Un festival tel que le Festival des fantômes de Keelung Zhongyuanjie est un fait religieux, esthétique et de communication qui assure des fonctions de transmission des pratiques et des valeurs ainsi que des fonctions symboliques de régulation des relations entre groupes sociaux et de diffusion des représentations. Dans cet espace-temps spécial les cadres de la vie collective et les identités sont en permanence décomposées et recomposées selon une dynamique qui évolue avec le temps. Les individus y jouent temporairement, au sein des clans, un rôle social qui ne dépend pas directement de leur statut social, de leur niveau de richesse, de leur origine ethnique ou provinciale, et même les appartenances religieuses sont associées dans des pratiques syncrétiques. Les festivals traditionnels de Taïwan ont évolué au cours du XXe siècle. A l’origine une double fonction dominait : sociale – il s’agissait d’assurer une cohabitation harmonieuse entre clans – et religieuse – il s’agissait d’assurer une relation apaisée avec les âmes des disparus. Au cours du XXe siècle le festival s’est transformé pour intégrer la nouvelle culture nationale dominante. Au début du XXIe siècle le renforcement de l’identité culturelle taiwanaise est devenu une priorité politique. Les autorités ont œuvré à la promotion d’un ensemble de festivals rassemblés sous le nom de « Festivals d’art de Formose ». Un de ces festivals, la fête des fantômes de Keelung Zhongyunjie, qui était jusqu’alors plutôt traditionnelle et folklorique, a dès lors connu une telle expansion qu’elle est devenue un festival d’art national. Cette étude traite du processus qui voit la mutation de la Fête des Fantômes de Keelung Zhongyuanjie en festival. Des facteurs tels que la mondialisation de l’économie, les mutations technologiques et la dynamique des politiques publiques se combinent pour modifier le modèle original qui passe d’une dominante cultuelle à une dominante culturelle. Ce processus à l’œuvre ne se comprend que dans le cadre des transformations plus générales de l’identité nationale taïwanaise au XXIe siècle. / A festival such as the Keelung Zhongyuanjie Ghost Festival is a religious, aesthetic and communication event that provides functions of transmitting practices, value and symbols, regulating relations between social groups and dissemination of representations. In this special space-time framework, collective life and identities are constantly decomposed and recomposed according to the dynamics that has evolved over time. Meanwhile, individuals play temporary social roles within the clans regardless of their social status, level of wealth, ethnic or provincial origin, and even religious affiliations. In the festival, the social status of the individual is associated with practices of syncretism.Traditional festivals in Taiwan have evolved over the 20th century. At first, a dual social function dominated. On the one hand, it was to ensure a harmonious cohabitation between clans and religion. On the other hand, it was to ensure a peaceful relationship with the souls of the deceased. However, the essence of the religious activity has been transformed with time. Throughout the twentieth century, the festival has been compatibly integrated with a new dominant national culture. At the beginning of the twenty-first century, strengthening Taiwan's cultural identity became a political priority. The authorities promoted a series of festivals, all of which were officially called "Formosa Art Festivals". One of them,“The Keelung Zhongyuanjie Ghost Festival”, has expanded so much from the traditional and folkloric realm that it has become a national art festival.This study discusses the process of the transformation of Keelung Zhongyuanjie Ghost Festival. Some factors, such as the globalization of the economy, the change of technology and the dynamics of public policies, combine to support the change of the original model from a folk ceremony to an art festival. This research not only elaborates the transformations of the festival but also explores the formation of Taiwan's national identity in the twenty-first century.

Abstract Because of the trend of globalization and liberalization, every enterprise has actively developed the operation model for their global expansion in order to raise their competitive advantage. In the supply chains of international enterprises, there are a lot of serious competitions which are not just between company and company, but between country and country as well. Every country in the world has legislated the special law which is to give some special areas and eliminate the obstructers which would hold back activities of multinational from internal enterprises in order to satisfy with the demands from all multinationals in the world. Currently, there are about two thousands to five thousands free trade zones or the trade zones that are similar to free trade zones in the world, and they have turned into a very important circulation core and transaction core for international trade. On July 23, 2003 Taiwan was published the operation statute and the operation order of free trade zone by our president. After that, its related accessory schemes have established continually, and amply expanded their utilities. Because of that, this situation has helped free trade zone to have successfully performed its strength and to have assisted to break the predicament of industry development. Currently, In Taiwan, although it has five free trade zones that are Kaohsiung Port, Keelung Port, Taipei Port, Taichung Port and Taoyuan Airport Cargo Terminal, are stationed by eighteen manufacturers, the result of the operation has not reached our expectation. However, this research would be focused on the manufacturers¡¦ satisfaction with the recent standard of free trade zone. The result of this research which is gotten by information collection and data analysis shows the recent statutes and regulations of free trade zone should be revised the following issues: 1. Cancel the regulation of 5% aborigine employment limitation. 2. Simplify the transiting customs formalities and autonomous management methods. 3. Abolish employment regulation of the foreign labors` salary which must to conform to the basic salary regulation. 4. Loosen restrictions on business scope in free trade zone for mainlander. However, there is a suggestion which is our government would need to revise the related statutes and the regulations as quickly as possible in order to operate free trade zone successfully! . Key words: free trade zone, Kaohsiung Port, Keelung Port, Taipei Port, Taoyuan Airport Cargo Terminal and Taichung Port

基隆，一個早期興盛的貿易港口，在搭乘著郵輪來台的日本老婆婆眼中，這個港口似乎還留著她年輕時所見的繁華過往。隨著產業變遷及全台各地後起發展，基隆不再是唯一貨港，反而隨著逐年興起的旅遊業，成了大量郵輪的停靠岸。基隆像是停留在過去的時空中，與現今全球都市的均一化成了極大的反差對照，但卻也因此而保存了自我的地域風貌。 近年來城市興起一股以設計、創意為主導模式，企圖帶領都市走出一條有別於以往的思考模式，都市不再是以大量開發及建設做為金流指標，而是轉向由居民的互動參與及凝聚在地情感的生活指標，城市改由在地出發，重新思考如何在價值與價格、保存與開發、過去與未來中找到平衡。 本研究以基隆市中心為研究範圍，由設計思考模式以發覺、發現、發想、發展四個過程，經由反覆的發散與收聚斂過程，透過城市五行循環與制約特性中建構出平衡機制，分別對標竿案例及研究案例做分析。在標竿案例以美國紐約High Line Park經由城市五行分析其轉化歷程發現其成功是來自於多向的平衡機制。而在研究案例以基隆市中心區域分析在城市五行運行中所導出的問題及找出問題背後的關連性，透過城市五行診斷及分析為基隆市中心的再生提出具體建議。最後經由案例分析中驗證城市五行的歸屬。 / Keelung, a trading seaport boomed in late nineteenth century under the Japanese colonial era, seems still having its former glamour and busy days in the eyes of an old Japanese grandma, who just embarked from a docked cruise liner at the port in present day. Due to the change of core industrial transformation in Taiwan and the raise of other ports, Keelung is no longer the only trading seaport in the region. It has transformed to a popular cruise line destination from the recent increase in the tourism business demand. Contrast to other global cities’ modern and urban movements, Keelung looks like a city staying unchanged from its earlier days. Also because of this frozen in time, the city was able to preserve its charms and geographic terrain. During the recent decades, design thinking and creativity have been the leading model for city development. The intention behind was to create a design concept from a different thought process. Urban development is no longer targeting massive development and construction nor valued by the economic growth. Instead it is focusing on residents’ interactions within and the quality of life for the community. A city is transforming into local communities; and trying to find a balance between its value and price, between conservation and development, and between past and future. The scope of this project is downtown Keelung City. Use design thinking to review the project in four stages: Discover, Define, Develop, and Deliver. From repeated divergence and convergence processes, through the cycle of five elements (in the city) with mutual generation and mutual restriction properties, a balance was formed. The comparison analysis was conducted between the High Line Park Project and this Keelung City Project. First, utilizing the five elements in the city, it was found that the success of the High Line Park project was due to a formed balance between these five. Second, the Keelung City project emphases on using the cycle of five elements to diagnose and analyze the problems and the connections between these problems among smaller sections of the downtown area. In addition, through the diagnosis and analysis, a recommendation was outlined for the Keelung City regeneration. Finally, detailed cases of the project confirm the matching category between the five elements and the city.

基隆港市1980年代後期經濟衰退，以及台灣青年面臨崩世代的情境，基隆都市治理失能如同台灣發展的縮影，全球化下艱困的大環境，讓青年世代無法追求「大幸福」而轉向「小確幸生活」，看似微小的幸福，卻也是個體能動性的所在；青年對於國家施政的不滿，透過新媒體串聯，興起2014年318太陽花運動，新世代青年開始展開行動，訴求返鄉或在地紮根，醞釀政治上的第三勢力和青年參政風潮。 2014年基隆老中青三代文史工作者集結，展開C23行動聯盟抗爭運動，訴求保留西二三碼頭倉庫，要求經濟與文化發展並存。而後基隆各青年團體相繼成立，依持他們的秉性、習癖和握有的各類資本，依照旨趣分別關注在政治、文史、新公民運動等面向，將台北的現代性發展、社運精神帶回基隆操練，像是基隆青年陣線的民主小草青年參政的政治實驗；黑鳶之都與基隆青年陣線的許梓桑古厝打掃運動，以行動介入，翻轉地方空間，舉辦梓桑文化祭與「影．響．台．灣」活動；雞籠霧雨則關注地方文史和社會議題，深具批判意識的犀利文筆，持續展開新文史運動；阿普蛙工作室形塑的「新公民運動」，誓言立足基隆，創辦社會企業，走入學校、團體與社區，目標形塑寰宇主義的世界公民，不斷積累社會資本，在都市或台灣各地社區不斷行動，是進行社區(會)場域的改造與復興的「遊戲世代」。 基隆青年的都市改造運動，間接促使2014年民進黨籍林右昌市長的當選，而基隆青年都市改造運動持續與「新政治」的交互影響。最後，本研究認為「世代共融」乃是尋覓理解台灣都市新政治的解藥。 / Since the economy of Keelung city had declined in the latter mid of 1980’s, the youth in Taiwan is now experiencing the situation of the “declined generation”.(崩世代) In 2014, through the connection of new social media, the youth had took the streets and stepped forward defending the importance of local development in Taiwan, which is called “the Sun Flower Movement”. In this study, one can see how the trend of youth participation was formed, and the path of “the third power” in politics to be deliberated. In 2014, the culture workers from every ages in Keelung gathered together for the movement of C23 action, fighting for reservations of the west no.2 and no.3 wharf warehouse and asking for the coexistence between economic and cultural development. And lots of youth people groups have sprung up in Keelung since then, bringing back into Keelung the essence of modern developments and social movements in Taipei. These youth people groups, such as Keelung Youth Front(基隆青年陣線), KeelungRain(雞籠霧雨), and Wa’s up studio(阿普蛙工作室), etc., have different dispositions, habiuts and capitals, and they have divergent interests in political, cultural, new civil movement fields. The youth people group in Keelung give rise to the youth movement of urban renaissance in Keelung, and it also indirectly contributes to the rotation of ruling parties in Keelung. The youth movement of urban renaissance is continuously interacting with the “new politics”. This article considers that “the integration of ages” is the key to understanding the new politics in cities of Taiwan.