本研究將華納威秀視同商品化空間來加以分析，在商品化理論採用Marx、 Baudrullardd等人的理論，重點在於肯認商品除了有使用價值、交換價值外，也有其符號價值。研究重點在於理解空間生產的過程，與其行動者為何，並討論歷史脈絡發揮何種影響。 研究結果發現，雖然華納威秀是外資影城，但是卻透過土地承租的方式與本地資本連結，而形成外資輸出影城軟硬體，本地資本提供土地的模式。因此華納威秀不是純粹的外資集團，而應透過土地產權的考量，視其為外資與本地資本共同投資的結果。 華納威秀由於經營項目涉及不動產租賃，因此同時在映演業與不動產兩個市場中運作，由於我國政府對於映演業幾乎是採放任態度，因此容易讓人忽略國家在華納威秀開發案所扮演的角色，其實如果從不動產業的角度來看待華納威秀的話，即會發現國家的「相對自主性」並未喪失。 研究顯示華納威秀的生產過程相當複雜，並不是只有跨國企業的意志就能解釋的。空間生產過程中，國家機器、本地資本、歷史等「在地條件」都扮演了重要角色，透過華納威秀的例子，我們想說明任何的全球化活動不應只被視為跨國資本意志的展現，而應多考慮在地與全球的種種衝突、緊張與妥協。

中國做為一個崛起的東亞大國，對於建立自己的高科技產業與自主創新能力的急起直追也經歷了許多轉變的過程，這些演變體現在中央領導的科技政策與區域建設的創新系統上。自1988年的北京市新技術產業開發試驗區以來，從沿海到內陸所設置的大大小小的科技園區，在在說明了中國希望藉由這種模式追求創新集群的效益。然而本研究中的北京中關村做為中國的高科技產業龍頭，其空間發展出現了有別於其他東亞後進國家中科技園區的分散樣貌。這樣的空間樣貌乃基於地方治理結構的特殊性，演化出各個分散在北京市下不同市轄區的園區都被稱為中關村科學園區、都各自建立起華麗而昂貴的辦公大樓、研發中心之現象。 本研究欲透過回顧中國的科技產業政策以及地方治理模式的轉變，來說明這樣的分散樣貌，是源自於中國在改革開放後的地方治理權責下放導致北京市轄下的各區縣都採用了一種近似於滾動開發的模式來大興土木以追求快速的成長的情況。換言之，在中關村，土地開發帶來的多階段收入在地方政府的眼中的重要性幾乎超越了對創新能力的追求。本研究將以上述脈絡為主旨，深入探討中國在全球化的壓力以及治理結構轉型過程的拉扯下，致使中關村的發展進入到一種看似快速但卻相當矛盾的情結當中，並進而勾勒出現今中關村的空間樣貌。 / China has been trying to catch up with the Western world since its economic reform. In the process, China imitated the successful experience of Silicon Valley in the U.S. and trying to establish special science parks to speed up technological upgrading and innovation. Beijing’s Experimental Zone for Developing New- Technology Industries, which later was named Zhongguancun(ZGC), was the first one following this policy and proven to be the most successful one in China. However, the prosperity of ZGC or any other science park in China does come with a price. There is a lot of problems raised referring to the highly growing land price such as the overwhelming high rent has affected smaller innovative enterprises to survive in Beijing. The thesis tries to discuss the production of space in Beijing’s ZGC through two theoretical views: The Innovation Theory and The Growth Machine Theory. This thesis argues that there are two different forces which have driven ZGC to its status today. The first is China’s overall goal of economic catching up strategy that gives ZGC the legitimacy to develop and grow with relatively greater freedom from existing regulations. The second is Beijing’s various district governments’ strategy in using the construction of science parks as a site to generate economic development. This thesis argues that China’s tax reformation in 1994 has reinforced the importance of land politics to a higher level, through which the development of real estate sector of ZGC has played an important role for the creation of an innovation cluster. As a result, the local government, together with its land politics, eventually plays the leading role in ZGC’s production of space and makes the best use of ZGC’s shining brand.

本論文探討英國劇作家凱洛•邱琪兒之《九重天》以及《頂尖女孩》兩劇中深具顛覆性的時空手法。本論文由五章組成。第一章回顧多年來相關的眾多評論角度。第二章援引巴赫汀(Mikhail Bakhtin)的時空型(chronotope)概念探討兩戲中時空融匯的現象，尤其是劇中人物心理、身體狀態，戲劇時空，以及外在社會文化時空背景，三者之間緊密的互動。兩齣戲各別有著兩個不同的時空型：《九重天》第一幕代表的是性別角色僵化的時空型，第二幕則代表了1979年當時社會上傳統性別角色開放且迅速轉變的狀態；《頂尖女孩》則透過一對姐妹Marlene與Joyce對映出當時兩種不同的女性生活，一個是典型八零年代柴契爾主義的事業女強人，一個則是在此種政經趨勢下卻相對更加弱勢的傳統女性。 第三章則探討兩劇第一幕呈現長久以來隱藏空間當中的性別歧視。透過女性地理學者(feminist geographical theorist)之觀點，筆者分析兩戲當中兩性間不同的空間體驗(spatial experience)，以及公/私領域之分界(private-public distinction)所暗藏性別歧視的空間隱喻(spatial metaphor)。當男性與冒險及旅行等等充滿能動性(mobility)的字眼連結，女性卻總是被動地與家庭空間緊緊連繫。邱琪兒在此揭露空間亦為不公平的性別政治當中之一環。 第四章則著重於分析《九重天》第二幕當中的公園場景，以及《頂尖女孩》第二、三幕的辦公室與廚房場景。首先援引傅柯(Michel Foucault)的異質空間(heterotopia)概念來討論各場景間複雜的鏡像與補償關係。透過空間理論學者昂希．列菲弗爾(Henri Lefebvre)以及抵抗地景(geographies of resistance)的空間生產理論分析邱琪兒如何透過呈現特定社會族群佔領特定空間的手法，企圖激進地改變現實當中此類空間的社會意義。 雖然距兩齣劇作首演的年代已有二十多年，但其中所探討之議題依然常見於現今二十一世紀的社會當中。邱琪兒預見了現今複雜的家庭狀態以及大鳴大放的同性戀運動。即使越來越多女性在政治界或是企業界嶄露頭角，世界上多數的女性依然掙扎於找尋工作與家庭之間的平衡點。 / This thesis is to examine Caryl Churchill’s subversive temporal and spatial devices on stage in Cloud Nine and Top Girls. The chronotopes of the two plays articulate how people’s states of beings interact with the external social and cultural conditions, especially during the 1980s in London. Both plays crystallize the space politics full of gender discriminations in the patriarchal society. In addition, Churchill’s dramatic devices are the subversive spatial practice that transforms the gendered spaces into the sites of resistance in order to manifest her protest and seeks more possibilities for the gender roles in the future. There are five chapters in this thesis. Chapter One is an introduction, including the overview of two plays and the review of numerous analyses in the past two and half decades. In Chapter Two, Churchill’s theatrical temporal and spatial devices, including setting, synchronism, and anachronism in Cloud Nine and Top Girls construct chronotopes that lay bare the special social and cultural condition in a certain historical moment. Those chronotopes demonstrate how Churchill unifies people’s internal states of being and the external political structures together. Moreover, by presenting the chronotopes, Churchill criticizes the slowness of the progress in gender politics and the possible backlash about women’s right in the 1980s. In Chapter Three, I analyze how the spatiality of patriarchy constructed by the private-public dichotomy in both Act Ones of Cloud Nine and Top Girls. The spatial experiences between men and women depicted in Act One of Cloud Nine illustrate the stereotypical masculinity and femininity in the Victorian age. The spatial metaphors about movement in Act One of Top Girls expose the strict boundary between the private and the public spaces, and foreshadow the importance of mobility as being a possible strategy to transgress the boundaries. Finally, Chapter Four is the analysis about how Churchill subversively and politically explores the possibility of creating new social spaces in the park space of Cloud Nine and the office space of Top Girls. Her theatrical strategies are potential spatial practices that create the rupture to transgress the unfair restrictions and discriminations in the patriarchal and heterosexual society. The final chapter concludes that Churchill’s dramatic devices about time and space are the subversive strategies to conduct her observations and criticisms about the unfairness in society.