《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.

Title: Values, Desirability and Ideology in CNN Travel -- a Discourse Analysis on Travel Stories Author: Emmi Laine Course: Journalistikvetenskap, Kandidatkurs, H13 J Kand (Bachelor of Journalism, Fall 2013), JMK, Stockholm University, Sweden Aim: The aim is to examine which values and ideologies CNN Travel fulfills in their stories. Method: Qualitative discourse analysis. Summary: This Bachelor ́s thesis asks what is desirable, which are the values of CNN Travel, the major U.S. news corporation CNN ́s online travel site. The question has been answered through a qualitative discourse analysis on 20 chosen travel stories, picked by their relevancy, diversity, and their expressive tone. Due to the limited space and the specific textual method, the analysis was restricted to the editorial texts of these stories. The chosen method was discourse analyst Norman Fairclough ́s model of evaluation, which revealed the explicit and implicit ways the media texts suggest desired characteristics. These linguistic devices took the readers ́ agreement for granted, as they imposed a shared cultural ground with common values, which is a base for a mutual understanding. After identifying the explicit and implicit evaluations, they were organized according to some major discursive themes found in the texts, and finally analyzed in order to expose their underlying values. The results showed how these certain values brought forth certain ideologies, to some extent in keeping with recent research of tourism and travel journalism. As the study has been put into a larger context of related research, the following pages will first explain some larger concepts of discourse analysis, such as representation, cultural stereotypes, ideology and power. A cross-section from older to more contemporary theories in culture studies has been utilized; moving from Edward Said ́s postcolonial classic Orientalism, an example of cultural stereotyping, to the more recent topics of ‘promotion culture’ and consumerism, and tourism researcher John Urry ́s ideas about the consumption of places and the ‘tourist gaze.’ In the end, the study considers what kind of power does travel journalism possess over the represented tourism destinations. Finally, when questioning the travel journalists ́ legitimacy and power to represent the travel destinations, poststructuralist Michel Foucault ́s theory about the ‘regime of truth,’ as well as Antonio Gramsci ́s ideas of ‘hegemony,’ theory of dominance through consent, were discussed and confirmed.

This interdisciplinary thesis belongs to Marie Antoinette studies. The contemporary dissonant commodification of the controversial historical character of the last Queen of France, detected at her former home, Petit Trianon, drives the course of the thesis research. Considering the complexity and controversy of the subject, the thesis seeks to make a contribution to extant scholarship by clarifying important modern history issues through a fresh approach: by using art history as an indicator in assessing the historical truth of the narrative of Petit Trianon, the residence identified as home to the last Queen of France. The thesis examines Petit Trianon and Marie Antoinette in the context of four major narratives - the historical, cinematic, architectural and heritage narratives - relevant to the contemporary heritage interpretation of Petit Trianon as well as its visitor perceptions. In addition to sourcing evidence for the arguments originating in art history information, the thesis relies on the data collection provided by a tailor-made survey for the topic, placing the results in the wider context of a hermeneutical interpretation of data found in either history or contemporary popular culture. The array of Marie Antoinette’s images detected by the analysis charts the commodification of this historical character at Petit Trianon: its production and consumption. It is through the assessment of this commodification that the present thesis reveals the misconceptions surrounding the historical character best known as Marie Antoinette. The thesis argues that the true role of the last Queen of France was successfully obscured through juxtaposition with her perception by the French collective memory. In other words, the perception of Marie Antoinette had subverted historical truth. Furthermore, the commodification of her historical character is perpetuated in an endless chain of representations fuelled by postmodern consumerism.

Pays où se croisent influences occidentale et arabe, le Liban est un laboratoire heuristique pour analyser la question patrimoniale. Son système politique confessionnel, sa société communautaire et sa situation stratégique au Moyen Orient en font un enjeu géopolitique. La construction nationale a approprié le regard orientaliste pour postuler une identité libanaise assise sur des mythes fondateurs ; elle a mobilisé les Libanais autour des valeurs communes de la nation afin de diluer les identités communautaires. La guerre civile a réactualisé ces identités et les communautés se sont emparées de leurs particularismes religieux au profit des acteurs divers qui s’affrontent au Moyen Orient et qui instrumentalisent la carte communautaire libanaise dans leurs confrontations. Le Liban a traversé deux périodes de construction identitaire : nationale et communautaire ; chacune de ces périodes a sécrété un patrimoine particulier. À Baalbek, ville connue par l’Occident à travers les récits des voyageurs, la construction nationale désigne le site archéologique comme patrimoine national. Or, ce site se caractérise par une sédimentation de couches culturelles qui sollicite une lecture patrimoniale différente selon des échelles : alors que le regard occidental y voit des temples romains, la population locale y voit une Qalaa (citadelle) arabe. Entre la romanité et l’arabité du site, l’État libanais a opté pour sa dimension phénicienne qui affirme que les Libanais sont les descendants des Phéniciens. Avec la remontée du pouvoir communautaire chiite dans la ville, un nouvel objet patrimonial émerge : le mausolée de Sit Khawla répond par son référentiel identitaire et la dynamique économique qu’il induit dans la ville, aux aspirations de la population locale recomposée communautairement. Il s’ensuit deux pôles patrimoniaux qui coexistent dans l’espace de Baalbek. Cette bipolarité patrimoniale renvoie à des enjeux, des logiques d’acteurs et des acceptions du patrimoine que cette thèse s’attache à analyser. / A country influenced by both the Western and Arab world, Lebanon is a heuristic laboratory to analyze heritage questions. Its confessional political system, community social structures and strategic location in the Middle East contribute to make it an important geopolitical stake. The Lebanese nation-building process appropriated the Orientalist gaze to force a national identity based on several founding myths. It sought to gather the Lebanese around national common values, and so weaken the community identities by promoting the image of a socio-cultural mosaic. The civil war refreshed these identities, and the communities seized their specific religious particularisms, which the regional powers in the Middle East manipulated for their power game. Lebanon witnessed two periods of identity-building: national and community, each of them inventing a particular heritage object. In Baalbek, a city that was familiar to the West thanks to travellers, nation-building process appointed the archaeological site as a national heritage. However, the site is characterized by sedimentation of several cultural layers, each participating in different scales of heritage interpretation: while the Western gaze sees Roman temples, the local gaze sees an Arab Qalaa (citadel). In addition to the Roman and Arab identity of the site, the Lebanese state stressed its Phoenician dimension favourable to its national discourse which affirms that the Lebanese are the descendants of Phoenicians. With the rise of Shiite community power in the city, a new heritage object attracts the local level: the mausoleum of Sit Khawla responds to the aspirations of local population, by its referential identity and its economic dynamics which it has induced in the city, now recomposed on a community basis. As a result, two heritage centres coexist in Baalbek’s space. This bipolarity underlines heritage issues, the actors’ logics and the different significance of the conception of heritage, which this thesis attempts to analyze.