臺灣博碩士論文加值系統

建街逾百年歷史的迪化街，長久以來被視為台北西區大稻埕的重要骨幹。隨著台北市都市發展進程與目標的更迭，以及面對街區發展方向幾十年來的爭議與妥協，市府自2007年起提出「大稻埕古城重現專案」，扣連文化發展策略與地方振興議題，意圖於迪化街與鄰近街區推動文化導向的都市再生。見證城市重心東移的迪化街歷史街區，更在當前追求全球城市、創意城市地位的趨勢下，被視為「創意」概念的實踐場域，儼然從過去學者口中形同全球城市孤島的形象，搖身一變成為台北市欲躋身全球城市之列的最佳代言人。
「公私合夥」由此被宣稱為促進公部門與民眾間對話、合作的機制，不僅將市府單位提出的發展目標合理化，亦作為建立地方連結的手段。因此，本研究認為透過公私合夥機制所促成的具體行動，正可藉以定位迪化街在當前治理脈絡下的草根層級回應。本文聚焦於三個具有文化導向的再生意涵、運用公私合夥的行動個案，揭示地方文化治理場域的面貌，以發展研究問題如下：源自全球化脈絡的文化策略施作，能否為迪化街既有的社會脈絡帶來好處？是否彰顯地方區辨的強化？抑或是趨同的矛盾？
本文指出，迪化街當前被賦予的文化意義其來有自、應生於80年代該街區的保存抗爭中；如今，曾經被地方拒斥的文化菁英思維，在草根行動者的主動組織之下，一躍成為帶領地方發展的新利基，強化、挪用、而非洗去草根行動者長久經驗的地方認同，連結了民俗宗教信仰、庶民生活、以至歷史記憶與商貿活動。據此雖尚未能大幅地催化地方原有產業的經濟成長，卻也激發、納入更多社會參與的可能。惟，廣泛宣稱的對話與合作，並未展露出公私部門關係的全貌，反而直指街區的保存爭議以來，市府單位與迪化街利害關係人之間，長期缺乏信任與溝通機制，在行動層次上未排除、但也難以動員後者。
由於可運用的資源掌握在諸多不同行政單位手中，草根行動者雖在行動實踐過程中保有高度的自主性，但也不同程度地受限或收編於官方治理的網絡，所謂公私合夥在此實為民間欲爭取更多協助的策略，其中創意概念的多元詮釋加劇了文化發展資源分配的問題、並引發誰的創意才算數的爭議。最後，本文認為迪化街街區的發展計畫，公私部門的行動者各自和合作扮演的角色缺一不可，需改善資源整合的困境，才能實收擴大參與之效、促成更長久穩定的夥伴關係。

Table of Contents

Acknowledgement i
摘要 ii
Abstract iii
Table of Contents iv
List of Figures vii
List of Tables ix
Chapter 1. Introduction: Area Regeneration 1
and the Cultural Turn? 1
1.1 Addressing Area Development Agenda in the Current of Globality? Research Motives and Questions 1
1.2 Defining Scope of the Present Study 7
1.2.1 The Studied Time Frame Led by Several Key Episodes 7
1.2.2 Spatial Profile of the Studied Locality 10
Chapter 2. Literature Review and Research Design 15
2.1 Culture as a Strategy for Renaissance/Regeneration: Working the Magic or No Escaping from Challenges? 15
2.1.1 Culture the Magic Wand? A Mechanism for Regional Development 16
2.1.2 Challenges in a Global Era: Local Cultural Practices toward Cultural Convergence or Strengthening Local Particularities? 21
2.1.3 A Brief Sum-up: Place Identity and Spontaneous Participation in Question at the Heart of Local Cultural Practices 26
2.2 Analytic Concepts and Framework 27
2.2.1 Identity Strengthened or Abandoned in Cultural Practices: Questions of Place Identity Building upon Visions of Local Culture 27
2.2.2 Grassroots Participation Through Public-Private Partnership 28
2.2.3 The Present Study’s Analytic Framework 31
2.3 Research Design 34
2.3.1 Research Methods and Data Collection 34
2.3.2 Outline of Interview Questions 37
Chapter 3. Linking up Local Culture(s) and Cultural Development Strategies 38
3.1 Visiting Discursive Construction of Dihua Street’s Culture(s): A War of Historic Preservation, A Propaganda of Cultural Particularities 38
3.1.1 Worlds Apart: The Path to Masked ‘Localness’ 39
3.1.2 A Hub of Intense Commercial Activities 40
3.1.3 Emergency Actions: Lifting up “A War of Culture (文化保衛戰)” 41
3.2 Culture the Crowd-Puller—Three Examples under Dihua Street’s Culture-led Urban Regeneration Scheme 45
3.2.1 From Standard Rituals to a Spectacular “Cultural Festival” Promoting Place-Specific Religious and Vernacular Culture(s) 45
3.2.2 Starting from the Chapter of Historic Preservation to Writing a New Series of Cultural Propaganda: URS 44 Dadaocheng Story House 58
3.2.3 Shi-Guang Market, (Turning out to Be) a Nostalgia-Featured Event 70
3.3 A Brief Sum-up: From Then ‘Cultural Struggles’ to More Locally-Approved ‘Cultural Assets’ 84
Chapter 4. Partners Who/How? Organizational Arrangement in Formation and Operation of Projects 87
4.1 The Grassroots-Initiated Cultural Festival and the Revival of Spatial Relations 88
4.1.1 Partnership and the Revival of Spatial Relations within the Studied Area 88
4.1.2 Different Agencies, Different Brains? 94
4.2 Bridging Institute of Historic Resources Management (IHRM) and the URO: Urban Regeneration Station Program 98
4.2.1 The ‘Chosen One’: The Bridging Concept of ‘Dadaocheng Story House’ Controls Who Can Participate 98
4.2.2 High Autonomy or High Portion of Self-Raised Funds? 99
4.2.3 How Creative is Creative Enough? 104
4.3 A Little Subsidies Go a Long Way? The Privately-Proposed Plan of Shi-Guang Market 108
4.3.1 The Proposal Submission Systems of DOIT and URO: Different Routes Lead to the Same Destination? 109
4.3.2 The Difficulty in Mobilizing Local Merchants Brings out the Long Failed Attempts at Public-Private Communication Mechanism 111
4.3.3 A Happy Partnership ever after? 114
4.4 A Brief Sum-Up: Ways to Think About Public-Private Partnership in the Place-Specific Context 118
Chapter 5. Conclusion: The Place Where Time Seems to Freeze but Never Stops Rolling 121
5.1 Research Findings 121
5.1.1 Restart from Here: Public-Private Relation Operation 121
5.1.2 Culture May Not ‘Fix’ Everything but Allow More Opportunities 124
5.2 Looking Backward and Moving Forward 128
5.3 Contribution and Limitations of the Study 130
References 131


List of Figures

Figure 1. Dihua Street stated to be employed/experimented with the concept of creativity/soft urbanism 4
Figure 2. Key episodes before the studied time frame 10
Figure 3. Geographic focus of the wider Dadaocheng area and its environs 11
Figure 4. Portrait of the south end of Dihua Street in the 1920s 12
Figure 5. The traditional long-courtyard streethouse 12
Figure 6. The studied locality and its environs 13
Figure 7. The present study’s analytic framework 33
Figure 8. The asserted intimacy between history and culture 43
Figure 9. Culture and development seen in dichotomy 44
Figure 10. Yiah-lao-lih during the Japanese Colonial Period 47
Figure 11. Location of the temple within Dihua Street 50
Figure 12. Serial reconstruction of the shophouses on the South Street asserted by GS-01 to arouse the 1920s/1930s ethos 50
Figure 13. Example of the ‘ka-bo (腳步)’ and the participating club (軒社) now and then as part of the ‘city god worship culture’ according to GS-01 53
Figure 14. Various themes highlighted at each year’s Xia-Hai City God Cultural Festival 55
Figure 15. A still common scene of po-te-hi stand people may encounter on Dihua Street 56
Figure 16. The cultural festival for all walks of life to share 58
Figure 17. Relative location of URS 44 and the A.S. Watson shophouse 62
Figure 18. Example of lectures/seminars organized by the URS 44 65
Figure 19. Proposal from a local resident 69
Figure 20. Proposals emblematic of building/space reuse for artists/cultural entrepreneurs 69
Figure 21 . The event venue 75
Figure 22. The event’s attempt at addressing the studied area’s ethos 75
Figure 23. The cultural products present at the event 77
Figure 24. Participating shops/studios during each round of the market 78
Figure 25. On-site activities of heritage hunt (left) and swing dance (right) 78
Figure 26. The other event venue 80
Figure 27. The assemblage of Historic Buildings (the event venue) restored with a modern touch 82
Figure 28. The revived procedure of ‘xian-an-chuo’ display 93
Figure 29. The same venue, two different atmospheres: a street performer long based in the studied area positioned at the market corner (left) and an indie band performing for the Creative Block at the main market gate (right) 97
Figure 30. Dihua Street incorporated into the idea of Creative Block 98
Figure 31. Stools placed as a compromised result 102
Figure 32. The series of lectures/tours made it to the back cover of the much-circulated monthly magazine by Taipei City Government 116


List of Tables

Table 1. Cultural heritage within Datong District 14
Table 2. A typology of cultural development strategies 19
Table 3. List of interviewees 36
Table 4. Profile of the studied three examples 123
Table 5. The state of partnerships under the culture-led regeneration scheme in real practice 127

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