「實作」，本文在最後試圖說明的便是，我們也就總是有著「不必然如此」的可能性。藉由三個案例的呈現，本文說明了「多元」的行動電話使用與操作實作如何可能。些實作並不是意圖正面對抗、顛覆既那些與行動電話實作相關的既有「常識」與「預設」，但在其迴避、繞道、偏離與走出的各種形式中，我們卻能清楚地看到實際行動電話的使用與操作中，如何不斷地逾越了既有的軌跡與秩序。換言之，回過頭來，本文試圖說明的是，「理解」行動電話同時也意味著我們必須要在各種「捨」與「得」的權衡之中做出選擇。在每一刻的行動電話操作實作之中，我們不僅選擇了如何完成當下的秩序，同時也選擇了走向什麼樣的「行動未來」。這不僅是「如何生活」──亦即，如何使用行動電話的選擇──的問題，同時也是關於「如何存在」──亦即，在更根本的層次上成為什麼樣的存有──的反思。 / This thesis attempts to discuss the impacts brought by the prevalence of mobile phones. Although the Internet and the cyberspace have been thought as the most important media and cultural development of our age, the progress of the electronic media in recent decade has showed that mobile phones have also brought important structural changes in our life. Accordingly, what we want to understand is how mobile phones have changed our life world. In response to this question, the thesis adopts a new approach which goes beyond the traditional technological determinism. That is, based on the interrelationship of the “human-technics-world”, it proposes that the everyday technological practices always unfold in the context structured by our technics, and the structured context itself is also, at the same time, constructed reflexively by user’s technological practices. First, the thesis indicates the structural changes brought by mobile phones as follows: (1) the “hybrid reality” emerging from the extending and mediation of mobile phones; (2) the “immediatization of time” and the “individualization of social space” resulted from the widespread use of mobile phones. Second, based on ethnomethodology, we explore how the user accomplishes the everyday “using” of the mobile phone skillfully and reflexively. The investigation shows that, for example, (1) the user, while using the mobile phone, depends upon the methods of “embodiment” and “translation”, and takes them for granted; (2) the accomplishments of the using practices actually are the products of the “cooperation” between the user and the members at the scene because the user is still “in” the present situation; (3) the using practices also show that the “individualized and immediatized connection” which emerges as the figure of our interpersonal relationship is not only due to the technical characteristics of mobile phones, but also the product of user’s skillful using practices. Third, although the thesis advocates that the everyday using practices reflexively construct the structural changes which in turn shape the practices themselves, it also attempts to point out that we still have the possibility of transgressing the given structural constraints. We explicate, by three cases, how different and multiple ways of mobile phone using are possible. These “variant practices” do not represent the opposition and the subversion of the given structure shaped by mobile phones, but indicate that we still could choose different ways of using, and different kinds of life.