在自媒體時代下，每個人都可簡單創立一個自媒體，使讀者在旅行的過程中得以參與照片的產製，共同塑造一地的城市意象。本研究將觀察場域設定為以照片為主的社群平台Instagram，研究標的為－上海。藉由Kevin Lynch的城市意象理論、Fakeye & Crompton的原始意象、誘發意象、複合意象理論，探討讀者抵達上海前後的差異與如何藉由照片形成複合意象，進而探討一座城市的意象如何經由照片被形塑以及讀者眼中的城市意象的構成元素與自媒體時代的關係。 研究發現，讀者的原始意象多來自朋友間主觀性的評論。抵達上海前的原始意象多指向繁華、中西合併的國際化都市，抵達後的意象較多元而衝突，特別對於人民的文化素養有所描述。在自媒體時代下，Kevin Lynch的五大要素除邊界外，其他皆仍存在自媒體上，新增人物、食物、建築空間等三大新要素。 從讀者所提供的照片歸納出以人物、標誌物兩種要素佔比最高，根據深度訪談分析讀者上傳照片的原因，如：特別、值得紀念、實現夢想、覺得自己美、心情美好、感到優越。進而從照片中發現，在自媒體時代下「我」的主體性被凸顯，使照片中充分展現自媒體時代的特色。 / In an owned media era, people can create owned media easily. They can always share photos during their travel time and shape urban images together with other readers. With the experiences of the author and consider the suitability of samples, this research will be based on Instagram, a social media platform focusing on photographs, and targeted on Shanghai. With “The Image of the City” of Kevin Lynch, “Original Image”, “Induced Image”, and “Complex Image” of Fakeye & Crompton, this research will be analyzing the difference between interviewees’ image towards Shanghai before and after visiting, and how they shape their urban image through their uploaded photographs. Through the research, the author wish to discuss the relationship between the constitute elements of urban image by different readers and the aspects of owned media era. After the research, the author found out that readers’ original images come from subjective comments of their friends. Most original images include seeing Shanghai as a prosperous, diverse and an international city. Images after visiting start to diverse and conflict, especially on cultural literacy of the people in Shanghai. In own media era, four of the five elements, except for Edges, of Kevin Lynch are still applicable. In addition, the author established another important elements, people, foods, and spaces. The photos provided by readers can be classified into people and landmarks. Through analyzing interviews, the reasons of uploading pictures are mostly things that are special, things or events that are memorable, dreams come true, photogenic, in a good mood and feeling superior. The author concludes that under owned media era, the subjectivity of “I” has been highlighted from the uploaded pictures and that also brings out the aspect of owned media era.

《自由談》是戰後台灣第一本暢銷國內外的民間雜誌，發行時間從1950年4月到1987年11月為止，沒有官方撐腰而能歷經整個戒嚴時期，並取得巨大成功，是來自於雜誌背後所擁有的海派文化資本、商業手腕，以及因地制宜的在地轉化。本論文以《自由談》為中心，首先比較民國上海《旅行雜誌》，踏察海派文學／文化與台灣當代文學／文化的關聯。其次藉由觀光客凝視（The Tourist Gaze）、世界主義（Cosmopolitanism）和美學世界主義（Aesthetic Cosmopolitanism）等理論，分析《自由談》裡最大宗的國內外遊記，說明藏匿在官方論述保護色之下的「世界想像」，有意無意溢出戒嚴臺灣所限制的禁忌究竟為何。最後集中關注《自由談》的小說，一樣先分析海派小說的在地化轉變，說明如何可能成為台派鴛鴦蝴蝶小說；之後再聚焦以國外為主要敘述空間的嚴肅小說，討論這些小說如何區分自我與他者、確認差異（difference）和認同（identity），進而隔海回望，漸漸打造出不同於官方主導文化、嶄新的「台灣想像」。 / The Rambler（《自由談》） was the first private magazine in post-war Taiwan that sold well domestically and internationally. Published from April 1950 to November 1987 without government support, the magazine thrived throughout the entire martial law period because of the combination of the cultural capital of the Shanghai School, effective business tactics, and a local transformation that underpinned its operation. In this study, The Rambler and its predecessor, China Traveler（《旅行雜誌》）, were compared to investigate the relationship between the Shanghai School literature and contemporary Taiwanese literature. Travelogues collected in The Rambler were subsequently analyzed through the perspectives of tourist gaze, cosmopolitanism, and aesthetic cosmopolitanism to illustrate how the world imagination was influenced by the ruling Nationalist Party, which, wittingly or unwittingly, revealed officially stated taboos in Taiwan under martial law. The local transformations in the Shanghai School fiction reflected in The Rambler were also discussed in this study. Finally, fiction in The Rambler with settings that occurred beyond the borders of Taiwan were examined to discuss how characters in these fictions distinguish between the self and the others, perceived their difference, and identified with their identity to create a different imagination of Taiwan from the officially created one.