本研究主要目的有二：一是探討陳水扁支持者（扁迷）對阿扁之情感與認同，二是檢討傳統迷文化理論和Laclau與Mouffe論述理論在分析扁迷現象時的可能缺失，並提出一個新的整合性理論架構。以深度訪談作為方法、傳統迷文化理論作為背景理論，本研究發現扁迷們透過身體實踐，表達自己對阿扁本人與其背後符號意義的支持；這些意義包括台灣國族意識、公平正義、偶像特質與青年認同。除上述意義之外，「為了自己」、「為了社群」是扁迷支持阿扁更核心的驅力；前者顯現在扁迷的各種認同與防衛機制上，後者則展現在其政治理念成形時的親身傳播中。然而，傳統迷文化理論卻無法解釋阿扁符號意義與扁迷情感／認同的變遷過程，Laclau與Mouffe的空符徵架構雖然得以適切說明意義與認同改變時遭遇的符號與自我分裂，但亦無法真正指出符號變遷時的關鍵因子。本研究認為，唯有整合此二理論、強調符號論述的開放性與主體之能動性，並體認符號文本、個體與社群三者缺一不可的緊密相關性，才能真正完整地說明、解釋此一政治迷（扁迷）現象。同時考量上述條件，我們將獲得一個新的、三重三元性（3 x 3）的整合式理論架構；而任何得以此架構解釋分析之個體行為，我們稱之為「道德實踐」。這不僅強調個體進行道德抉擇的能動性，亦強調其背後以各種符號秩序中介的社群規範。扁迷作為一種道德實踐，並不在正當化扁迷所認同之價值體系為一普遍性道德「內容」，而在說明扁迷，在本質上，即為一種道德實踐「形式」。 / Two aims the present research has. The first is to investigate the feelings and identifications of President Chen Shui-Bian’s (A-Bian) supporters (Bian’s fans). The second is to discuss the suitability of applying traditional fan culture theory and Laclau and Mouffe’s discourse theory in explaining this political-cult phenomenon, and to propose a novel, integrated one. Using in-depth interview as research method and fan culture theory as base, the present research suggests that through body practices, Bian’s fans actualize their support toward A-Bian and various symbolic meanings behind him. These symbolic meanings include Taiwan nationalism, justice, idol characteristics and youth identifications. Besides these meanings, ‘for self’ and ‘for the community’ are more the core motives of supporting A-Bian. The former could be observed in the identifications and defense mechanisms of Bian’s fans, while the latter is concluded both from the importance of interpersonal communication, and from the role of communities in the political-ideas modeling of Bian’s fans. As for the theoretical discussion, traditional fan culture theory fails to explain the conversion of A-Bian symbols and that of Bian’s fans’ identifications. Although Laclau and Mouffe’s idea of empty signifier can properly illustrate the symbolic and self divisions in those conversions, it still fails to designate the key element triggering this process. The present research suggests that only combining these two theories (that is, stressing not only on the openness of structures as Laclau’s discourse theory does, but also on the agency of subjects like fan culture theory does), and recognizing the intimate connection among symbols, subjects and communities, can we thoroughly and really understand this political-cults phenomenon. Considering the principles above, we shall eventually infer a new, integrated, triple-triplets (3 x 3) theory. Every action explainable by this frame could be termed as ‘moral practice’ not only for stressing on the agency in subject’s moral decision making, but also for emphasizing the significant role of social norms behind it. Regarding being Bian’s fans as a moral practice is not justifying the values they hold to any universal ethic contents, but illustrating that being Bian’s fans is essentially a form of moral practicing.

張愛玲在臺灣經過一甲子的傳播，其人其文被廣泛地挪用，影響層面從 文學擴及整個文化場域。張愛玲的名字頻繁出現於報刊二十種以上的版 面，且依不同脈絡呈現不同的形象，各界以各種方式消費張愛玲，讓張愛 玲從一位作家到一個產業，形成廣受矚目的「張愛玲現象」。「張愛玲現象」 實為「迷文化」的產物，然而在「張學」中這方面的深入討論尚付之闕如， 本論文以「傳播」與「迷文化」為主軸，呈現「張愛玲現象」中各領域的互 動，分析張愛玲由俗入雅，再由雅跨俗過程中的運作力量，以及由文學社會 學面向探討張愛玲成為跨領域名人的過程。 本論文分為四章，引言部份為論文框架說明，介紹論文的研究動機與目的、研究方法，前人文獻回顧以及各章主旨。第一章呈現一九四九至一九八O年張愛玲在臺灣的形象。藉爬梳報章雜誌歷年來有關張愛玲的報導與文章，呈現張愛玲不同時期的形象。「鴛鴦蝴蝶派」與「文藝漢奸」，「反共作家」「電影編劇」以及「翻譯家」，「專業作家」與「智性學者」等等皆曾為張愛玲的早期形象。第二章為一九八O年代以降從「張腔」到「張學」的過程，探討張愛玲在經典化過程中所經歷的論戰及其背後的意涵，著重在文學獎機制與隨之興起的「女作家熱」、「張派」論述等對張愛玲形象的影響。第三章探討各界「張迷」如何擴散張愛玲的影響力，「張迷」的菁英特質對張愛玲經典化的助力，「迷」於各領域的「再生產」對張愛玲的知名度大的擴散效應。第四章探討張愛玲的俗化與商品化現象。張愛玲在消費社會的脈絡下成為被掏空的「符號」(sign)，被塑造成一種品牌，以「孤絕」、「華麗」與「蒼涼」為品牌特色，被傳奇化、明星化、慾望化與商品化。結論總結全文，回顧「張愛玲現象」之形成過程，「迷文化」於「張愛玲現象」中的展演：包括學界、評論界與傳播界的擴散效應，文學場域的權力、佔位及其影響，闡明消費社會中大眾文化神化與俗化張愛玲的力量，並以此觀照臺灣「張愛玲現象」中文化場域的互動。

布袋戲於臺灣已近百年歷史，它勇於就地謀生，汲取民間養分、庶民文化之特質，將流行元素置於文本結構、角色人物當中，使其歷百年而不墜，隨時代變遷而演進更生。本研究以霹靂布袋戲迷為主體，探討霹靂布袋戲迷文化之生成，為何而迷，著迷之物，以及迷、偶、官方—霹靂國際多媒體三者之關係。戲偶對於布袋戲迷而言並非死物，它趨近「仿人」式的擬真動作，即便在形體、動作上有其限制，該限制卻同時為發展之契機。經由霹靂國際多媒體塑造之偶，經由布袋戲迷及官方對偶之想像，賦神於偶，使「它」→「他」，「偶」→「偶像」。「偶」作為迷與官方之間的關鍵連結，雙方對「偶」的想像使三者形成密切網絡，迷與官方之間因「偶」的作用導致關係複雜多變。霹靂布袋戲迷透過迷活動實踐過程，將無生命之「偶」賦予生命，予無情者有情。 / Glove puppet drama in Taiwan has a rich history around one hundred years. It is characterized by absorbing nutrition from folk and popular culture, and also integrates with popular elements into texts and structures. This feature helps puppet drama to live and improve with the wheel of time turning. This paper will focus on the issue of Pili-puppet drama fans, including the discussion of Pili-puppet drama fan culture, process of being fascinated by the “puppet”, and the relation between the three: fan, puppet, and Pili Multimedia Inc.. To Pili-fans, glove puppets are not inanimate objects however, they are idols with feelings. Though puppets are limited in doing some gestures, the limitation is the turing point on the contrary. Being structured by Pili Multimedia Inc., embraced with the imagination and fantasy by official organization and fans, puppets are empowered with spirits through transformation, the object “it” becomes “him/her”, “puppet” then becomes “idol”. The Pili puppet is a crucial element connected with fans and the producer. Moreover, the relation between fans and the producer is incredible complicated because of the “puppet”. Pili-fans empower the spirit on puppets with practice, making inanimate objects alive and with feelings, also.