臺灣「小誌」歷史初探：從zine到「小誌」

Abstract

本篇論文嘗試探問在台灣的脈絡中，「小誌」作為一種既存概念究竟是在什麼「條件」下發生的。小誌作為在台灣人們用來指涉“zine”的翻譯詞彙，本研究認為從“zine”到「小誌」的命名過程反應了“zine”如何作為一外來文化被引進台灣，並發展出自己的在地特性。本研究主張台灣「小誌」的歷史源頭至少必須追溯回90年代後期的另類音樂文化以及2000年代後期至2010年代初期受到日本獨立出版文化深刻影響的幾個關鍵文化中介者的推廣實作。90年代後的另類音樂文化場景中的一些關鍵文化中介者，經由實際引進歐美龐克zine或是知識推廣的實作，將“zine”作為龐克文化中DIY實踐的一環引介進入台灣，促使2000年代獨立音樂圈中新一代的樂迷們開始嘗試自己創作“zine”。到了2000年代後期，隨著藝術書展風潮的日漸興盛， zine文化在亞洲又開展出另一個全新的脈絡。這一擁有全新脈絡的zine文化立基於日本獨立出版以及自主出版的傳統之上，而受到這樣的傳統以及東京藝術書展的影響，台灣出現了若干文化中介者，出於自身對日本獨立出版或是自主出版文化的熱情與愛好，開始將日本的zine文化帶到台灣閱聽者的面前。本研究認為這些文化中介者的篩選、展示以及發展出的論述，形塑了2000年代末期的閱聽者們對於zine的想像，深刻地影響了日後「小誌」場景中參與者的理解與實作。而在近十年內，藝術書展成為投身小誌的創作者們重要的發表與流通作品的管道，並成為一個全球化的現象。本研究並嘗試重新定義藝術書展的角色及特性，認為藝術書展的「大」，提供了一個架接「小」誌到「大」眾的平台，讓小誌文化作為庶民藝術市場的一環被更廣大的閱聽眾接觸到，但也是這樣的「大」，讓藝術書展高度仰賴政府資源、商業贊助或大型公家或商業機構的合作，使得藝術書展比其他小型的小誌活動或展覽更容易依賴體制或資本的特性。

This thesis attempts to examine the conditions under which Xiao Zhi (小誌) arose in the context of Taiwan. The term, which is used in Taiwan to signify 'zines,' grew from an existing, imported concept. This study argues that the shift in terminology, from zine to ' Xiao Zhi,' represents the historical context of how zine culture was introduced to Taiwan as a imported culture and how it was localized within Taiwan. The study also believes that the origins of Taiwan's Xiao Zhi must be traced back to the alternative music culture of the late 1990s. Again, in the late 2000s and early 2010s, the promotional practices of several key cultural intermediaries in the late 2000s and early 2010s which were deeply influenced by Japanese independent publishing culture, shaped how Taiwan’s “Xiao Zhi” resurfaced. In the alternative music cultural scenes in the late 1990s, some key cultural intermediaries, such as record store and indie music label, started to introduce knowledge about Punk culture and European and American Punk zines. At that time, “zine” was introduced as one element of the D.I.Y. spirit that defines punk culture. The introduction of these zines along with the ideas and ideals associated with punk, prompted a new generation of independent music fans in the 2000s tried to create “zine' by themselves. And later in the late 2000s, with the increasing popularity of art book fairs, a new form of zine culture developed within Asia. This new zine culture was based on the Japanese tradition of independent publishing and self-publishing. Influenced by this tradition and the Tokyo Art Book Fair, a number of cultural intermediaries, such as independent bookstore and independent publisher, inspired by the enthusiasm and appreciation for the culture of Japanese independent publishing, began importing Japanese zine culture to Taiwanese audiences. The study argues that the selection, display, and discourse produced by these key cultural intermediaries have shaped the audience's conception of a 'zine' in the late 2000s, and have profoundly informed the understanding and practices of the subsequent Xiao Zhi scene. In the past ten years, art book fairs have become a global phenomenon and an important channel for the publishing and circulating of work by zine creators. This study also attempts to redefine the role and characteristics of art book fairs, which bridge the divide between small-scale zines and large-scale platforms. The inclusion of Xiao Zhi culture in a public art market has acted to increase exposure and availability to a wider audience. With their large scale, art book fairs have also come to be highly dependent on government resources, commercial sponsorship, and the cooperation of large public or commercial institutions. Relative to other small zine events and exhibitions, this has made these fairs more susceptible to the influence of institutional power.