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    Title: 媒介空間設定與意識型態之流變 : 以布袋戲為例
    Other Titles: The spatial settings of puppet show and dominant ideologies : a media ecology perspective
    Authors: 陳喬富;Chen, Chiao-Fu
    Contributors: 淡江大學資訊傳播學系碩士班
    楊智明;Yang, Jyh-Ming
    Keywords: 布袋戲;媒介生態;意識型態;puppet show;Media ecology;ideology
    Date: 2013
    Issue Date: 2013-04-13 11:45:27 (UTC+8)
    Abstract: 本研究以布袋戲為個案,分析它展演方式和傳播技術的演變,進而論述在世代和政權更迭的過程中,媒介的展演方式和技術條件,如何形塑特定的意識型態。本研究的問題意識在於:媒介有令人習而不察的特質,布袋戲成為民俗活動的歷史超過百年,若以世代或媒介生態等較長較寬的視角觀察,舊內容不斷加入新素材,媒介展演條件不斷翻新的歷程中,布袋戲所說的故事和所形成的效應,背後大致有不同意識型態的樑骨,這些也都與媒介的展演能力有關。
    Marshall McLuhan提出「媒介即訊息」和「人的延伸」概念,在布袋戲的個案中,可以觀察到:從野台戲,到內台表演,進而發展到以電視為主要媒介的傳播方式,媒介使用會影響觀眾對事物的看法、會影響傳播和展演的方式,也會影響觀眾的思維方式和流行文化的產生。另一方面,本研究利用Margaret Wertheim的空間理論分析媒介如何建構布袋戲隱而未顯的意識型態,呼應Margaret Wertheim所提的概念:新的空間出現後,媒介使用者的世界觀就會有所調整。
    此外,本研究也應證Neil Postman的論述:媒介具有特定的傳播偏向,布袋戲在宗教引領民俗思潮的時期,它的展演方式維護了神權的神靈空間。在日領與國府時期,展演方式利於軍權的延伸。到了電子媒介出現後,布袋戲的內容已偏向新興的資本發展。
    技術本身便反映出述事的形式,本研究利用媒介生態學的觀點,透過各種關聯性文獻資料之蒐集、檢索、歸納與分析,了解布袋戲發展歷史淵源與轉變,用較抽象的社會事實、理性、邏輯和論辯來推進說理,重新論述布袋戲在整個歷史流變過程中所扮演的角色,媒介空間展演的能力,如何影響人類社會的思維認知和文化的發展,因媒介和文化之間的關係是複雜的,不應企求簡單的、直接的因果關係,主要的研究價值在於經過布袋戲資料的例證分析其相關的意義,透過相關的理論解釋,建立對布袋戲的媒介論述。
    This research uses the case study of Taiwanese puppet show to analyze how the operation of puppet show changed over time and how the spatial settings helped shape the dominant ideologies. The core belief in this study lies on the idea that the impact of a medium is profound and oftentimes invisible; the making of puppet show, in terms of arrangement of stage and creation of puppet characters, rely on the manipulation of technical and technological factors in space. This research treats the operation of puppet show as a medium and argues that the changes on medium helped form the changes in ideology.
    It is the idea of Marshall McLuhan who proposes that message is the message and medium is the extension of man. His viewpoint was emphasized in this study. In the case of Taiwan puppet show, it can be also observed that, in the period of some one hundred years, the operation of the shows had moved from outdoor to indoor stage, in the period since the late Qing dynasty to the Japanese ruling era. The early changes came along with political considerations and had a great influence on the message the show conveyed to the audience. Later in the TV Era, this popular folk art was less dominated by political power but was much driven by commercial market and capitalism. Margaret Wertheim argues that new media help bring about “new space” and will help shape new perspective on how we view the world. This current study is a footnote for Margaret Wertheim viewpoint. Furthermore, some communication theorist, like Neil Postman, maintains that technological revolution triggers changes on media culture. This study stands for a case illustrating how puppet show, once a medium to demonstrate thankfulness to the god, gradually became an entertainment for the public. Puppet was once created for the god, politics found its use in expanding their power, and capitalism utilizes it for the pursuit of profit.
    Appears in Collections:[資訊傳播學系暨研究所] 學位論文

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