「獨立唱片」 (independent labels, or independent record companies，簡稱indies)、地下音樂 (underground music) 等概念經由2000年金曲獎效應、政府資源介入及產業行動，相關論述因而浮上檯面。針對音樂工業的全球化問題，本研究企圖從一個辯證 (dialectical) 的角度，來看行動者 (agent) 做為一個文化工業中的文化中介者 (cultural intermediaries)，其能動性 (agency) 的問題。不僅是看全球的文化流動如何形塑台灣的「獨立唱片」經營，也看台灣的「獨立唱片」業者如何走向海外。 從結構面來看，政治因素如1980年代的政治民主化運動、本土政權興起，以及文化全球化 (cultural globalization)；經濟因素如有聲出版科技、網路科技的進展使得進入障礙降低，以及版權制度建立使發行利潤集中在「跨國唱片公司」手中，這些結構的鬆動、演進或是不平衡，雖總是強者壓迫弱者的邏輯。但從行動者的角度來觀察，「獨立唱片」從業者也利用本身的文化位置及文化中介的特質，在結構中找到行動的利基 (niche)。 因為市場的區隔，跨國唱片公司與本地「獨立唱片」形成一種非敵非友的關係。跨國娛樂工業剝削了全球的文化勞工；同時，大部分的本地「獨立唱片」則以西方音樂內容為骨幹，置入本土元素來輸出本地產品及製作觀點。因此，「獨立唱片」的意義並不在於輸出台灣製造的音樂內容，正因為台灣的音樂是一種混血的內容，在受制於全球資本主義市場結構的同時，卻也吊詭地形成行動的契機。在中國音樂市場逐潮開放以及景氣低迷的當頭，小資本的「獨立唱片」是最具機動性的一群。然而在文化全球化的結構中，本地「獨立唱片」只是被置入另一個全球分工的共生體系；但這也為行動的持續推進埋下伏筆。

本研究欲探討現代消費社會中閱聽人呈現何種面貌？過去對消費社會底下大眾文化及閱聽人的論述大致可分為兩種觀點：一是法蘭克福學派悲觀的文化工業觀點，從生產端來檢視文化商品化對閱聽大眾的影響，二則是從近年消費社會理論從消費端來檢視閱聽人的施為。本文採取從消費端檢視閱聽人的微觀角度，對於文化工業提出的三大批判「商品化」、 「標準化」、「強制性」提出不同的看法：消費文本商品化，閱聽人仍有其主動詮釋、挪用的能動性。 當前台灣諸多的文化消費現象中，霹靂布袋戲應當算是最為人知，也最深具本土特色的表演文化。它源自於傳統布袋戲中的支派而深具傳統戲劇性格，卻又歷經型態與風格上的轉變。隨著生產面與媒介技術合流，從過去民俗文化轉變成大眾文化變為一種文化商品。因此本文首先介紹霹靂布袋戲風行的時代背景，從生產面角度探討與傳統布袋戲的差異。 其次，透過對戲迷的深度訪談，試圖理解霹靂迷如何藉由不同的消費方式，在消費端建構對霹靂布袋戲文本的想像與主體性。霹靂布袋戲迷的生活型態實與他們所接觸的文本、角色、媒介、周邊產品、組織活動密切相關。霹靂迷如何從欣賞與接收原文本之外，進行次文本的創造與生產，發掘他們在消費過程裡的創造力，並透過參與社群組織、活動，區辨出「我」與「他者」；從生活領域，顯示他們作為消費社會底下閱聽人的主動與能動性，已超越生產者所製造文本的範疇，而是融合迷自我生活世界所拓展出的異想世界。

本研究從廣義的社區傳播觀點出發，探討傳統社會結構限制下的社區已婚女性，如何展現她們的能動性從家庭「走出來」，並且成為社區大學和在地社區產生連結的中介角色。在已婚女性的個人能動性方面，研究者發現根據女性所擁有的資源差異，會影響她們自我定位協商的方式。其中自主性內隱的女性，使用了「以退為進」的戰術，有意識或無意識地鬆動了傳統「賢妻良母」的自我定位。而在女性發揮能動性的過程裡，她們也展現出一種默會知識樣貌──同理心和禮物經濟。這些默會知識的運用，使她們得以在家庭和社大的場域，扮演橋樑般的角色，在情感層面上建立起對班級、社大與社區的集體認同，以及可被用於即時動員的人際網絡。而她們也會以自己的知識經驗為基礎，將社大的理念轉化為她們所認可的具體行動。 / The idea of "Community Communication" is not limited to the use of community media. In a broader perspective, interpersonal communication in everyday life should also be identified as a sphere of community communication. Therefore my research focused on the interpersonal communication of four married women who took courses in Chi-Mei Community University. From their cases, the agency of married women who lived under traditional social restraints was distinctively uncovered. As long as these female students found their own way out of domestic life, they voluntarily became mediators in community communication. They helped Chi-Mei staff not only in running courses more smoothly but also in building rapport with local inhabitants successfully. All these female students identified themselves with the roles of "wives and mothers." However, based on the different resources they acquired, they developed various tactics in the re-negotiation of self-identities during the post-parental period. In one case where the husband had more power over his wife, the wife swiftly came up with strategic approaches that instead helped her gain the advantages over her husband (sometimes even without his knowing it). With this kind of wit cultivated from daily communications, while studying in Chi-Mei Community University, these married women even foster certain tacit knowledge which can be defined as "empathy" and "gift economy". By making use of tacit knowledge, these women translated the concepts advocated by Chi-Mei staff into real actions. And they were able to mobilize their family members and friends in taking these actions as well. Yet they did not associate their voluntary contributions with the abstract concepts, but attributed the actions to their sense of belongings as a community with Chi-Mei and the people whom they admired. These female students actually underestimated their importance in community mobilization. In fact, after Typhoon Morakot seriously damaged southern Taiwan in August 2009, the community networks fostered by women’s interpersonal communication played crucial roles in delivering materials to those victims in need. This was a good example of how the loosely connected networks could be activated at some critical moment while community mobilization is urgently required.

本研究針對紀登斯（Anthony Giddens），探討其對於現代社會的結構特性、作為能動者的人類主體之構成，以及建構合乎現代人性需求政治制度的思想，並推演其在教育上可以有的發展。研究發現：一、紀登斯將主體重建為兼具身體與人格、意識與無意識、論述與實踐、自我與共在、源流與變化、例行性與創造性的能動者；二、意識可分為三個層級但其與行動層級並非一一對應關係；三、本體安全感除透過擱置之外，仍須透過生活政治學反思性地處理本體安全感的需求；四、結構概念具有多項特性，並與人類的能動性呈現雙重性及二元性兩種關係；五、系統與結構的區分應從組合式及聚合式之間的差異來瞭解。六、高度現代性社會有不同於以往的制度、動力、後果與特性。七、生活在高度現代性之下人們有更多自我決定的空間與必要性。八、針對高度現代性的各種特性，政治治理必須有不同以往的思考，並秉持烏托邦現實主義、世界主義，調和懷疑與獻身，使每個人都能對社會有所貢獻。依據上述發現，筆者在教育方面針對個人、結構、現代性、政治治理，與社會學研究方面進行衍釋，作為教育方面的啟示。 / This dissertation study Anthony Giddens’s thoughts about Structuration theory, modernity and politics, and try to find the implications in education. The author find that Giddens reconstructed subjects as agents by 6 pairs of concepts, pointed out 8 relative characters about structure, and contrasted structure with system as paradigmatic with syntagmatic. The author also find that Giddens’ stratification model of personality did not simply correspond to his stratification model of action. And the existential questions which are bracketed by the ontological security should be answered by life politics. Radical Modernity is different from tradition in institutions, dynamics, consequences and properties. People living in this era have more space and necessities to make decisions for themselves. To avoid the possible risks, people should hold the utopian realism, cosmopolitanism, balance the doubts and commitments. Implications in education are addressed on these findings.

色情不只是男性的專利，女性非但有權享受色情，近年來，更發展出一種專為女性打造的特殊色情類型：男性愛（boys' love）作品中具有明顯的性器官暴露或性行為描述之內容者，本研究稱之為「女性色情」。在女性色情中，觀看主體和慾望客體的性別位置受到翻轉，展現長久以來遭受壓抑和漠視的女性情慾。研究從Butler的「言說暴動」（insurrectionary speech）概念切入，探討女性色情是否隱含顛覆父權體制下性別權力結構的另類論述，重新詮釋女性色情背後所具有的社會意涵。 在對女性色情遊戲文本進行敘事分析，並對女性閱聽人展開深度訪談後，研究結果發現：遊戲文本倒置性別觀看位置，將男性身體予以性感化和客體化，且具有超脫異性戀鐵則的情慾思維；女性閱聽人則從其中獲得逃逸和想像的歡愉，一方面逃離現實性別權力結構的壓迫，一方面從性別權力的倒置中重獲觀看權力，以女性的主動觀看，對男性進行性感化想像。此外，她們亦在實踐中展現情慾能動性，並對父權異性戀宰制性意識形態進行反思，開放情慾態度，反對對性別弱勢的歧視。 / This article defines "women's porn" as the productions which depict genitals or sexualities explicitly in the genre of boys' love, and focus on realizing whether women's porn has a metaphor for alternative discourse of subverting the structure of gender authority in a patriarchal society. The article draws from Butler's notion of "insurrectionary speech" theoretically, and uses narrative analysis and in-depth interviews to study the discourse in a game of women's porn and the reception of female audiences. The study findings are as follows: First, the game text breaks heterosexual rules by sexing maleness body and overturning traditional viewing position. Second, female audiences get their pleasures from two major parts through the reading experiences: Escaping and imaging. That is, evading from the oppression of gender authority in daily life, and put maleness body in a sexing way by viewing actively which empower them to claim their rights of viewing. Besides, they also reveal their agency in sexuality practices, reflect on dominant ideology of patriarchy-heterosexuality, and open their mind toward multiple gender-sexuality practices which differ from mainstream.

本研究擬從經濟社會學和創業研究等觀點，對台灣有線電視系統先驅者所進行的媒介創業行動進行考察，嘗試說明早期有線電視系統業者媒介創業行動的行動邏輯，以及揭露其創業行動邏輯的社會根源。 通過媒介創業行動意涵的討論，並彙整當代創業研究的論述，以及參考場域、資本與慣習等概念，本研究將媒介創業行動的考察，聚焦在媒介創業歷程中文化資本、社會資本與象徵資本等不同類型的創業資本，如何進行交換的問題上。 關於研究方法與研究對象的選擇，本研究以口述傳記研究法來蒐集有線電視系統先驅者的媒介經驗，並以台灣選擇社區共同天線系統業者，作為研究的個案。通過對於研究個案的訪談與傳記資料的重構，以及口述傳記訪談法的應用，本文嘗試重建早期有線電視系統業者之媒介創業經驗的整體形貌。 經由對業者之媒介創業經驗的解析，本研究嘗試揭露早期有線電視系統業者所從事之媒介創業的行動邏輯，並推論出：「技術能動性的作用」、「情感互惠的中介」、「『報』的社會常規的應用」、「自尊與歸屬之創業情感的自我期望」等意義結構，是解釋台灣有線電視系統媒介創業行動的關鍵行動邏輯。 進一步，對於媒介創業行動邏輯的社會根源問題，本研究嘗試扣連台灣在地社會的文化傳統，發現在地社會中所強調「人情主義」、「義氣習性」與「技藝精神」等常民規範性，是驅動媒介創業歷程中「情感互惠」、「回報常規」習性與技術能動性的社會文化根源。 結語，本研究指出，受到創業冒險、自信與樂觀等情感因素所導引的台灣有線電視系統先驅者，他們實為一群具有「即興展演」的行動能力，並以文化常規中的「情義」邏輯，來進行創業行動的「野性」的媒介創業者。而相異於當代主流創業論述強調工具理性、資源有效運用的行動思維，這群「野性」的媒介創業者，他們勇於突破政策管制的困境，巧於利用技術物之功能的能力，是他們之所以能夠通過技術與市場的高度不確定性，以及媒體管制政策的壓力，成功進行媒介創業行動的能動性根源。 最終，扣連到傳播生態發展史的論述，本研究發現，這群帶有野性精神的媒介創業者，不僅具有啟動不同資本之交換行動的能動性，他們所具有的創新與創造性行動的力量，更是馴化新傳播的科技特性，使傳播科技得以轉化為日常生活之媒體的關鍵力量。 / This study aims to investigates media entrepreneurial phenomenon which caused by the rise of new communication technology by the viewpoints of economic sociology and entrepreneurship. Based on the unfolding of the oral biography from the cable television pioneers in Taiwan, this study illustrates the action logics of social exchange about media entrepreneurial activities in Taiwan. Discussed on the contemporary communication phenomenon, entrepreneurship theories and economic sociology theory, this study illustrating the meaning of media entrepreneurship in history, figuring out the overview of media entrepreneurship study, describing the view of ‘media workers as media entrepreneurs’, discussing the meaning and types of ‘media entrepreneurs’, identifying three theoretical dimensions in media entrepreneurial processes, and summarizing the framework of analyzing the media entrepreneurial processes by using the concepts from cultural capitals, social capitals, and symbolic capitals. According to the work of structural analysis of narration, case reconstruction, and concept crystallization, this study finds: ‘the function of technical agency’, ‘the intermediary of entrepreneurial emotion’, ‘the application of Pao from social codes’, and ‘the project of self esteem and belonging ’ are the core meaning structures about the action logics of Taiwan Cable Television pioneers. About the problems on social origins of the media entrepreneurial process in Taiwan Cable Television pioneers, this study also finds: ‘the ontology of emotion’, ‘the rules of cultural Yi-Chi disposition’, and ‘the spirit of craftsmanship’ are the social origins from local culture in Taiwan. In conclusion, this study points out that these pioneers afford the improvisation for the potential of communication technology, and they can domesticate the wildness of new media technology. Further, they can perform the innovation and creative power to encounter the technology-market uncertainty, and overcome the regulation from government. Finally, this study name there pioneers in Taiwan Cable Television as the ‘Savage in media entrepreneur’, they possess the strong entrepreneurial agency, and they can build the new media ecology for future.