現代臺灣奇觀？：節慶、節慶化與節慶地景
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2007
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Abstract
近十五年來各種新興節慶在臺灣各地有普遍增加的趨勢。本研究試圖透過節慶化的觀點，來探討節慶地景的形塑過程，以及這些現象背後所蘊含的社會與空間意涵。
在理論探索方面，本論文是以Lefebvre的日常生活批判和空間生產作為基本架構，加上Bryman的迪士尼主題樂園化和Hannigan的奇幻城市概念，用來釐清節慶、節慶化與節慶地景等相關概念，並與Debord的奇觀社會對話。
在經驗分析方面，首先針對台灣的節慶現象進行廣泛調查。藉由現代節慶在時空分布的基本特性，以及對於節慶內容的歸納、整理，試圖建構出一些臺灣現代節慶的理念型，以掌握節慶化現象的整體面貌。接著，再透過高雄燈會的個案研究，來探究現代節慶的構成元素，以及節慶地景生產的動態過程。
本研究發現，在2006年7月到2007年六月的一年當中，台灣地區約有434個各式節慶，從中又可以粗略地歸納出五種主要的節慶理念型：地方–產業–創新節、藝文統理節、傳統再現節、消費紀念日以及小眾嘉年華；每一種節慶類型又可追溯出各自不同的發展脈絡。而節慶化的整體現象，又展現了文化統理與文化消費的雙重邏輯，共同創造出台灣的節慶奇觀。另一方面，高雄燈會精心規劃的主題化情境、混雜多元的節目內容，以及熱鬧歡愉的節慶氣氛，所共同打造出來的節慶地景，更清楚地展現出現代節慶作為展示政績、宣傳政策、行銷城市／地方、促進消費與製造商機的節慶政治經濟學。
In the last 15 years, there has been a mushrooming of different kinds of “festivals” in Taiwan. Through the concept of festivalization, this dissertation tries to examine the dynamics of festivalscapes and the associated social and spatial meanings behind this phenomenon. The theoretical ground of the dissertation is mainly based on Lefebvre’s critique of everyday life and his conception of the production of space. Moreover, Bryman’s ideas of Disneyization, Hannigan’s ideas of fantasy city are also useful sources of reference. Most importantly, the concepts of modern festivals, festivalization, and the festivalscapes echo Debord’s critique of a “society of the spectacle.” In order to grasp the overall picture of the modern festivals in Taiwan, the empirical research of the dissertation firstly tried to identify the numbers of different kinds of festivals in space and time, to analyze their contents and characteristics, and to construct the ideal-types of the modern festivals. It was followed by a case study of the Kaohsiung Lantern Festival that aimed to explore the elements of the festivalscaples and the very process of their production. As a result, a total of 434 festivals were identified in the 12 months between July 2006 and June 2007, and 5 ideal-types of the modern festivals were established, including the New Festivals for Local Economy, Festivals of Cultural Governance, the Renovation of Traditional Festivals, the “S”(Shopping) Days, and Community Carnivals. The origins of these festival ideal-types were also traced. As a whole, the phenomenon of festivalization illustrated the dual logics of cultural governance and cultural consumption in the creation of the festival spectacle in Taiwan. In addition, the case of Kaohsiung Lantern Festival vividly demonstrated the production of the festivalscapes in terms of the thematic scenarios, hybrid programs, and cheerful atmosphere. Arguably, it was the political economy of the festivals that provided the platform for local government to display its achievement, to promote its policies, to market the city/place, and to boost consumption and the local economy.
In the last 15 years, there has been a mushrooming of different kinds of “festivals” in Taiwan. Through the concept of festivalization, this dissertation tries to examine the dynamics of festivalscapes and the associated social and spatial meanings behind this phenomenon. The theoretical ground of the dissertation is mainly based on Lefebvre’s critique of everyday life and his conception of the production of space. Moreover, Bryman’s ideas of Disneyization, Hannigan’s ideas of fantasy city are also useful sources of reference. Most importantly, the concepts of modern festivals, festivalization, and the festivalscapes echo Debord’s critique of a “society of the spectacle.” In order to grasp the overall picture of the modern festivals in Taiwan, the empirical research of the dissertation firstly tried to identify the numbers of different kinds of festivals in space and time, to analyze their contents and characteristics, and to construct the ideal-types of the modern festivals. It was followed by a case study of the Kaohsiung Lantern Festival that aimed to explore the elements of the festivalscaples and the very process of their production. As a result, a total of 434 festivals were identified in the 12 months between July 2006 and June 2007, and 5 ideal-types of the modern festivals were established, including the New Festivals for Local Economy, Festivals of Cultural Governance, the Renovation of Traditional Festivals, the “S”(Shopping) Days, and Community Carnivals. The origins of these festival ideal-types were also traced. As a whole, the phenomenon of festivalization illustrated the dual logics of cultural governance and cultural consumption in the creation of the festival spectacle in Taiwan. In addition, the case of Kaohsiung Lantern Festival vividly demonstrated the production of the festivalscapes in terms of the thematic scenarios, hybrid programs, and cheerful atmosphere. Arguably, it was the political economy of the festivals that provided the platform for local government to display its achievement, to promote its policies, to market the city/place, and to boost consumption and the local economy.
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節慶, 節慶化, 節慶地景, 空間生產, 理念型, 奇觀, 高雄燈會, festivals, festivalization, festivalscapes, the production of space, ideal type, the spectacle, Kaohsiung Lantern Festival