本研究以Michel de Certeau所說的日常實踐之視角出發，檢視了2010年以後創意市集的發展與變化，以及市集組織者和擺攤者的重要性。時序上以2010年作為活動的分界，創意市集的樣貌有了顯著的轉變，這除了反映台灣社會環境的時代變化外，同時也勾勒出在後工業城市之中的空間理性的展現。首先，本文從創意市集中，行動者之一的組織者開始談起，以台北與台南各自起家的創意市集——「邊緣人市集」和「手_手市集」為例，從中可以看到創意市集分化出不同的樣態，而這樣的變化使得創意市集變成一種工具、手段或媒介，並能以一種軟性的方式來達到其目的。接著，延續對創意市集中的行動者之討論，從市集擺攤者的面向切入，透過擺攤者跟他們販售物的關係中，我們得以一窺他們如何藉由其所販賣的商品來彰顯自身對於勞動的想像和生活的態度，並藉由創意市集和行動者，在面對難以撼動的社會環境與產業結構，我們能夠看到他們如何展現自身的能動性，並藉由其所學的技術與能力，試圖在結構限制下找尋新的可能。最後，將創意市集作為城市地景的角度分析，談及它所具有的特殊性和空間彈性、以及其美學特性之實踐。 / In the perspective of Michel de Certeau’s 'practices of everyday life', this study explores the development of creative bazaar (market) and highlights the importance of the organizers and vendors in the market after 2010. The significant changes of creative bazaar since 2010 have shown current social transformation and forms of spatial rationality of post-industrial cities in Taiwan. First, by taking two pioneer creative bazaars, “The Edge Man Market” and “Hand-in-hand Market”, as examples, it displays multiple modals of creative bazaar which are able to be considered as a soft approach for engendering urban community capacity and promoting socio-cultural events. Then, it turns to young vendors, examining how they express their imaginary for labor and life style through their relationships with the things they make and sale. In particular, in facing the challenge of hard social circumstance and rigid industrial structure, how do the organizers and vendors show their capability of business craftsmanship and cultural taste for beyond structural limits？ Finally, this thesis aims to understand how creative bazaar can be adaptively and flexibly located in the urban landscape.
| Identifer | oai:union.ndltd.org:CHENGCHI/G0103254016 |
| Creators | 翁芷雲, Wong, Tzu Yun |
| Publisher | 國立政治大學 |
| Source Sets | National Chengchi University Libraries |
| Language | 中文 |
| Detected Language | English |
| Type | text |
| Rights | Copyright © nccu library on behalf of the copyright holders |
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