摘要：一九八八年,詩人游川與傅承得於陳氏書院發起一場名為「聲音的演出」的現代詩朗誦發表會。這一活動的緣起是一九八七年馬來西亞政府援引內安法令,逮捕一群抗議教育部派遣不諳華文的教師擔任學校行政高職的異議人士。這不僅引來華人社會的不安,也促使國內不同族群間的緊張。故此,詩人自翊為知識分子,以詩發聲,對抗國家霸權的不公不義。
這一活動借以魯迅〈無題〉詩中的「動地吟」為名,透過現代詩朗誦的表演形式,與群眾互動。而且,這一場文學表演直到二〇一七年仍在進行中,橫跨了近三十年之久,儼然已成為馬華文學史的重要里程碑。然而,如此的文學行動呈現了馬華社會內部的哪些焦慮?文學表演如何成為一種抗議的行動策略?歷經多年,我們又該如何重新理解與詮釋「動地吟」,以及它在馬來西亞華人史上扮演著怎樣的角色?
過去,已有學者針對「動地吟」作出不同層面上的意義探討,但論者們皆只側重於形式、內容或社會脈絡的單一個面向討論,卻始終沒有產生對話與討論的交鋒。本文擬將從文學社會學的角度,奠基於前行研究並重新對「動地吟」文學表演作出意義探討。除了結合文學與社會兩個不同的研究取徑,豐富「動地吟」的詮釋之余,也希望重構一九八〇年代馬華社會及其文學的互動。

關鍵詞:文學社會學、馬來西亞、國家霸權、文學表演、現代詩

摘要：The experience of art, in the case of fine art, is an interactive process involving both the artwork and the audience. In Taiwan, artworks exhibited to the pubic more often than not occupy relatively marginal positions in the global art world: on the one hand, original artworks influential in shaping history and future direction of fine art rarely tour to Taiwan and made accessible to the public; on the other hand, productions by Taiwan based artists do not often attract international attention and travel to the West. While being placed on the fringe of the global art system might afford leeway for artistic creation and interpretation, it is observed that Taiwanese art activities mainly operate through adopting languages in vogue among the major players of the international art circle. The idea of ‘immersive’ appears the most favoured in the last five years, replacing its precedent ‘curating’.  The audience of art here, at the same time, embodies a high percentage of photographing visitors. While this is not dissimilar to art scene in other societies, the implication of photographic mediation in the experience of art in Taiwan, taking into consideration of the artworks available, is of its uniqueness. This qualitative study explores the visitor-photography mediated art experience in Taiwan and its consequences. Empirical study comprises field observation carried out in both free and ticketed art exhibitions in Taipei from the begging of 2021 to mid-2022. Data collected is considered with that gathered in the UK and Europe between 2015 and 2020, which formed the basis of my doctoral thesis.  Paying attention to the claim of allowing immersive experience by the exhibition providers, the study delineates the visitors’ actual encounters with the exhibits and the prevalent participation of picture-taking in the process. The problematic of the art experience is approached from the perspective of the dialectical relationship between the inside and the outside, which can be found on the spatial, the institutional, and the experiential levels. The findings show a complex relation between the visitor and the artwork with photographic intervention. It reveals how visitor photography can both facilitate the audience’s immersion in the artwork and turn the audience outside of the possible connection with art. Consequently, audience in Taiwan can both enjoy agency in creating artistic association not necessarily dictated by the dominant art narratives and, however, be pushed further away from the core of the global art world. This research ​would be of interest to sociologists, artists, art educators, exhibition planners, and governmental departments of culture.  

關鍵詞：immersive; inside; outside; visitor photography; art experience 

摘要:自哈伯瑪斯使「公共領域」概念廣為人知以來，從沙龍、咖啡館以至大眾媒體所形構的公共領域，普遍被認知為現代社會建構的重要部分，其所形塑之社會構造原則與倫理要求，亦極受肯認，其中包含了文明化過程與民主原則等等所體現的諸多層面。如今，正值社會發展至數位社會之際，在這依數位原理如數位化、演算法與相應之媒體化等等所構造的新形態的社會裡，公共領域這個概念是否仍然適用？其所指稱與所構築的當代社會，已經以及將會產生何種變化？本文份屬「數位社會之社會學理論重構」之一部，此間之研究提問乃是從公共領域的構造入手，由此探討數位社會的構造與社會學理論之建構。涉及議題如應如何探究公共領域之社會性、政治性與溝通理性/文明化過程等等，其中「公共領域的數位轉化」將成為這其中不可或缺的理論建構元素。

關鍵字：數位社會、公共領域、社會學理論、溝通理性、文明化過程。

摘要:雖然對於性工作者「下海」的看法眾說紛紜,但其中一個典型而流行的意見,包括一般市民、甚或有些專家學者,咸認為從娼基本上是非自願性的,並且是受害的。然而,事實真一定是如此嗎?對此,可以這麼提問:性工作者的創傷經驗是純然負面的,抑或是有其正面的意義?性工作者實踐的是一種男尊女卑的壓迫式權力運作,或者是一種主客體具有可逆轉性的誘惑遊戲?詳細而言,性工作者只是反映性產業中性別不平等的配置,還是性工作者能夠發揮以柔(陰柔特質)克剛(陽剛特性)的神秘和巧思?因此,性工作及其產業作為父權結構的一環必須推翻,或者它本身的存在和運作就是對父權制度的嘲諷和挑釁?從這些問題意識出發,本文首先耙梳布希亞誘惑論的一些相關論點,釐出五個重要的論題或觀察方向,然後利用性產業田野考察蒐集的訪談資料,以性工作者的主觀經驗來證成這幾個論題。據此研究的發現,一方面可提供對於性工作者身分認同及情慾自主更多元而深入的認識,另方面得省思一般習以為常或某些專家學者之看法,特別是與反娼論述的主張對話。

關鍵詞:誘惑、身分認同、情慾自主、陰柔特質、象徵遊戲。