| 摘要: | 相較於多數量化研究取徑傾向以靜態觀點將節慶活動視為一項產品，本研究運用質化研究取徑，並援引du Gay等人（1997）所提出的「文化迴路」理論作為分析架構。該理論包括再現（representation）、生產（production）、中介（identity）、消費（consumption）、規範（regulation）五個文化過程，這五個環節彼此間相互循環作用的動態過程，更能完善地解釋一個節慶活動得以成功運作成現今樣貌的緣由。本研究以「桃園仙草花節」為個案，運用深度訪談法、參與觀察法與內容分析法等質化方法，旨在探討當代節慶活動籌辦過程中所涉入的關鍵行動者（生產者、中介者、消費者）如何對節慶活動進行建構與意義賦予，致使一個節慶活動得以成功運作，並系統性地探討節慶活動中五個文化過程，包括規範、生產、中介、再現、消費環節之間的動態運作機制，以及各環節如何與其他環節產生互動與影響。本研究發現：一、在兩個不同階段（2020年至2022年、2023年）的桃園仙草花節中，不同執政者對於活動的重視度與形式有所改變，致使桃園仙草花節的活動名稱與內容有所轉變。在2020年至2022年的執政者為桃園市鄭文燦前市長，桃園仙草花節的主題以「時尚農業」為主軸，強調一大片紫色仙草花海與透空式結構的裝置藝術所構成的「美景」。然而，由於桃園市政府的執政團隊歷經政黨輪替，2023年改由現任的張善政市長為執政者，桃園仙草嘉年華的主題以「童趣」為主軸，設定「親子」為目標客群，強調樂園式的「歡樂」氛圍。2023年的市政府執政團隊將活動名稱變更為桃園仙草嘉年華，希望能藉此賦予仙草更多元的價值，而非僅限於賞花性質。二、文化迴路中的不同環節間的每一個環節都會相互影響，在桃園仙草花節中，又以規範環節具有最大的影響力，因為桃園市政府農業局根據生產端要求所制定補充投標須知的相關規範，引導著各環節的運作方式。三、在桃園仙草花節的籌辦過程中，公關公司作為文化中介者，不僅有涉及主要的視覺設計與行銷的層面，他們還有涉及很多節慶活動的生產層面。四、消費者在實地前往桃園仙草花節以前，已對文化中介者在Facebook粉絲專頁所發布的照片進行觀光凝視，進而對桃園仙草花節產生了美好的想像，並促使消費者前往朝聖，以獲取愉快感。綜上所述，節慶活動之所以能夠成功運作並展現出現今的樣貌，必須仰賴關鍵行動者（生產者、中介者、消費者）在各個環節中的涉入與協商，並對節慶活動進行建構與意義賦予，進而促成文化迴路機制的動態運作。;Contrasting with quantitative approaches that view festivals as static perspectives, this research adopts a qualitative methodology and applies du Gay et al.’s (1997) “circuit of culture” framework as the analytical foundation. The framework includes five interrelated cultural processes—representation, production, identity, consumption, and regulation—that dynamically interact in a cyclical manner, providing a more comprehensive explanation of how a festival is successfully constructed and operates in its contemporary form. Based on the case study of “Taoyuan Mesona Flower Festival,” this research applies in-depth interviews, participant observation, and content analysis to examine how key actors—producers, cultural intermediaries, and consumers—involve in constructing and interpreting the festival. It further examines the systemic functioning of the five cultural processes within the festival, highlighting the dynamic mechanisms through which each element interacts with and influences the others. The findings of this research are fourfold. First, across two distinct phases (2020–2022 and 2023), the Taoyuan Mesona Flower Festival underwent notable transformations in both form and emphasis due to shifts in political leadership. Under former mayor Cheng Wen-tsan (2020–2022), the festival foregrounded “fashionable agriculture,” emphasizing the visual spectacle of expansive purple herb fields and translucent installation art. In 2023, following a change in municipal leadership to Mayor Chang San-cheng, the festival was rebranded as the “Taoyuan Mesona Carnival,” adopting the theme of “childlike fun” and targeting families, with the intent to reframe the event beyond mere flower appreciation by creating a theme-park-like atmosphere. Second, while all five dimensions of the cultural circuit mutually influence one another, regulation emerged as the most decisive factor in shaping the festival. The Taoyuan City Government’s Agriculture Bureau, through supplementary tendering guidelines, effectively directed the practices of other dimensions by codifying the requirements raised by producers. Third, the role of the public relations company, Wen Chuang Ji Yan Co., Ltd., as a cultural intermediary extended beyond visual design and marketing: it also played a substantial role in the production dimension of the festival. Fourth, consumers engaged in a “tourist gaze” toward the images disseminated by cultural intermediaries on the festival’s official Facebook page even before physically attending the event, thereby generating an idealized imagination of the festival that motivated pilgrimage-like visitation and the pursuit of pleasurable experiences. In conclusion, the successful operation and contemporary form of the festival rely on the active involvement of key actors across the circuit of culture. Their engagement in constructing and interpreting processes enables the dynamic functioning of the circuit of culture. |
