台灣藝術文化治理網絡與柔性權力之展現(I)：以表演藝術治理的場域為例（2000-2010年）
中文摘要
本研究探討台灣藝術文化治理網絡的建構與柔性權力的展現，試圖以文化治理、柔性權力、藝術文化治理網絡體系的理論與概念，進行學術論述整理，透過台灣藝術文化與政治、經濟、社會場域圖像的描繪，以及各個能動者之間的多層次（從地方、都市、國家到國際）與多面象（文化政治、文化經濟、文化社會）的互動連結關係，建構「藝術文化治理網絡」初步的分析框架理論。 研究的分析對象，以台灣表演藝術場域做為範疇，構築表演藝術網絡能動者：1.藝術表演工作團體（以雲門舞集為例）；2.政府機關：文化部、市府文化局；3.企業民間贊助單位：國泰金控；4.媒介、學術單位：北藝大舞蹈學院；5.社會團體與地方社群（中港基金會、中正大學）的相互連結。透過台灣藝術文化治理網絡文獻資料、文化統計數據的蒐集、彙整、分析，以及上述能動者的質性深度訪談，本計畫試圖從藝術文化核心出發，釐清台灣藝術文化治理網絡的相互連結性（網絡能動者對彼此關係性、位置性的理解、認知與連結模式、機制化與延續性）與交互滲透性。
Abstract
The project aims to comprehend the formulating process of an art-cultural network governance mechanism in Taiwan and its presentation of soft power by bridging the theoretical concepts of cultural statecraft, cultural governance, soft power and the art-cultural governance network system. The research attempts to construct an initial theoretical framework of “art-cultural governance network” in Taiwan for a general mapping of agents within it and the analyses of the multi-layered (from local, city, state to global level) and multi-faceted (cultural politics, cultural economics and cultural societal) interconnectivity among the stakeholders. The project selects the field of performance art governance network in Taiwan as a case study, and maps the interconnected relations among agents such as (a) performance art groups; (b) governmental cultural apparatus (like Council of Cultural Affairs and Bureau of International Cultural and Educational Relations in the Ministry of Education; (c) enterprise sponsors and art foundations); (d) media and academic institutions; (e) social/cultural groups and local communities. Through the analyses of official reports, regulations, statistics and academic publication in the field of performance art, and in-depth interview of practitioners in above listed agents, the research tries to delineate the constitution of the art-cultural governance network in Taiwan. More specifically, it investigates the mutual understanding of position; mode of interaction among the agents; the interpenetrating connectivity among official, non-official, thematic and general sub-networks; the flow and exchanges of persons, cultural goods, capital, service and values; the dominating and dominated power relations; and the cooperative, dependent or competitive relations among agents in the art-cultural governance network.