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2021 中英文北美版
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閱讀生命力 新
中華民國一一〇年九月　第四六卷第九期

泛閱讀世代
移動人權特展
深入鄉野．尋小米去
全台最大年輕人社群平台Dcard

建議售價
NT$150
US$5 Vol. 46 No. 9 September 2021
HK$40 CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
¥600
 藍腹鷴現蹤

Sighting a Swinhoe’s Pheasant

圖／文•莊坤儒　版面設計•馬英凱

新
冠疫情期間，人為活
動降載，武陵農場桃 R educed human activity during the Covid pan-
demic is taking some of the pressure off wildlife.
On the Taoshan Waterfall Trail at Wuling Farm I spot-
山瀑布步道出現難得的國
寶級保育動物：藍腹鷴。 ted this Swinhoe’s pheasant, a member of a protected
在 不 被 遊 客 打 擾 的 情 況 species that is considered a national treasure. Un­
下，牠們自在優遊山林， disturbed by tourists, the birds are able to roam freely
享受大自然的禮讚。 through the mountain forest.
(photo and text by Kent Chuang/tr. by Phil Newell)
 編人 的
編者 絮話語
出版產業在台灣
文．陳亮君

中華民國110年9月1日出版（月刊）／
中華民國65年1月1日創刊
台灣的出版產業，在一片電子書當道的聲 長8.88%，在紙本借閱與去年相差不多的情況
出版者 光華畫報雜誌社 浪中，呈現出有趣的現象。根據「財政部 下，電子書的借閱總冊數達到363萬冊，成長
發 行 人／ 吳釗燮
Publisher: Jaushieh Joseph WU
社 長 ／ 徐詠梅
營利事業家數及營業額統計資料」顯示， 高達42.35%。可見疫情期間，激發了許多平
2019年台灣出版業營業額約513億台幣，與
Director: Catherine Y.M. HSU
總 編 輯／ 陳亮君 常不太閱讀的族群來借閱電子書。
Editor-in-Chief: Ivan CHEN
主 編／ 曾蘭淑 2015年的502億相比，增加約2.2%，與前一 不論是紙本或是數位，一個媒體要靠廣告
Editor: Esther TSENG
文 稿 副 主 編／ 鄧慧純 劉亭均
Deputy Editors: Cathy TENG, Rina LIU 年（2018）的459.6億元相比，則是成長了 和訂閱來生存都是不容易的，尤其數位媒體
文 字 編 輯／ 陳群芳 蘇俐穎 謝宜婷
Writers: CHEN Chun-fang, Lynn SU, Tina XIE 11.6%，這反映了整體出版業的發展不但沒 要變現需要靠大量的流量，而大量流量則是
美 術 編 輯／ 蕭郢岑 王敬勛 馬英凱
Art Editors: HSIAO Ying-tsen, Henry WANG,
MA Ying-kai
持續衰退，反而是在穩定成長當中。 需要大量的內容，這需要花比紙本更多的內
攝影組召集人／ 莊坤儒
Photographic Coordinator: Kent CHUANG 而這其中「雜誌」出版營業額167.9億元 容製作成本。因此，決勝的關鍵是要能夠建
攝 影 組 長／ 林格立
Photographic Director: Jimmy LIN
攝 影 編 輯／ 林旻萱
（2019年），增長了9.69%，「書籍」出版 立起自己的品牌價值，近年來有越來越多發
Photojournalist: LIN Min-hsuan
英 文 編 輯／ 陳瑩潔 唐樂榕 倪凱駿 費儒伯 營業額190.7億元，成長了1.19%，但是「數 行量不多，但仍維持高品質（內容更深入、
English Editors: Audrey CHEN, Robert TAYLOR,
Phil NEWELL, Robert FOX 位」出版的總營業額6.1億元，卻僅占了「總 設計更酷）的刊物出現，即可見端倪。
日 文 編 輯／ 山口雪菜 施家騏
Japanese Editors: Yukina YAMAGUCHI,
Shila SHIH 出版產業」之1.2%（包括數位雜誌、電子書 而紙本雜誌的價值，在於比網路閱讀有著
印 尼 文 編 輯／ 陳德銘
Indonesian Editor: Temmy WIRYAWAN 等數位閱讀內容），代表了台灣人的閱讀習 更高的品牌意識，因為讀者是特意打開這本
越 南 文 編 輯／ 武秋香
Vietnamese Editor: VU Thu Huong
泰 文 編 輯／ 王玉雯
慣仍保有傳統的紙本書模式。 雜誌來閱讀，會有更高的品牌認同度，不像
Thai Editor: WANG Yu-wen
資深行政編輯／ 段蜀華 就外銷市場來分析，正體書籍在2019年的外 在網路上人們主要是透過社交媒體來讀到不
Senior Administrative Editor: DUAN Shu-hwa
社 群 編 輯／ 蕭淑憶
Social Media Editor: Dawa HSIAO
銷額約9,917萬美元，成長約16.38%，其中香港 同的文章。畢竟，我們是生活在一個實體世
總 監 ／ 鍾宜蓉 約3,362萬美元（-9.1%）、中國約3,077萬美元 界，實體的東西比較容易被看見（如咖啡
Marketing Director: Carianne CHUNG
業 務 協 理／ 陳俊偉 （+7.6%）、美國約1,038萬美元（-13.36%）、 廳、書店的陳列），即使數位閱讀成為未來
Deputy Manager: CHEN Jyun-wei
資 訊 部 主 任 ／ 卓宏基
Director of Information Systems: CHO Hung-chi 東協國家約1,553萬美元（+26.67%），日本約 的主流，實體雜誌仍會如現在的黑膠唱片
綜 合 服 務 組／ 李淑慧
General Affairs: S.H. LEE 407萬美元（+18.0%），顯示出馬來西亞、菲 般，成為個人展現品味的象徵。
律賓、泰國等東協國家及日本等地的華人族 如何做一本有深度又酷的雜誌？如何讓內容
群，對台灣出版品仍抱持著高度興趣，而美國 刺激思想，視覺刺激眼球？面對將來複合式
則是大幅衰退了13.36%。 的閱讀型態（網路、紙本、空間、影像、聲
此外，由國家圖書館所發布的《2020年臺 音），我們該何去何從？在行銷領域上，又該
灣閱讀風貌及全民閱讀力年度報告》中，儘 如何爭取內容IP，跨足活動、影視改編與周邊
管2020年疫情嚴峻，圖書借閱總冊數8,015 商品的開發，還有自媒體與目標社群的開發
萬，比2019年略為降低1.41%，但全國民眾 等，在本期《光華》封面故事當中，或許就能
累計的辦證數則達1,839 萬張，相較2019年成 找到一些靈感與啟發。 l
Publishing in Taiwan
T here have been some interesting develop­
ments in Taiwan’s publishing industry.
Amidst a tide of e­books, Ministry of Finance
figures put the industry’s 2019 turnover at
NT$51.3 billion, up by 2.2% over 2015 (NT$50.2
bn) and by 11.6% over 2018 (NT$45.96 bn).
Within this figure, printed magazines
earned revenues of NT$16.79 billion, an in­
crease of 9.69% over 2018, while printed books
earned NT$19.07 billion, a rise of 1.19%. How­
ever, revenues for digital publications (including
digital magazines, books, and other reading
materials) were only NT$610 million, account­
ing for just 1.2% of total income for the whole
publishing industry. This shows that Taiwanese
continue to prefer printed reading materials.
Looking at exports, books printed in tradi­
tional Chinese characters earned roughly
US$99.17 million in 2019, an increase of
some 16.38%. There was especially strong
growth (+26.67%) in sales to Southeast Asia
(to US$15.33 million) and to Japan (to US$4.07
million, a rise of 18%), indicating that ethnic
Chinese in these lands maintain great interest
in publications from Taiwan.
A report from the National Central Library
shows that while borrowing of printed works
from libraries declined slightly in 2020 (80.15
million loans, down by 1.41% over 2019), the
total number of library cards held by the public
reached 18.39 million, an increase of 8.88%. In
contrast to printed books, digital borrowing
increased markedly, with a total of 3.63 million
e­book loans. This represents growth of 42.35%
over 2019, perhaps indicating that during the
pandemic, many people who don’t ordinarily
read much were inspired to borrow e­books.
Whether print or digital, it is difficult for
any media outlet to survive from advertising
and subscription revenues alone. Digital media
in particular need to monetize large volumes
of website traffic, so they must spend more
than print outlets to generate content. Hence
the key to success is to establish one’s brand
value, and in recent years an increasing num­
ber of printed publications with lower circula­
tion but high quality have appeared, stressing
depth of content and top­notch design.
The value of print magazines lies in higher
brand consciousness compared to online
reading matter. This is because readers must
deliberately choose a magazine to read, so
there is greater brand identification, unlike
the Internet where all kinds of articles come
to people mainly through social media. In the
end we live in a physical world, and physical
objects are more likely to be noticed. Even if
the future lies in digital reading, print mag­
azines will still be a way for individuals to
express their tastes, as vinyl LPs are today.
How can one create a magazine that has
depth and cachet? How can one make its
content thought­provoking and its visuals
eye­catching? How can we respond to the
various forms that reading will take in the
future? In terms of marketing, how can one
secure intellectual property rights and cross
over into events, film or TV adaptations, and
merchandise development, as well as hand­
ling self­media and developing target market
segments? You will perhaps find answers to
some of these questions, and some inspira­
tion, in our cover story this month.
(Ivan Chen/tr. by Phil Newell)
EDITOR’S NOTE
GPN: 2008000038 ISSN1991-525X
原刊名光華 Sinorama Magazine
中華民國95年1月改為台灣光華雜誌
Taiwan Panorama
SUBSCRIPTION RATES:
　Republic of China: NT$150 per copy,
　　NT$1500/year, NT$2600/2 years
　Asia & Pacific Regions: US$40/year,
　　US$72/2 years by airmail
　North America: US$32/year,
　　US$55/2 years by regular mail
　Elsewhere: US$45/year,
　　US$80/2 years by airmail
Taiwan Panorama (USPS 000624) is published
monthly, US$32.00 per year, by Kwang Hwa
Publishing (USA), Inc., 3731 Wilshire Blvd 104,
Los Angeles, CA 90010, USA. All rights reserved.
Reproduction in whole or in part without written
permission is prohibited. Periodicals postage
paid at Los Angeles, California.
POSTMASTER: Send address changes to
Kwang Hwa Publishing (USA), Inc., 3731
Wilshire Blvd 104, Los Angeles, CA 90010, USA.
美國光華出版公司
Kwang Hwa Publishing (USA), Inc.
3731 Wilshire Blvd 104,
Los Angeles, CA 90010, USA
Tel: 1-888-829-3866 Fax: 1-213-389-0021
Email: KwanghwaUSA@mofa.gov.tw
董事長：莊璧璘
總經理：殷煜琪
助理：葛崇高、廖育楷
President: P.L. CHUANG
General Manager: YIN Yu-chi
Assistants: Thomas KOH, LIAO Yu-kai
著作權所有，本雜誌圖文非經同意不得轉載。
如欲轉載，請與本社資深行政聯絡。
如發現書頁有裝訂錯誤或污損事情，
請寄至本社調換。
All rights reserved. Photos and articles may not
be reprinted without our permission.
If you wish to reprint any of our articles or
photographs, please contact our senior
administrative editor.
Damaged or misbound copies returned to us will
be gladly replaced.
本刊物印刷油墨使用環保認證大豆油墨
l
目次
CONTENTS 中華民國110年9月 第46卷 第9期 Vol. 46 No. 9 September 2021

封面故事 Cover Story

6 新•閱讀生命力
Reading in the Digital Age

8
8 中央書局回來了！
銘記歷史的思想基地
A Font of History and Memory Springs
中央書局提供 courtesy of Central Bookstore Back to Life—The Return of Taichung’s
Central Bookstore
文•蘇俐穎　圖•中央書局提供

16 我們在台灣做出版
專訪出版人初安民、胡金倫
Immigrant Editors in Taiwan:
Chu Anmin and Woo Kamloon
文•蘇俐穎　圖•印刻出版社提供

26
26 閱讀台灣歷史地層
《亮光的起點》、《成為真正的人》
History Through the Lens of Fiction:
Two Authors Reimagine Japanese-Era
Taiwan
文•鄧慧純　圖•莊坤儒

38 給IP翅膀，讓創作起飛
台灣內容產業推手──奇異果文創
Bringing Taiwan’s IP to the World
—Kiwi Cultural and Creative
文•劉亭均　圖•莊坤儒

48
48 泛閱讀世代
捲動華文閱讀風潮
Catering to Modern Readers:
New Reading Trends
文•蘇俐穎　圖•vocus方格子提供

編者的話 來自地方的明信片
Editor’s Note Postcards from Home

2 出版產業在台灣 1 藍腹鷴現蹤 62 月月好讀

Publishing in Taiwan Sighting a Swinhoe’s Variety Pages
文•陳亮君 Pheasant 文•杜李威、林瑞麟
圖／文•莊坤儒
 封面說明：
與時俱進、重新開業的中央書局，持續為人們敞開通往
知識殿堂的大門。 （中央書局提供）
影像對話 Photo Essay
Cover: In step with the times, the reopened Central
Bookstore in Taichung has resumed its longstanding role as 68 從影像解構到歷史檔案再述
a gateway to knowledge. (courtesy of Central Bookstore)
〈TAKTH AWAY〉
Renarrating History:
Cheng Ting Ting’s TAKTH AWAY
圖•鄭亭亭　文•沈柏逸

全球視野 Global Outlook

78 讓移工的明天更好
移動人權特展
Making Life Better for Migrant Workers
—An Exhibition on Migrants’ Human Rights

68
文•陳群芳　圖•林旻萱

島嶼行旅 Around Taiwan

86 深入鄉野．尋小米去
小米復耕的挑戰
Millet Renaissance
—The Challenges of Reviving a
Traditional Crop
文•曾蘭淑　圖•林格立

產業新創 Entrepreneurship

98 用利他光耀生命

86
社會企業種子在台開花結果
Brightening Life by Benefiting Others
—The Blossoming of Social Enterprises
文•李珊瑋　圖•林格立

108 全台最大年輕人社群平台
Dcard
讓每個人都有機會找到共鳴
In Search of Kindred Spirits
—Youth Social Media Platform Dcard
文•謝宜婷　圖•Dcard提供

多元族群 Communities

108
116 江湖在走，法律要懂
法律白話文運動
We All Need Some Basic Legal Knowledge
—The Plain Law Movement
Dcard 提供 courtesy of Dcard
文•蘇晨瑜　圖•林格立
6
7
封面故事

COVER
STORY

中央書局回來了！
銘 記 歷 史 的 思 想 基 地

A Font of History and Memory

Springs Back to Life
—The Return of Taichung’s
Central Bookstore
文•蘇俐穎　圖•中央書局提供　版面設計•蕭郢岑

二十世紀初，巴黎的左岸咖啡館，來自歐洲各
地的文人菁英譜寫下文藝狂潮的流動饗宴；同樣
年代，遠東地區正逢日本殖民的台灣，林獻堂、
林幼春、張深切、賴和等受到現代教育洗禮的知
識分子與中部地方士紳，集結成立「中央俱樂
部」，成為後來「中央書局」的前身。這裡曾是
領銜台灣文藝思想的重鎮，百年來不同年代的風
雅之士，都在此銘刻下重要的生命記憶……。

I n the 1920s, a group of Taiwanese intellectuals

and local gentry baptized in the waters of mod-
ern education formed something called the Central
Club. This cultural organization, whose member-
ship included prominent figures such as Lin Hsien-
tang , Lin Zixiu , Chang Shen- chieh, and Loa Ho,
went on to found the Central Bookstore. Established
during Japan ese colonial rule of Taiwan, the book-
shop became a leading center for Taiwanese literary
thought, a gathering place that shaped the important
memories of Taiwan’s literati for nearly a century.

8
9
 1941年中央書局員工合影。
A group photo of Central Bookstore
employees circa 1941.

「中央書局回來了！」2019年深秋，一則消息 知識分子如莊垂勝、葉榮鐘，加上中部的地方士
在藝文界引起騷動，相傳創立於1927年，在日治 紳，如大雅張家、霧峰林家，以共同集資的方式
時代最大的漢語書店，從1998年宣告熄燈以後， 創辦了中央書局。近一個世紀後，書局再重新開
歷經22年的沉寂，經過各方人士的奔走、籌措， 幕，也起因於有一群出身中部的藝文人士，眾志
將在原址重新開業。 成城地接棒，才完成這項近乎奇蹟的任務。
「承接中央書局，對我而言，是偶然的機緣，但
源於浪漫的力量
似乎又是必然的緣份。」中央書局代表人張杏如如
來到台中舊城中區，站在台灣大道與市府路的路 此說。故事源起於來自台中的作家劉克襄，與同樣
口，路的一頭，連接著送往迎來的火車站，下一個 在中區主持「中區再生基地」的東海大學建築系助
街廓，則是日治時代的行政中心「台中州廳」。 理教授蘇睿弼。當他們看見書店在歇業以後，空間
屹立此處的中央書局，是一幢三層樓高的老 一度被出租改為婚紗店、安全帽店，直到安全帽店
宅。扇形延展的三角窗店面，米白的外牆搭配大片 也撤出後，因建築結構年久失修，惟恐難逃被拆除
的玻璃窗，看上去典雅又有朝氣，外牆刻意仿擬復 的命運，對書局深懷情感的他們，遂向張杏如詢問
古字體的店招，正向往來的路人親切地招手。 將此建物承租下來的可能性。
「這幢建築雖然不是國定歷史古蹟，但它的重 孰知這一詢問，打撈出來的竟是千絲萬縷的人
要性，來自於歷史精神與價值。書店創辦的起心動 際連結。同樣出身中部的張杏如，回憶起童年在中
念，源於一群人民族自覺的情懷，我們稱作『浪漫 央書局走跳的經驗，以及自己的家庭與多位書店股
的力量』。」中央書局副總監沈貞慧如此開場。 東後代的深刻交誼，遂慨然允諾。但現實問題接踵
猶如今昔呼應的歷史隱喻，憑著對文化藝術 而來，因建築物翻修所費不貲，倘若僅以承租的模
的熱情，以及對民族服務的使命感，當年海歸的 式，卻投入高昂資金修繕，並不合算，她遂偕其企

10
 “Cent ra l Book store i s bac k!” The news swept
through Taiwan’s literary circles in the late fall of 2019.
Said to have been established in 1927, Taiwan’s larg-
est Chinese-language bookstore during the period of
Japanese colonial rule had closed down in 1998. But the
hard work and fundraising of a diverse group of indi-
viduals succeeded in reopening the shop at its original
location 22 years after the lights were turned off.
The power of idealism
The shop stands at the corner of Shifu Street and
Taiwan Boulevard in the heart of Taichung’s old down-
town district, only three blocks from the old Taichung
採集資形式開始的中央俱樂部，圖為1927年發行的股票。
Prefectural Hall and just down the road from the city’s
The Central Club was initially set up as a joint-stock company.
ever-bustling train station. The photo shows a stock certificate issued in 1927.
The bookstore itself occupies an old, round three-
story building right on the corner. Its light gray walls,
plate glass windows, and the old-fashioned font of its “While it hasn’t been designated a national historic
shingle give it a refined look that attracts passersby. building, its historical spirit and value make it an import-
ant place,” says Central Bookstore vice director Kelly
Shen. “A sense of ethnic self-awareness drove the found-
ers to establish the store. We refer to that drive as ‘the
power of idealism.’”
The present store carries echoes of the past. The orig-
inal shop was jointly opened by intellectuals such as
Chuang Chui-sheng and Yeh Jung-chung who had re-
turned from abroad, were passionate about culture and
the arts, and were committed to serving the people, work-
ing together with gentry families from Central Taiwan,
such as the Zhangs of Daya and the Lins of Wufeng. Sim-
ilarly, it is literati from Central Taiwan who have taken up
the baton and pulled off the nearly miraculous reopening
of the store on the same site almost a century later.

同時兼具出版社功能的中央書局，出版過葉榮鐘、洪炎
秋等本土作家作品同時兼具出版社功能的中央書局，出 This place served as a primer for my later travels
版過葉榮鐘、洪炎秋等本土作家作品。 in the countryside.
In addition to being a bookshop, Central Bookstore was also
a publisher of works by local authors such as Yeh Jung- —Liu Ka-shiang (author)
chung and Hong Yanqiu.

11
業家夫婿何壽川，共同捐款到上善人文基金會，以 的空間，除了精選的文史哲相關書籍展售，亦規劃
基金會名義買下建物，並在大幅修繕後進駐營運。 了文創商品賣場、餐飲服務、閱讀區、讀者講堂等
空間，也具備出版的功能，頗有今昔呼應之感。
人文與知識的交會
「希望人們來到這裡，能以不同的面向去體驗
這個在林獻堂、呂赫若的私人日記裡多次被提 『閱讀』。」副總監沈貞慧說明：「我們將中央
及，讓他們留連忘返、大手筆購書的知識殿堂， 書局的定位放在『不只是一間書店的書店』。過
甚至曾舉辦過郭雪湖、陳澄波等名家畫展的文藝 去的中央書局，是文人交流的場所，我們也期待
聖地，在眾人的引頸期盼下終於重新開幕。 這裡是一個交流平台，讓人與人、人與書、人與
回到百年以前，創辦初時，中央書局的定位便 知識的交流，在這裡發生。」
不僅是一家單純的賣店，彼時的創辦人們提出了 在日治時代，書局的創辦人們因著意識到，在
「中央俱樂部」的想法，包含書局在內，同時策 日本政府統治的大環境底下，不僅官方語言均以日
劃了餐館、講堂、娛樂室等空間，而書局除了零 語為主，台人受教育更屬不易，因此希望透過文藝
售以外，也是一家出版社，不僅擁有出版事業， 啟蒙喚醒同為漢民族的社會大眾民族自覺的意識。
還發行過《南音》、《台灣文藝》等藝文雜誌。 雖然時空背景早已物換星移，但對於本土文
時間拉到今日，重新開張的中央書局延續了當時 化、主體意識的啟發與認同，依舊是中央書局的重
的理想，空間上採取複合經營模式，一至三樓200坪 要經營主軸。團隊特別引進台中相關主題的書籍，

12
 Culture and knowledge
When the first Central Bookstore opened a century ago,
it was positioned as more than just a bookshop. Drawing
on the thinking behind the Central Club, the founders
also provided dining, lecture, and entertainment spaces.
The bookstore itself also acted as a publisher of books, as
well as arts magazines such as Nan Yin (“southern voice”)
and Taiwan Wenyi (“Taiwan arts and letters”).
The recently reopened Central Bookstore carries those
ideas into the present. The Shang Shan Human Culture
Foundation, which purchased the building and now
runs the store, has adopted an integrated business model
that not only has the three-story, 660-square-meter space
retailing works of literature, history and philosophy, but 同時提供餐飲服務的中央書局，將老咖啡館的滋味端上桌，
讓人們從飲食勾起閱讀的興趣。
also incorporates a mall for creative and cultural goods, Central Bookstore’s food and beverage services let patrons enjoy
dining services, a reading area, and a lecture hall. In a a book with their coffee.

further echo of its history, the new store also has publish-
ing capabilities.
“We hope that the people who come here will experi-
ence a different side of reading,” says Shen. “We have
positioned Central Bookstore as ‘more than just a book-
store.’ The old Central Bookstore was a place for literati to
interact. We hope that the new one also becomes a forum
for interaction: between people and other people, people
and books, and people and knowledge.”
Committed to the idea of “reading” with all five senses,
the shop puts on events to enrich works by taking them
beyond the printed page. For example, the Wednesday
Reading Club hosted by PC Home chairman Jan Hung-tze
leads rereadings of literary classics. The shop also brings
books and food together with “author banquets” that
bring to life flavors described in books, or that serve up
specialties of the authors themselves. Regardless of the
format, these meals help bring people closer to literature.
Refreshing a grand old building
The team that Taichung-born architect Chiang Le-
ching and structural engineer Justin C.H. Shih assembled
for the renovation was a key contributor to the remaking
of this previously dilapidated building. Once they’d ex-
amined the more than 70-year-old structure, they had
to figure out how to update it to meet modern demands.
The initial purchase of the building, along with the

「不只是書店」的中央書局，積極舉辦各類 Our family just called it “the bookshop,” because

藝文活動，促進民眾與書的交流。 to us it was the only one there was.
—Yeh Yun-yun (author, daughter of
More than just a bookshop, Central Bookstore
also organizes a variety of events aimed at
fostering a deeper engagement with books. Yeh Jung-chung)

13
並在一樓特別闢設「台中作家」專區，沈貞慧解釋：「我們這裡的『台中』，並不是現在六都的概念，而
是沿用過去『台中州』的標準，涵蓋了中、彰、投三個地區。」包括從賴和、巫永福、廖玉蕙等古今作家
的作品，都在入選範圍之內。
而秉持著五感體驗閱讀的想法，店內嘗試規畫由書籍文本延伸出的系列活動，好比由詹宏志率先起跑主
持的「週三讀書會」，重新導讀經典文學小說；還有與餐點結合的「作家餐桌」，復刻文學書中描繪的滋

建築風華巡禮 Architectural elegance tour

圓形圓柱與格子天花 / Round columns and latticed ceiling

中央書局原設計者為建築工程師林文章，他參考彼時市區最豪華的彰化
銀行建築，使得兩幢建築物在設計細節上若有神似。雖然日後經過大規模
的修復，室內最具特色的圓柱陣及大跨距的格子梁天花板，依舊被完整保
留下來，古典風格的細節散發出莊嚴穩重的美感。

Though the building has been fully renovated, its original round columns and
latticed ceiling have been preserved, giving the space a dignified air.

弧形外觀與扇形空間 / A rounded exterior and circular space

建築體水平帶狀的流線外觀，包覆住整座建築
物，流露出歐美的新藝術風格與裝飾藝術風格。

The f lowing ex terior belt spans the whole

building, incorporating stylistic elements drawn
from art nouveau and the decorative arts.

八角型洗石子門柱 /
Octagonal columns

立面入口的石柱，表面採洗石子工法，斷面處
內凹的八角造型，則轉化自日本傳統的木造建
築， 銳利的線條中蘊藏著精緻的美感。

Octagonal washed terrazzo columns framing the entrance are inspired by traditional Japanese
wood-frame building design. Their sharp lines add elegance to the building.

14
味，或者將作家的手路菜端上桌，無非都是希望拉 代，當時的鋼筋水泥都屬管制物資，取得不易，加
近人們與書本、與藝文之間的距離。 上歷經長年鏽蝕，結構框架都不穩定，修復團隊除
了增做新的結構牆體，甚至特別加裝無障礙電梯，
老屋風華再現
以電梯設置處的梁柱框架，來補強整體建築的結構。
包含老屋的購入到軟硬體的重建，中央書局的 能屹立近一世紀的中央書局，在歷史上經歷
重建之路斥資超過上億，能從破敗到煥然一新， 過多次的蛻變。從1927年在寶町三丁目十五番地
由同樣出身台中的建築師姜樂靜，以及結構技師 （現址為市府路103號）木造平房正式開業；到
施忠賢共同組成的修復團隊功不可沒。團隊先為 1948年戰後遷到現在的位置，將原本的木造房改
這幢高齡超過70歲的老宅作全面性的健檢，並且 為三層樓的磚造房；如今可謂「3.0版」的中央書
在合乎今日的使用需求之下重新改建。 局，底氣依舊，風華猶存，仍屹立在此，持續為
也由於建築物建於二戰結束、物資相當缺乏的年 人們開放一扇通往知識、藝術寶庫的大門。 l

subsequent reno-
vations, ultimately
cost more t han
NT$100 million.
I n t r ut h , t h i s
nea rly 100-yea r-
old bookstore has
evolved before. It
first opened in 1927
in a single- story
wooden building
l o c at e d at w h at
today is 103 Shifu
Street, and oper-
ated at that site un-
til 1948. After the
war, it relocated
from the wooden
shop to a t h re e -
story brick building at its present location. The mod-
ern Central Bookstore might be thought of as version
3.0. Having risen again as mag nificent as ever, it The Central Bookstore holds a special place in the
continues to offer an open door to a vast repository of history of my pursuit of knowledge.
knowledge and art. l —Chen Fang-ming (scholar and author)
(Lynn Su/photos courtesy of Central Bookstore/
tr. by Scott Williams)

15
封面故事

COVER
STORY

16
 我們在台灣做出版
專訪出版人初安民、胡金倫

Immigrant Editors in Taiwan:

Chu Anmin and Woo Kamloon
文•蘇俐穎　圖•印刻出版社提供　版面設計•蕭郢岑

台灣自由開放的民主社會，形成活力奔放
的輿論環境，也造就了蓬勃的出版產業。在這
樣活絡具競爭力的場域，也吸引到各地華人爭
相插旗，圓一個年輕時代就醞釀的文學夢，或
掙一個對外向國際發聲的管道。這一回，我們
專訪來自大馬的胡金倫、韓國華僑初安民，在
海外長大的他們，為何選擇來到台灣？又如何
情定出版事業，終身不悔？

A s a liberal and open-minded modern demo-

cracy, Taiwan encourages public exchanges
of ideas and is home to a prosperous publishing
industry. Our flourishing and highly competitive
cultural sectors have been attracting profession-
als of Chinese origin from different parts of the
world. In this article we interview editors Chu
Anmin and Woo Kamloon. Brought up in Korea
and Malaysia respectively, why did they choose
to settle in Taiwan? What was it about publish-
ing which so power f ully touched their hearts
that they have never looked back?
莊坤儒攝　photo by Kent Chuang

17
 初安民是花甲少年，年過六旬的他，
時間染白了髮鬢，卻淬礪出另一種神
采，這種神采調合了他的文學夢、憂國
憂民的文人傷感，還雜揉了夢想在現實
文學編輯是很幸福的職業， 中的衝突，以及自我解嘲的小小幽默。
可以把對人生的想像付諸實踐。
被國學滋養長大的文藝少年

身為韓國華僑第二代，初安民的父親
來自山東煙台，作為一名中醫，是農業
社會極少數的知識份子，1949年中國大
陸政局丕變，他選擇逃亡到海外，但因
船隻過小，無法到達台灣，最終只好落
腳在韓國。
在南韓鄉下出生長大的初安民，父親
老來得子的緣故，對他呵護備至，同時也
施以極為嚴格的教養，初安民回憶，在那
沒有玩具的童年，極稀有的外出時間，
「父親就跟我講他的故事，也把家裡的
《論語》、《左傳》，從文言文翻譯成白
話文給我聽。」初安民回憶。
就在這樣的耳濡目染之下，他承繼了父
親對於神州大陸的失落之情，以及對自由
台灣的憧憬，「他沒有留下什麼遺產，他
留給我的是他的情感債。他的神思、他的
國度，還有他的故國之悲。」初安民說。
然而，在虛幻的去國懷鄉情緒裡，唯
有文字、書本是唯一紮實的生存養分，
滋養著年少的心靈。彼時，他在台灣同
父異母的姊姊，偶爾會寄來各種土產，
包裹在各種鳳梨乾、鳳梨罐頭外的《中
央日報》，即使是廣告上的文字，也讓
初安民提供　courtesy of Chu Anmin
他讀得津津有味。

成為一名文學編輯
初 安民
談初安民，人們多記得他的編輯身
1957年生，祖籍山東牟平，長於韓國，年輕時來到
分，罕論其文學成就。但其實初安民提
台灣，畢業於成大中文系，曾任中學教師；是詩人、作
家，也是擁有卅多年經驗的資深出版人，曾編過《聯合 筆甚早，也交出了好成績，1977年舉家
文學》、《短篇小說》，目前是《印刻文學生活誌》總 從韓國移民來台，他進入成大中文系就
編輯。 讀，1979年就獲得校內的鳳凰樹文學
獎，還出版過多本詩集。

18

Being an editor confers power, enabling you to
put your literary imagination into practice.
In his 60s now, Chu comes across as an aging man,
but the passage of time has also endowed him with
a distinctive charm. You can perceive an aura which
results from the fusion of his literary dreams and an
intellectual’s apprehensions about the nation’s fu-
ture—an aura which bespeaks his perennial struggles
to bring his visions to bear in the real world, and is
blended with a small dose of self-mockery.
Growing up with Chinese literature
Chu’s father came from Yantai in Shandong Prov-
ince. Working as a practitioner of traditional Chinese
medicine, he was one of very few intellectuals in what
was then a predominantly agrarian country. At the end
Chu Anmin
Born in 1957, Chu Anmin grew up
in South Korea, although his family
o r i g i n a t e d f ro m M u p i n g i n C h i n a ’s
Shandong Province. He came to Taiwan
to study for a BA in Chinese literature at
National Cheng Kung University. A poet,
of the Chinese writer, and senior professional with more
C i v i l Wa r i n than 30 years’ experience in the publishing
1949, he decided industry, Chu currently serves as editor-
in-chief of the literary magazine INK.
to flee from
mainland China
but was unable
to find a ship that could bring him to Taiwan. He ended
up in Korea.
Born and brought up in a rural area in South Korea,
Chu Anmin was adored by his father, who was already
advanced in years when Chu came into the world. But
the old man also subjected his son to strict discipline.
Chu grew up without toys, and rarely was he allowed

由初安民主導的《印刻文學生活
誌》，強調以「人」為本，同時也
是一本緊跟當下趨勢的藝文刊物。
Chu’s literary magazine, INK, has a
humanist focus, but it also keeps a
weather eye on the latest cultural trends.

time out of doors. Instead of playing with him, his father told him his own life story and taught him the classic
books they had at home, such as the Analects and the Zuo Zhuan, translating them from classical to modern Chinese
as he read them to his son.
“He didn’t leave me much money. What he left behind was an inner legacy: his mind and spirit, his remembered
country, and his grief for the loss of that country,” Chu says. As a young man, Chu inherited his father’s sorrowful
longings for his homeland, as well as his yearnings for the “Free China” then represented by the ROC government
in Taiwan. Literature was the only reliable source of spiritual sustenance in the young Chu’s world.
Becoming an editor
Most people think of Chu as an editor; his own creative work is rarely discussed, even though he started his
writing career at an early age and has made remarkable achievements.

19
初安民左手編雜誌，右手編書，因為重視海外市場，
印刻旗下出版品有三分之一的作品都進軍到國際。
As an editor, Chu divides his energies between his magazine and books.
He has his eye on foreign markets, and a third of the titles published
under the INK imprint have been made available internationally.

但比起創作，編輯更是他願意投入一生、死而
自由的沃壤，盛放的文學花園
後已的人生志業。對於編輯工作，他如此自述：
「從喜歡到產生使命感，最後則是捨我其誰。」初 對於目前主理的《印刻》，初安民追求的是百
安民相當自豪這一輩子只有做過兩種工作，第一份 花齊放的「大花園主義」，個人的出身、好惡與
工作是教職，那是為了剛交往未久、在東海念研究 流派，通通都暫時擺到一邊，「文學應該是一個
所的女朋友，他到台中明道中學當了一年教師，實 共和國，沒有國界之間的藩籬。」
在與志趣不合，愛情穩固後，便毫不遲疑地辭職。 能在涵融多元歧異，允許自由發聲的台灣從
另一份就是做了35年的文學編輯。他在《聯合 事出版，則是貫徹他理念最有力的靠山，「台灣
文學》待了20年，從基層一路做到總編輯，離開 最難能可貴的，是在華人世界裡，擁有半世紀以
後又創辦了《印刻文學生活誌》，中間還同時接 上，開放、自由、多元的特質與傳統。這不只是
手編過《短篇小說》雜誌。從一而終的他，不曾 出版產業，還包括了語文教育、學術訓練以及學
心有旁騖，也不曾轉換跑道。 術評論等方面。」初安民如此評價。
日本作家川本三郎的名言：「只有文學能夠傾 與在海外成長的年少回憶相較起來，這樣的差
聽挫折者的輕聲低語。」初安民心有戚戚：「我 異尤其顯著。小時在韓國念華僑學校的他，教學資
的信仰就是文學。只有它可以留下，記錄著一代 源相當有限，不僅課堂使用的，是遠渡重洋來的台
又一代的故事，它比歷史還要真實，能在歲月的 灣教科書，就連授課老師也大多從台灣畢業的。
長河裡尋求正義，能夠從事這樣的行業，是幸福 如今移民「回」台的他，能在豐饒的土地上
且需要持續投入的。」雖說，訪談過程中他總不 耕耘，直到花園中百花盛放，更是無須多言的幸
斷以現實磨耗著夢想來自我解嘲，但每談及編輯 福，因此直到現在屆齡退休，他仍放言宣誓，對
工作，流露的，卻是不曾改易的初衷與真心。 編輯工作：「要做到筋疲力竭為止。」

20
 For Chu himself, being an editor is a lifelong commit­
ment, a vocation to which he is happy to devote himself.
He thus describes his editorial work: “At first it was just
something I liked, then it became a mission, and eventu­
ally I started to feel a huge sense of obligation.” Chu
proudly says that throughout his life, he has done only two
kinds of work. His first job was as a teacher at Mingdao
High School in Taichung. There he realized that teaching
was not for him. After just one year, he resigned without a
second thought. By that time he and his partner were in a
stable relationship, so he felt free to be more venturesome.
He went on to serve as a literary editor for 35 years,
spending two decades at the literary magazine Unitas,
where he progressed from an entry­level employee to
editor­in­chief. Subsequently he established another liter­
ary magazine, INK. For a time he also edited a journal
dedicated to short stories. He has been pursuing this
career single­mindedly, without ever looking back.
The Japanese writer Saburo Kawamoto famously said
that only through literature are we able to hear the mur­
murs of disadvantaged people. Chu agrees: “Literature is
my religion. It alone lives on and on, recording the stories
of generation after generation. More real than history
itself, it is capable of seeking justice in the long vistas of
time. This kind of work is a blessing, and it calls for un­
flagging energy.” During our interview, Chu keeps self­
deprecatingly referring to the conflicts between reality
and his dreams, but whenever he speaks of his editorial
work his unwavering determination shines through.
A garden of freedom
At INK Literary Monthly Publishing, Chu wants to
cultivate a literary garden where all sorts of flowers bloom.
Personal backgrounds, preferences and allegiances are all
laid aside, and literary works are considered on their own
merits. “In literature we find a republic of letters that tran­
scends existing national borders.” What better place to pur­
sue these ideals than in a country that tolerates difference,
welcomes diversity, and defends freedom of speech? “What
makes Taiwan so precious in the Chinese­speaking world
is that for more than 50 years, it has maintained a tradition
of open­mindedness, freedom, and diversity. And you don’t
see this just in publishing; it’s also in language education,
academic training, and scholarly writing,” Chu opines.
He counts himself lucky to have settled in Taiwan, find­
ing here a fertile garden where he has enjoyed nourish­
ing a dazzling variety of literary flowers. Despite having
reached retirement age, he vows to continue his work as
an editor, “until I burn myself out.”
在出版界數十載的初安
民，與藝文人士交誼深
厚，圖中人物左起：盧非
易、林懷民、鄭樹森、白
先勇、初安民、張大春、
蔣勳。（初安民提供）
Having spent more than
three decades in the
publishing world, Chu
Anmin (third from right) has
formed close relationships
with many writers and
artists, including (from left to
right) Lu Feii, Lin Hwai-min,
Zheng Shusen, Kenneth
Hsien-yung Pai, Chang Ta-
chun, and Chiang Hsun.
(courtesy of Chu Anmin)
21
 從一名敏銳多思、勇於追夢的文藝青
年，蛻變成在異鄉歷練，享譽業界的專
業出版人，廿年的悠悠歲月，胡金倫在
異鄉土地，成就了夢想的一片天。
台灣是面向國際市場的重要樞紐。
我從大馬來

「對於許多馬來西亞文青來說，台灣
就是一個追尋文學、藝術的好地方。」
胡金倫思忖起當年。那是1998年，他剛
剛大學畢業，到《星洲日報》跑了兩年
的文教線新聞，一直喜歡文藝的他，一
面工作，一面寫作，甚至拿下了馬來西
亞的花蹤文學獎、雲里風年度優秀作家
等獎項，卻覺得心中猶有缺憾。
對於總是緊追日、美流行文化的台灣
人來說，或許難以想像，就在咫尺之遙
的東南亞地區，擁有同樣血緣的華人社
群，對於台灣新聞時事、文藝乃至影視
娛樂，是如何地親近與喜愛，「台灣的
文學、電影、流行歌曲，對於我們的影
響是很大的。」胡金倫說。從早年流行
的鳳飛飛、劉文正，到瓊瑤的連續劇、
新浪潮電影，以及張曼娟、劉墉、楊
牧、余光中等文學名家，從台灣到馬來
西亞，可說是零時差。
這不僅是文化上的親近性，對於大馬
華人來說，不論作家、歌手，甚至電影
導演，倘若想在華文世界被關注，來台
灣出道、發展、獲獎（好比金馬獎、各
種文學獎），都是一種必然。
胡金倫提供　courtesy of Woo Kamloon
彼時的胡金倫，眼看著僅長他二、三
歲的陳大為、鍾怡雯、黃錦樹等人，到
台灣求學、獲文學獎、出書，彷彿成為
胡 金倫
一種理當的命中注定，為了尋求更好的
馬來西亞華人，1971年出生於吉隆坡，擁有台灣永久
出路，也為了實現自己的文學夢，他選
居留權。馬來西亞理科大學人文系畢業，先在《星洲日
報》擔任記者工作二年，後來台就讀政治大學中文所，
擇來到了台灣。
以張大春為研究題目。畢業後進入台灣出版業，至今累
搭建一條南向之路
積近廿年的出版資歷，曾任職於麥田出版、聯經出版，
目前是時報文化出版第一編輯部總編輯。 在台灣待了這麼長一段時間，對胡金
倫來說，從來不是連根拔起的移植，馬

22

Taiwan is in the forefront of the global market.
Over the past 20 years, Woo has transformed himself from a sharp-
witted youth who fearlessly pursued his literary dreams into a pro-
fessional editor who is widely known in the publishing world. His dreams
have come true in this foreign country.
I come from Malaysia
“For many young culture buffs in Malaysia, Taiwan was an ideal place to
pursue literature and culture,” says Woo, recalling his
youthful days. That was in 1998. Having just obtained
his BA, he found a job as a culture and education jour-
nalist at Malaysia’s Sin Chew Daily. Yet although he had
always been passionate about art and literature, he
didn’t feel fully satisfied during his two years there.
（時報文化出版提供　courtesy of China Times Publishing）
For those of us who are always chasing the latest
trends in Japanese and American popular culture, it
may be hard to imagine that Taiwan’s journalism, cul-
ture, and various forms of entertainment have long en-
joyed tremendous popularity among ethnic Chinese in
Southeast Asia. “Taiwan’s literature, films, and popular
songs had a huge impact on us,” Woo says.
At that time, Woo was inspired by fellow Malaysian
writers such as Chan Tahwei, Chong Yeevoon, and Ng
Woo Kamloon
A Chinese-Malaysian, Woo Kamloon
was born in Kuala Lumpur in 1971. After
obtaining a humanities degree at Universiti
Sains Malaysia, he spent two years
working as a journalist and then came
to Taiwan to study for an MA in Chinese
literature at National Chengchi University.
After graduating he went into publishing,
and has been in the industry for nearly 20
years. Having worked at Rye Field and
Linking, he now serves as editor-in-chief in
a division of China Times Publishing.
喜愛文藝的胡金倫，工作上也
以人文、文學出版品為主。早
年在麥田時期經手的《天工開
物•栩栩如真》，不被看好的
小說意外大賣，讓董啟章從台
灣紅回香港，也奠定了胡金倫
專業編輯人的位置。
Passionate about the arts, Woo
has a publishing agenda that
focuses on the humanities and
creative writing. One of the books
he edited at Rye Field—a novel
by Hong Kong writer Dung Kai-
cheung—sold phenomenally well
against all expectations. Later
translated into English as The
History of the Adventures of Vivi
and Vera, the book ensured Dung’s
popularity not only in Taiwan but
also in his native Hong Kong. It
also helped establish Woo’s fame
as a professional editor. （麥田出版提供　courtesy of Rye Field）
Kimchew, who were just two or three years older than
he was. They all came to Taiwan to study, and went on
to win literary awards and publish their books here.
This seemed to be a preordained career path. In order
to create a better future and to move one step closer to
his literary dreams, he too decided to come to Taiwan.
Southbound
Woo has spent a long time on this island, but for
him, settling here has not been a process of wholesale
23
即使在台多年，東南亞一直提供胡金倫相當多的養分，
除了持續促成馬華文學在台出版，人文書籍也推出許多口碑之作。（聯經出版提供）
Despite his many years in Taiwan, Woo still draws creative nourishment from Southeast Asia. He
continues to facilitate the publication of Chinese-Malaysian literature in Taiwan, and many of his
humanities books are highly regarded. (courtesy of Linking)

華的身分，提供了他不一樣的專業品味與養分， 「今年九月，我們也將翻譯出版一本緬甸小
還有人脈網絡的有力支援。 說，這會是台灣第一本直接由緬甸文翻譯成中文
他前後待過麥田、聯經、時報三家出版社， 的書。」胡金倫興致勃勃地說。
喜愛文學的他，文學創作與研究評論一直都是他
從世界看台灣出版
的出版主力，而這其中，有一大部分都緊繫馬華
社群，陳大為、鍾怡雯、黃錦樹、張貴興、黎紫 就像許多馬華歌手，先在台灣發跡，才紅回
書、高嘉謙等作家、學者，都是他的合作對象。 故鄉；也有許多馬華作家的書，是先在台灣出
來自東南亞的他，對於引介東南亞文化也懷有 版，才被馬來西亞讀者所認識。但不僅如此，
義不容辭的使命，「台灣的讀者，對東南亞不外 「馬來西亞以外，我們也把書賣到港澳、新加
乎印尼峇里島、泰國曼谷等旅遊景點，但東南亞 坡、中國大陸，乃至翻譯到歐美等地。」胡金
每個國家的文化、風俗、宗教都很不一樣，」胡 倫一言以蔽之：「台灣是面向國際市場的重要
金倫說，「倘若藉著書，可以增進台灣讀者對這 樞紐。」
些距離最近的國家多些認識，或許社會上就不會 也誠如他的一席話，台灣百無禁忌的出版環
再有這樣多的誤會與誤解。」 境，以及在華文世界的代表性地位，一直都是許
2014年胡金倫在聯經擔任總編輯時，推出《柬 多海外華人前仆後繼，爭奪話語權的前線。出版
埔寨：被詛咒的國度》，是早於新南向熱潮以 界中，除了他以外，也有不少海外出版人長期在
前，書市上開始探討東南亞議題的先驅，這本書 台灣市場耕耘，而到了網路時代，這樣的國際交
的熱銷，也反映了市場上對於東南亞主題的缺 流更是有增無減，近年更有甚者直接投資創辦出
乏；而後他也成立書系「South書房」，引介一系 版媒體，此現象也再次印證，台灣在華文世界的
列東南亞人文社科書，其中頗多長銷佳作。 關鍵性地位。 l

24
transplantation. Being a Chinese-Malaysian means that his
imagination has been nourished in a different creative soil,
and he has the support of an established literary network.
Throughout his time at Rye Field, Linking, and China
Times, Woo’s passion for literature has led him to focus
on publishing creative writing and literary criticism. His
publishing agenda has had much to do with Chinese-
Malaysian writers in Taiwan. Chan Tahwei, Chong
Yeevoon, Ng Kimchew, Chang Kueihsing, Li Zishu, and
Ko Chiacian have all collaborated with Woo.
Hailing from Southeast Asia, Woo feels an obligation to
promote understanding of Southeast-Asian cultures in Tai-
wan. In 2014, as Linking’s editor-in-chief, he brought out
the Chinese translation of Joel Brinkley’s Cambodia’s Curse:
The Modern History of a Troubled Land, pioneering the dis-
cussion of Southeast-Asian issues prior to the inauguration
of the Taiwanese government’s New Southbound Policy.
The enormous popularity of this book also reflected the
scarcity of Southeast-Asia-related publications in Taiwan.
Subsequently Woo devoted a new book series to human-
ities and social sciences titles exploring Southeast Asia.
Many of these books have become long-term bestsellers.
莊坤儒攝　photo by Kent Chuang
A global perspective
Like many Chinese-Malaysian singers who started
out in Taiwan and then became popular in their native
country, quite a few Chinese-Malaysian writers have fol-
lowed the same route, gaining a readership in Malaysia
only after being published in Taiwan. But the real picture
is more complex. “In addition to Malaysia, our books are
being sold in Singapore, Hong Kong, Macau, and even
mainland China. Some have even been translated and
introduced into the West.” Woo concludes: “Taiwan is an
important gateway to the global market.”
As Woo’s words suggest, Taiwan’s uninhibited pub-
lishing industry—and its cultural stature in the Chi-
nese-speaking world—have long attracted countless
ethnic Chinese writers from overseas who seek to have
their say here. In addition to Woo, there are many other
long- serving publishing professionals in Taiwan who
come from abroad. Some have even invested in establish-
ing publishing companies themselves. This tells us that
even in a clickbait-driven digital world, Taiwan still occu-
pies a crucial place in Chinese-language publishing. l
(Lynn Su/photos courtesy of INK/tr. by Brandon Yen)
25
封面故事

COVER
STORY

26
閱讀台灣歷史地層
《亮光的起點》、《成為真正的人》

History Through the Lens of Fiction:

Two Authors Reimagine
Japanese-Era Taiwan
文•鄧慧純　圖•莊坤儒　版面設計•蕭郢岑

每回考古界有重大發現，總讓人驚訝，原來我們生活
的地底下，是如三明治般的一層層，藏著不同的故事。
曾經是滄海，或是桑田，堆疊不同時期的線索。學者們
會取出大顆的貝殼研究，建立時代的大敘事；但同一個
地層中，還有許多不甚起眼的魚蝦化石，卻也是當時生
活的一景。
小說家用放大鏡細細端詳這些細瑣的化石，仔細用刷子
清除土塵，爬梳更多的吉光片羽，在歷史的縫隙中，加入
想像和推論，再透過書寫，完成如《亮光的起點》、《成
為真正的人》的著作，挖掘出不一樣的台灣史。

W ith each major archaeological discovery, it is always

surprising to learn that clues about different periods
are stacked within the ground beneath our feet. Scholars dig up
large shells and study them to construct a grand narrative of
the times, but in the same stratum, there are less impressive fish
and shrimp fossils that also offer a slice of contemporary life.
Using a magnifying glass to examine these trivial fossils in
detail, novelists comb them for fragments suggestive of former
glories. By adding imagination and inference to the gaps in his-
tory, and putting it all down on paper, they effectively unearth
alternative versions of Taiwan’s history.

27
 ︽ 亮 光 的 起 點 ︾

鄧 慧恩
成功大學台灣文學研究所博士，曾獲國
藝會獎助、教育部文藝獎、打狗鳳邑文學
獎、新台灣和平基金會首屆台灣歷史小說
創作獎助等獎項，小說《亮光的起點》獲
得全球華文文學星雲獎歷史小說獎。

《亮光的起點》是鄧慧恩的第一部小說，獲得全球華
文文學星雲獎歷史小說獎。（印刻文學提供）
Winner of the Hsing Yun Award for Global Chinese
Literature, The Dawn Light is Sidney Teng’s debut novel.
(courtesy of INK Publishing)

讓王雨卿再活一次

《亮光的起點》作者鄧慧恩聊起她與日治時期第一位台籍博物學家王雨卿（1906
∼1938）的相遇，「我是在寫博士論文蒐集資料的過程中，發現王雨卿的資料。」
她端詳著王雨卿記錄下蝙蝠的拉丁學名、台語拼音名稱，又註記了世界語名稱
（Esperanto，由波蘭猶太人柴門霍夫於1887年所創，追求語言的平等自由，提供跨
民族使用，做為國際溝通上的輔助語言。）「王雨卿的做法除了符合學術研究的標
準外，還記錄下在地的稱呼，讓當地人理解，更想與世界語者分享。」這個舉動，
引起了鄧慧恩的好奇，一位日治時期博物學家想要連結台灣與世界的動機。

鄧慧恩能用幾乎散佚的線索，重建王雨卿故事的場景，
圖為王雨卿從小生活的關帝廟和月老祠。
With just a handful of clues to go on, Teng was able to reconstruct
scenes from Ukyo Oo’s life. Pictured are the Great Guandi
Temple (left) and the Shrine to the God of Matchmaking (below),
both located in the Tainan neighborhood where Oo grew up.
The Dawn Light

28
 王雨卿，這是台灣鮮少人認識的名字，生卒於
鄧慧恩在論文資料中遇見早逝的王雨卿，
日治時期，從小家境困苦，但他憑著自學，成為台 她用小說的方式，讓王雨卿再活一次。
Amidst her thesis research, Sidney Teng came across Ukyo
南師範學校的博物科助手，並通過日本文部省中等 Oo, who died prematurely. But she has used her novel to
bring him back to life.
教師檢定考試，取得博物科和生理衛生兩科的教師
資格。「日治時期50年間，台灣僅有兩人通過博
物科檢定考試，其一是王雨卿，另一位則是在戰後
擔任台灣水產試驗所所長的鄧火土。」鄧慧恩補充
解釋。而在博物學的紀錄中，台灣特有種「王氏煙
管蝸牛」（Hemiphaedusa ooi Kuroda）更是因王雨
卿採集發現而命名。「王雨卿留下來的故事不僅只
文字，還有他親手製作的標本，以及他對於台南的
鳥類、蝴蝶、貝類的調查，他的文章跟生命是寫在
台南的土地上。」王雨卿介紹自己給世界認識的方
式，加深鄧慧恩對他記憶；王雨卿早逝的生命，更
讓人喟嘆。因此鄧慧恩心中總有個念頭，「寫下來
就是一種記得。或許我可以用小說的方式，讓王雨
卿再活一次。」

Bringing Ukyo Oo back to life

Sidney Teng, author of The Dawn Light, tells us of her en-
counter with Ukyo Oo (1906–1938), the first Taiwanese natu-
ral historian during Japanese rule. (The spelling “Ukyo Oo”
reflects the Japanese pronunciation of his name. In Chinese,
it is Wang Yuqing in Mandarin or Ong U-khing in Taiwan-
ese.) Says Teng: “I discovered Oo’s archive while gathering
information for my doctoral dissertation.” Looking at a bat
specimen Oo had prepared, Teng noticed he had labeled it
in three ways: with its scientific name in Latin, plus its com-
mon names in Romanized Taiwanese and in Esperanto. “As
well as meeting the standards of academic research, Oo re-
corded the names in Taiwanese and Esperanto so they could
be under stood by locals and be accessible to Esperanto Sidney Teng
speakers worldwide.” This gesture piqued Teng’s curiosity.
Holds a PhD in Taiwanese literature from National
Ukyo Oo’s name is little known in Taiwan. He was Cheng Kung University. She has received a grant from
raised in poverty, but through self-education he was able to the National Culture and Arts Foundation ROC, a
sit the certification exam for secondary-school teachers held Ministry of Education Creative Literature and Arts
by Japan’s Ministry of Education and won qualification to Award, and Kaohsiung’s Takao Fengyi Literature
Award. Her The Dawn Light won the Hsing Yun Award
teach two subjects, natural history and health education.
for Global Chinese Literature.
The annals of natural history record Hemiphaedusa ooi
as a species of land snail endemic to Taiwan, and it was

29

重建時空線索
採訪當日，鄧慧恩邀請台南在地資深導覽員
林建農，帶我們走訪了書中提及的重要地景，如
台南師範學校（今台南大學）、關帝廟、台南運
河、台南神社原址（今台南市立美術館二館）、
大舞台等地景。台南大學是王雨卿從工友一路晉
升為博物館助手的地方，他在此地遇見了影響他
一生的牧茂市郎（1886∼1959）博士，至今校內
還藏有王雨卿手作的標本。
我們也漫步到台南運河。1937年夏日，運河水
面不時閃爍奇特的光芒，導致人心恐慌，當時王
雨卿已經病重了，他仍親赴運河，取樣研究，發
現是夜光蟲（今暱稱為「藍眼淚」）在活動，他
撰文闢疑，以科學實證的方式解了民眾的疑惑，
也是《亮光的起點》書名的由來。
「歷史小說的書寫氛圍是建構在時代資料的
正確性。年代的縱深跟描寫的地理環境相互搭
配而創造出來的空間感，能讓小說人物更加立
30
體。」重建王雨卿生活的場景，細述王雨卿與
妻子佐伯操打破種族藩籬的愛情，鄧慧恩巧心
在歷史的縫隙中插入合情合理的安排，「從資
料得知王雨卿出身台南市的神農街，就是關帝
廟前的那條小路，所以我安排在書中提到關帝
廟的月老祠，讓王雨卿送出手做的蝴蝶標本，
兩人互表心意。」
王雨卿生活的1920年代，正是台灣文化協會活
躍之際，鄧慧恩也不忘連結了當時的人物，讓他
們與王雨卿不期然的交遇，如台南固園的黃欣、
林茂生、施乾、柳德裕、國分直一、星襄一等，
帶我們如穿越劇一般，掉進時光隧道，一同經歷
當時文化的大爆發，也帶出了當時的文人雅士交
流的文化風景。
王雨卿用故鄉赤崁樓的意象設計世界語雜誌《綠の島》的
標誌。
Oo featured Fort Provintia—a 17th-century Dutch colonial
outpost in Oo’s hometown of Tainan—when designing the logo
for La Verda Insulo, a magazine published in Esperanto.
named after Oo, who discovered it while col-
lecting specimens.
The writings and collections through
which Oo presented himself to the world
deepened Teng’s impressions of him, but his
untimely death was saddening. “Maybe I
can use a novel to bring Ukyo Oo back to life
again,” she wondered.
Reconstructing time and space
On the day of our interview, Teng invites
Lin Jiann Nong, a Tainan-based veteran guide,
to take us on a tour of the key sites mentioned
in the novel, such as Tainan Normal School
(now National University of Tainan), Grand 鄧慧恩（左2）在文學地景探訪途中，巧遇台南在地的學子，與她們分
Guandi Temple, Anping Canal, and the for- 享王雨卿的故事。
During her visits to Tainan sites frequented by Ukyo Oo, novelist Sidney Teng
mer site of the Tainan Shinto Shrine (now shared Oo’s story with local students she happened to meet there.
Tainan Art Museum Building 2). Tainan Nor-
mal School was where Oo rose from janitor to
the position of assistant in the school’s natural
history research office, and where he met Dr. a lumin ous variety of sea plankton popularly known as “sea
Moichiro Maki (1886–1959), who was to have a sparkle”—in action. He penned an article that employed scientific
lifelong influence on him. evidence to dispel the public’s doubts, and that monograph in
We also take a stroll along Anping Canal. turn inspired the title for Teng’s novel.
In the summer of 1937, from time to time “The ambience in historical fiction is founded upon accurate
the surface of the waterway flickered with data from the era in which the story is set,” explains Teng. “The
a strange light, sowing alarm among city depth of immersion into the time period and the descriptive geo-
residents. Although seriously ill at the time, graphy of the novel work in tandem to create a sense of space that
Oo went to the canal, took samples and dis- renders the characters more three-dimensional.”
covered that this was Noctiluca scintillans— To reconstruct scenes from Oo’s life and detail the romance

由王雨卿發現，並以之命名的「王氏煙管蝸牛」。圖中
Type的字眼及紅色標籤代表此標本是新物種命名時依據
的模式標本。
（《數位典藏與數位學習聯合目錄》／中央研究數位
文化中心。著作權人：台灣貝類資料庫／中央研究院
生物多樣性研究中心）
A species of land snail endemic to Taiwan, Hemiphaedusa
ooi, was named after Oo, its discoverer. The word “Type”
and the red diamond indicate that this is the “type
specimen”—the very specimen from which the new
species was described. (courtesy of Taiwan e-Learning
and Digital Archives Program, Academia Sinica Center for
Digital Cultures. Copyright holder: Taiwan Malacofauna
Database, Biodiversity Research Center, Academia Sinica)

31

位在台南運河旁的魚市
場，建於1936年，是一棟
歐式的白色建築，見證運
河近百年歷史，如今被保
留下來，也成為台南在地
故事一隅。
This former fish market,
located next to Tainan’s
Anping Canal, is a white
European-style building
erected in 1936 that has
witnessed nearly 100 years
of the canal’s history. Now
preserved, it has become
a part of Tainan’s historical
narrative.
32
台日協行
王雨卿博物學的啟蒙來自於他在台南師院擔任工友時，遇見了牧茂市郎，
這位日本愛媛縣出身的學者，專長是蛇類研究。牧茂市郎認可王雨卿的上進
與工作態度，讓他協助標本製作，並鼓勵王雨卿參加檢定考試。王雨卿在他
的引領下，一頭投入了博物的世界，也自此翻轉了身分與階級。
回顧20世紀初的台灣，對初到熱帶地區探索的日本學者是個嶄新的世界，
他們胸懷大志地探險台灣，也借助台人的幫忙，完成研究，一如鹿野忠雄與
他的原住民嚮導托泰．布典，又如牧茂市郎和王雨卿。政治大學講座教授陳
芳明撰寫的推薦序中，提到書中的另一種風景，他認為《亮光的起點》與過
去前行歷史小說家的書寫策略截然不同，「在日本人與台灣人之間，似乎不
存在著敵對的立場，反而是屬於工作的夥伴。」
between him and his Japanese wife, Masao Saeki, which broke through ethnic barriers,
Teng cleverly exploited undocumented gaps in his life history. “Ukyo Oo was raised
on Tainan’s Shennong Street, a small street in front of Guandi Temple. So in the book
I mention the temple’s Yuelao Shrine—dedicated to the God of Match making—and
have Oo gift Saeki a hand-mounted butterfly to reveal his feelings for her.”
Japanese–Taiwanese cooperation
Oo’s inspiration for natural history came when he met Dr. Moichiro Maki, who
recognized his ambition and work ethic. Maki let Oo assist in preparing specimens, and
encouraged him to take the teaching certification exam. Under Maki’s guidance, Oo
plunged into the world of natural history.
Early 20th­century Taiwan was a new world for Japanese scholars
making their first foray into the tropics. Full of ambition,
they explored the island thanks to Taiwanese
 探問日治時期的殖民權力關係，鄧慧恩笑著說：「我相信有
人會願意追求一個更好的價值，比如說學術價值或是夢想，可
以跨越種族來合作。」這樣的例子，這樣的故事，或許就如她
所寫下的，「當台灣人開始一點一滴將這些逐漸被遺忘的歷史
片段撿拾回來，就是另一個亮光的起點。」

who helped them conduct their research, as did Tadao Kano with his
indigenous guide Totai Buten, and Moichiro Maki with Ukyo Oo.
Chen Fang-ming, chair professor at National Chengchi Univer-
sity, believes that the strategy applied in writing The Dawn Light is
quite distinct from its predecessors, in that “between the Japanese
and the Taiwanese there seem to be no adversarial stances, just one
of working partners.” 《亮光的起點》出版後，更多關於王雨
卿的線索被挖掘出來，有文史工作者在
Asked about the relationship between colonizer and colonized 台南南山公墓發現王雨卿的埋骨之所。
during Japanese rule, Teng smiles. “I believe there were people who （林建農提供）
After The Dawn Light was published, more
were willing to seek something of greater value, such as academic clues emerged about Ukyo Oo, including
achievements or the realization of their dreams, and were capable of his grave in Tainan’s Nanshan Cemetery,
which was discovered by a group of local
working together across ethnic lines.” historians. (courtesy of Lin Jiann Nong)

1937年，台南運河上閃爍的光點，王雨卿取樣研究，發現是夜光蟲（今暱稱「藍眼淚」），他撰文闢疑，也是《亮光的起點》書名的由來。
In 1937, Oo visited Tainan’s Anping Canal to take samples of an organism that glimmered oddly at night on the water’s surface, and
discovered that it was a bioluminescent plankton known as sea sparkle. He wrote an article that used scientific evidence to dispel public
concerns about the phenomenon, and his monograph inspired the title for Sidney Teng’s novel.

33
 ︽ 成 為 真 正 的 人 ︾

甘 耀明
苗栗獅潭客家人。從小耳濡目染客家地區
的民間傳說與鄉野傳奇，孕育日後作品的魔幻
寫實風格。曾獲聯合報短篇小說獎、寶島文學
獎、臺灣文學獎、台北國際書展大獎、吳濁流
文學獎等獎項。代表著作為《神秘列車》、
《殺鬼》、《邦查女孩》等，並有多部作品被
譯為日文出版。

《成為真正的人》另一個書名是布農語「minBunun」，都是意旨
「經過歷練、蛻變生命」。（寶瓶文化提供）
minBunun is a Bunun word meaning “to accumulate experience,” or
“a life-changing transformation.” (courtesy of Aquarius Publishing)

靈感的緣起
被譽為台灣新鄉土作家先驅的甘耀
明，以魔幻寫實的文字風格著稱。今
（2021）年他發表了孕育、構思了十多
年的作品《成為真正的人》。甘耀明猶
記得2004年，他從南橫向陽登上海拔
3,000餘公尺的嘉明湖，那一趟行程聽聞
了1945年發生的山難加上空難的「三叉
山事件」，成了小說的靈感來源。
1945年9月，一架搭載美軍獲釋戰俘的
轟炸機因遭遇颱風，偏離方向，在空中
解體，墜落中央山脈三叉山山區，當時
日軍組織了日、漢、原住民近百人的搜
救隊上山搜救，卻遭遇天候劇變，最終
25名機組員、乘客全數罹難，搜救隊員
MinBunun
盟軍轟炸的區域，1945年9月，日軍已投
降，但台灣還在日本人暫時管制下，在這
樣的氣氛下，組織一個團隊去救助盟軍，
其實展現了幽微的人性，可以作為寫作者
的介入點。」
補足歷史的縫隙
翻開小說，您或許會期待對於山難過
程的描寫，但文字卻開始於主角布農族
的哈魯牧特回部落報喪。
雙生子是許多原住民的禁忌，多半無
法同時存活。哈魯牧特的祖父卻把他們
留下來，直到雙生子的哥哥病逝，海努
南填補了哈魯牧特身旁的空位。兩人一
起成長玩樂，一起到花蓮港市追求棒球
的夢想。但海努南卻不幸喪生於美軍的

共計26名也遇難。
「台灣目前發生最大的山難是1913年合
歡山山區的『野呂寧山難』，那一次的山
難是為了征伐，當時共有89位漢人在途中
凍死。『三叉山事件』是第二大的山難，
但它的背景卻是為了救難。」甘耀明娓
娓道來觸動他書寫「三叉山事件」背後的
幽微關係，「二次大戰期間，台灣是遭受
轟炸，哈魯牧特回到部落報喪，卻遇上
美軍轟炸機墜落，他被邀請加入搜救隊
伍，在山上遇見了生還的美軍，救或不
救？作者用文字照見哈魯牧特內心的掙
扎與蛻變。
甘耀明選擇從布農族的觀點切入，
除了他的故鄉苗栗獅潭與原住民部落有
諸多的地緣關係外，「因為原住民是土

34
 Origins of inspiration Taiwan had surrendered. But the island was still under
Kan Yao-ming, regarded as a pioneer of “neo-nativist” temporary Japanese control. In such an atmo sphere,
fiction, is renowned for his writing in the magical realism organizing a team to rescue enemy soldiers reveals the
genre. In 2021 he released minBunun, a novel he had been subtleties of human nature.”
conceptualizing for more than a decade. Kan still remem- Filling in the gaps in history
bers the trip he took in 2004 from Xiangyang on the South- As you open the novel, you might expect a description
ern Cross-Island Highway up to Jiaming Lake at more than of the fateful events in the mountains. But the narrative
3000 meters above sea level. There he learned of the tragic commences with Halmut, the protagonist, returning to
“Sancha Mountain Incident”—a deadly plane crash that also his Bunun tribal village bearing ill tidings.
proved fatal for the rescue team—which inspired his novel. After the death of Halmut’s twin brother due to illness
In September 1945, a bomber carrying
newly liberated American prisoners of
war disintegrated in midair in a typhoon
and crashed into the Mt. Sancha area of
the Central Mountain Range. The Japanese
army organized search and rescue teams
comprising nearly 100 Japanese, Han Chi-
nese and Aborigines to ascend the moun-
tain and locate survivors, but the weather
changed drastically and all crew members
and passengers, numbering 25, as well as
26 team members, met their deaths.
“Taiwan’s worst-ever mountaineer-
ing accident was the ‘Yelüning Incident,’
which occurred in 1913 in the Mt. Hehuan
area during a surveying expedition. The
second largest was the ‘Sancha Mountain
Incident,’ but its background was a rescue
operation,” says Kan. “During World War
II, Taiwan was bombed by Allied forces,
and by September 1945 the Japanese in

Kan Yao-ming
A Hakka from Shitan Township in Miaoli County, from
an early age he was immersed in the folklore and rural
legends of this Hakka region, which nurtured the magical
realism of his future works. He has won several awards
甘耀明被譽為台灣新鄉土作家先驅，從鄉野傳
including the Unitas Fiction Award, the Book Prize of the
說得到靈感，從土地汲取養分，使其文字讀來
Taipei International Book Exhibition, and the Wu Zhuo- 讓人充滿驚喜。
liu Literature Prize. Representative works include the Trailblazer: Kan Yao-ming is a recognized pioneer
novels Mystery Train, Killing Ghosts and The Pangcah Girl, among Taiwan’s new generation of nativist
authors. He derives inspiration from rural legends
and several have been published in Japanese. and draws sustenance from the land, which
endows his writing with joyous surprises.

35
 甘耀明（左）、小說家朱和之（右）和布農嚮導沙力浪重返「三叉山
事件」空難現場，拼湊B24轟炸機的殘骸，想了解最後的飛行狀況。
（沙力浪提供）
Kan Yao-ming (left), novelist Zhu Hezhi (right), and Bunun guide Salizan
Takisvilainan visited the site of the Mt. Sancha plane crash to examine
the wreckage of the B24 bomber and deduce flight conditions just before
impact. (courtesy of Salizan Takisvilainan)

地的靈魂，透過這個靈魂去觀看歷史跟土 耀明解釋說，經過這樣的考究，情節就在作者腦中一步步
地，會更有緊密的結合。」書中靈活地連 構築起來，他把生還的情節寫入故事，成為哈魯牧特「成
結布農文化，他們相信夢占，隨手捻來都 為真正的人」的考驗。
是神話、禁忌和傳說。透過甘耀明的筆，
尋找自己，成為真正的人
描述的山川、動植物都變得意趣橫生，像
是樹會走進家裡，跳進家屋的火堆；或如 翻開書封，除了作者簡介外，「minBunun」是另一個引
布農族稱嘉明湖為「月亮的鏡子」；或是 人探究的字眼，是布農語，釋義是「成為布農族人」。
形容記不住東西，像腦袋裡住了一條魚， 以三叉山事件當基底，「這本小說探求的是人在歷史
一直打亂記憶，是從鄉野傳奇得到靈感， 軌跡跟縫隙中的變化，就像是看到路邊縫隙裡鑽出來的
從土地汲取的養分，甘耀明的文字讓小說 植物，我想知道在乾旱跟無土的狀態下，如何面對自然
讀來充滿驚喜。 環境的考驗。」甘耀明說。
為了撰寫這部歷史小說，甘耀明翻閱許 書中另一個隱喻，甘耀明請出了幾乎已在台灣絕跡
多美軍原文報告，才釐清原先對三叉山事件 的雲豹，他說起自己的私心，「雲豹這麼迷人的生物在
許多似是而非的資訊。為了重建歷史場景， 1945年的山林怎能不請牠出場呢？」但是小說中雲豹被
甘耀明和朋友重返現場，拍攝現場殘骸，回 囚禁，最後以失去前肢當代價，才得以重返自然，甘耀
來後花了好久的時間，核對殘骸原屬於飛機 明說：「就如小說的主角，我們每個人成長的過程中，
上的部位，他想知道飛機最後的幾秒鐘，遭 可能真的就像雲豹一樣，我們會失去了一部份的東西，
遇了什麼狀況。「飛機是在空中解體後才墜 才讓自己能更堅強的活下去。」這歷程一如甘耀明說：
落，當時的飛行高度不高，加上機組員有降 「成為真正的人，是尋找更完整自己的過程。」也是每
落傘可逃生，因此有人生還是可能的。」甘 個人的生命課題。 　　l

36
in their youth, a fellow Bunun named Hainunan has
taken the place of his sibling in Halmut’s heart. The pair
have grown up playing together, pursuing their shared
dream of a career in baseball. Unfortunately, Hainunan is
killed during an American air raid.
When Halmut returns to his village to report the death,
he learns that an American bomber has gone down in the
mountains. He joins the rescue mission. But when they en­
counter an American survivor, should he save him or not?
The author uses the text to shine a light on the struggle
and transformation that take place in Halmut’s heart.
Kan chose to approach the book from the Bunun point
of view, “because the Aborigines are the soul of the land,
and if we view history and the land through the prism
of this soul, we can forge a closer bond.” The book deftly
taps into Bunun culture, in which dreams are believed
to presage the future and lives are filled with myths and
legends. The descriptions of mountains, animals and
plants are riveting; it is as if trees can march into people’s
homes and stand before the hearth. The Bunun call Jia­
ming Lake cidanuman mas buan—“mirror of the moon”—
and Kan’s words too are inspired by legends of the
countryside and sustenance drawn from the land, making
for a read that is full of joyous surprises.
In order to reconstruct the historical scene, Kan went
to the crash site and photographed the wreckage to iden­
沙力浪提供
tify what remained of the aircraft. He wanted to clarify in
his mind what had happened in the last seconds of flight.
“The plane broke up in midair before it crashed. They
weren’t flying at a high altitude, plus the crew had para­
chutes, so there was a possibility of survivors.” After this
close examination, the plot constructed itself step by step
in the author’s mind, and he included the detail of a sole
survivor as an ordeal for Halmut to overcome and “become
a genuine human being.”
minBunun: Finding oneself
The novel’s title, minBunun, signifies “to become a
Bunun” in the Bunun language.
The Sancha Mountain Incident serves as a backdrop. “But
this novel explores the changes human beings undergo in
the chinks that occur in the larger trajectory of history. It’s
like observing how plants burrow out from roadside crev­
ices—I want to know how they survive the challenges of an
environment that lacks water or soil,” says Kan.
In another allegory in the novel, Kan showcases a
Formosan clouded leopard, a wild creature that is nearly
extinct in Taiwan. The leopard is chained, and only by
sacrificing one of its front legs is it able return to the wild.
Says Kan: “Like my novel’s protagonist, as we mature we
may really have to do like the leopard, and sacrifice a part of
ourselves in order to go on living with fortitude.” l
(Cathy Teng/photos by Kent Chuang/tr. by Bruce Humes)
37
封面故事

COVER
STORY

給 IP 翅膀，讓創作起飛
台灣內容產業推手── 奇 異果文創

Bringing Taiwan’s IP to the World

—Kiwi Cultural and Creative
文•劉亭均　圖•莊坤儒　版面設計•蕭郢岑

數百年前，印刷術透過具有邏輯、線性特質的文字，
建立「紙本閱讀」型態，讀寫文化因此誕生，並從基礎教
育開始，構築人們的生活與世界觀；接著網路與聯網裝置
出現，對文創產業來說，這些媒介革命、資訊革命，徹底
翻轉了該型態，閱讀形式再也不受到紙張拘束，打破過去
矗立在文字間的高牆，也開啟大眾除紙本外，另一種「閱
讀」模式。這一巨變，讓承載知識、文化與娛樂的「內容
IP（智慧財產權，Intellectual Property，以下簡稱IP）」成
為主角，衝擊全球各大產業。
越來越龐大的創作及資訊內容，越來越便利的獲取途
徑，宣告著以IP為（閱讀）核心的全球文創競爭時代來臨。

I n the cultural and creative industries, revolutionary changes

in media and information brought about by the advent of the
Internet and digital connectivity have overturned traditional
ways of reading. Reading is no longer restricted to paper texts;
the high walls that once stood between words and readers have
been demolished as people abandon paper books, newspapers,
and magazines for other modes of “reading.” This upheaval has
turned “content intellectual property” (content IP, original
works protected by copyright) into the star of the show, a vehi-
cle for knowledge, culture and entertainment, impacting indus-
tries globally. The ever-increasing volume of easily accessible
creative and informative content heralds the arrival of an era of
global cultural and creative competition with IP at its core.

38
39
 各產業中以出版產業首當其衝，紛紛進行多角
化經營，透過轉譯IP將出版業轉型成文化產業，
其中有家異軍突起的獨立出版社「奇異果文創」
（以下簡稱奇異果），另闢蹊徑，用獨特的方式
開發、產製，推動台灣在地的、原創的IP，他們
不只關注自家的文創產品，而是認為台灣文創產
業是生命共同體，只要將選手（文創者）、教練
（文創產業經營者）及投資方（政府力量）這支
國家隊都準備好，擬定良好經營策略和商業模
式，台灣就能加入這場IP世界盃，一爭天下。
全球IP競爭，比內容更比題材
文化部文化內容策進院於去（2020）年底公布
一份「文化內容消費趨勢調查」報告，透露出國
人未來的「閱讀」輪廓。
奇異果經常受邀參與文策院的諮詢會議提供意
見，「只要是文創IP，」奇異果創意總監劉定綱
說，「無論是否經由奇異果出版，都是我們想推
立成為龐大的IP產業。「儘管大眾仍然最習慣文
字，但已然不夠，還要有別的媒介，要有更多的
內容串聯。漫威的『復仇者聯盟』就是非常好的
示範。」劉定綱說，「在『復仇者聯盟』系列之
後，仍持續產出『IP系列作品的新作』，讓大眾
保持關心劇中所有角色的前傳、番外故事等。甚
至還有IP衍生品，藉此讓『創作內容』得以產生
更高價值且能延續下去。」
IP競爭至今，除了內容重要，題材更是重要。
「人們的閱讀口味不再侷限於經典，好的IP，能
用大眾娛樂形式，讓閱讀者感動、省思、產生共
鳴，進而檢視人生和關注社會現象。」奇異果總
編輯廖之韻認為，閱讀口味的演變，是資訊爆炸
研究動漫多年的劉定綱，堅持「台漫不死」，廣邀各大出版
社投入，共同研究台灣漫畫的未來。
Insisting that “Taiwan manga is not dead,” Liu Ting-kang has invited
major publishing houses to invest in the future of Taiwanese comics.

動的。」奇異果同時也觀察到國家機構已經在出
力，例如延續CCC（Creative Comic Collection）
創作集數位平台；而國內相關業者也意識到IP產
業要走向國際。
「現在的IP產業是，內容可以直接變產業。不
管要用什麼方式消費販賣，要賣的都是裡面的內
容，這就是現在所稱的IP。」劉定綱解釋為何IP
產業範圍廣大，並指出了很重要的一點：「壯大
IP產業要有數位平台，且IP經濟要靠複數作品形
式，以保持市場熱度。」
IP已然成為全球級現象，它透過手機、頻道、
平台、APP……席捲著影視、音樂、文學、圖片
及社交群體，用難以想像的廣大範圍，影響著人
們的生活。「要拍個YouTube影片，從腳本到呈
現畫面，同時存在著影片、圖像、文字（字幕或
嵌合在畫面上的關鍵字）和聲音。」劉定綱舉了 時代的必然現象，卻也讓IP創作與文化思想、生
這個現今經濟效益巨大的IP平台為例，「在資訊 活議題等產生強大連結。
革命之後，誕生了多元複合的媒介形式，其中部
台灣IP不輸國際
分創作者採取了IP經營策略，使之成功。」
全球I P最龐大最成功的，非漫威電影宇宙 IP產業為創作打造了強而有力的翅膀，並連動
（Marvel Cinematic Universe，以下簡稱漫威）莫 全世界。那麼台灣呢？「台灣有自己獨一無二的
屬。其原創漫畫中有54個英雄，每個都能各別獨 文化內容。」劉定綱說：「台灣民間社會各種本

40
 The publishing industry is leading the charge, diversi­
fy ing its operations to transform itself into a cultural
industry through IP translation, and so sparking the rise
of independent publishing houses. Kiwi Cultural and
Creative is one such enterprise. Kiwi has taken a new ap­
proach, using unique methods to develop, produce, and
promote original Taiwanese IP. But Kiwi’s concerns go be­
yond its own cultural and creative products—the company
sees Taiwan’s cultural and creative industry as a team. As
long as the players (content creators), coaches (culture in­
dustry operators), and investors (the government) are ready
with good business strategies and models, Taiwanese con­
tent can take on the world.
International IP competition: Theme over content
In late 2020, the Taiwan Creative Content Agency
(TAICCA) issued a report, “Survey of Cultural Content
Consumption Trends,” profiling future “reading” trends in 每逢特殊的社會議題，奇異果認為就是拿出來探討的好
時機。如今「腐女現象」風靡全球，那麼觀念一定要跟
Taiwan.
上，誰說腐腐不能得正？
Kiwi is often invited to offer opinions at TAICCA consul­ Kiwi is always ready to investigate intriguing new social
developments, and the “yaoi fandom” phenomenon that’s
tation hearings and has noted that the government is already sweeping the world is no exception.
lending support by continuing the Creative Comic Collec­
tion (CCC) digital platform, for instance. Related domestic
industries have also realized that IP is going international. another important point: “The IP industry needs digital
“In the current IP industry, content can be transformed platforms, and the IP economy relies on product diver­
directly into a product. No matter how it’s sold or con­ sity to keep the market hot.”
sumed, content is the commodity. That’s today’s IP,” says IP has become a global phenomenon. “If you want to
Liu Ting­kang, Kiwi’s creative director, explaining why make a YouTube video, from script to screen presentation,
the scope of the IP industry has broadened. Liu also notes everything is there together: video, images, text (subtitles
or keywords that appear on screen) and sound,” Liu says.
“The information revolution has given birth to diverse
and complex media formats, and some creators have suc­
ceeded by adopting IP­based business strategies.”
“Marvel’s ‘Avengers’ franchise is a good example.
Since the series was launched, new works based on the
IP of Marvel’s comic books have come out one after
another, maintaining moviegoers’ interest in the super­
heroes’ backstories and other adventures. There is also
peripheral merchandise, allowing the ‘creative content’
to generate higher value and continue to develop.”

同樣列屬奇異果動漫社會學的
「本本的誕生」，以熱血沸騰的「同人二創」為主題，囊括同人圈裡
名家大咖，解剖御宅文化的世界。
Kiwi’s The Birth of Benben is a sociological work that delves into the topic
of hot-blooded fan-created anime and dissects otaku culture. Contributors
include scholars, authors, editors, and other manga and anime enthusiasts.

41
 土在地文化消費意識的興起，成為台灣IP創作的養分。」
除了社會學，也是資深漫畫研究者，劉定綱認為漫畫具
有很高的閱讀價值：「漫畫本來就有圖有文，而且漫畫裡
的文字其實很多，只是它多了圖像或分鏡的輔助，成了連
環圖像，讓媒介的形式，正在逐漸被顛覆與突破。」
奇異果出版漫畫並不是為了圖像本身的價值，而是為
了揭露IP裡的深度議題。「台灣有許多漫畫家的作品都是
關於台灣歷史、在地文化或民俗風情。這些都是非常珍貴
的、專屬台灣的且可以走向國際的IP。」劉定綱說。
例如台灣漫畫家左萱描述自己故鄉桃園大溪的作品《神
之鄉》，就改編成影視作品，今年即將播映。而虎尾在
地漫畫家陳小雅所繪的軍事劇情類漫畫《虎尾眷村
今生》，則是為雲林虎尾空軍眷村留下了即將消
失的歷史故事。
奇異果在這點上亦是不遺餘力，劉定綱舉
例：「我們從中找到台灣還沒有人做過的題
材：台灣妖怪，而這個IP搭配的就是創作、
小說、漫畫，甚至還有像百科全書式的整
理，成為完整一套『台灣妖怪學』。」廖之
韻說，「在創作能量上，台灣的IP其實很
強很優秀，可以發展出很具有台灣特色，
又好閱讀的IP。」現代人面臨資訊爆炸，
「好閱讀」變成很重要的IP推廣條件。
而在輸出台灣特色文化之餘，也將
全球共有的社會議題作為發想源頭，
就容易與國際接軌，走出台灣這個市
場，放眼世界。「全球共有議題的探
討，台劇《你的孩子不是你的孩子》就
非常成功。社會現象和議題是一個跟全球
溝通的絕佳媒介，再經由政府推動，台灣IP絕
對走得出去，而且還能讓世界驚豔。」

不按牌理出牌的奇異果

「奇思異想之果，溫柔革命閱讀」是奇異果文創成立
的初衷。這家獨立出版社由一位社會學家、一位心理學
兼文學創作者夫妻共同創辦，最常做的事──按照他們自
廖之韻認為大眾的閱讀口味多樣化，是媒介革命
和資訊爆炸下的必然結果，奇異果想藉此讓人們 己的說法──每天都在腦力激盪著各種奇思異想，企圖藉
感受「閱讀這件事，怎麼樣都可以」。 此顛覆「傳統出版」生態，擴大閱讀範圍。「我們想要讓
Liao Chih-yun believes the public’s increasingly diverse
reading tastes are the inevitable result of the media 『閱讀』更精彩、更多元。」劉定綱說。
revolution and information explosion. That’s why Kiwi
wants to convince us that “there’s no wrong way to read.” 劉定綱和廖之韻對奇異果要做的「文創」，有個明確的

42
 In today’s IP competition, having content is important, but the subject
matter of that content is even more important. “People’s reading tastes are
no longer limited to classics. Good IP couched in a mass entertainment
format can move readers, resonating with them and making them think, 奇異果不變的目標，是用有創意的方式，將
prompting them to examine their lives and pay more attention to social 文化變得可見，並且讓它形成產業，最終
推動帶有深刻議題與內涵的台灣娛樂（台
phenomena,” says Kiwi editor-in-chief Liao Chih-yun. She believes that 流）。
this gives IP creations a strong connection with cultural ideas and current Kiwi aims to spotlight culture creatively, turning it
into an industry to promote a “wave” of profound,
issues. socially conscious Taiwanese entertainment.
Taiwan IP takes on the world
The IP industry has given creativity wings, connecting it with the world.
But what about Taiwan? “Taiwan has its own unique cultural content,” Liu
Ting-kang says. “The rise of local cultural consciousness among Taiwanese
consumers provides creative sustenance for IP production here.”
A sociologist by training, Liu also has an in-depth knowledge of comic
books, which he considers high-value reading material: “Cartoons were
originally the combination of a picture with some text. With the addition
of further graphics and through division into individual scenes, they
developed into a series of images capable of telling a story, subverting and
breaking through existing media forms.”
Kiwi publishes comics not for the intrinsic value of the images them-
selves, but to reveal in-depth issues in IP. “The work of many manga art-
ists in Taiwan deals with Taiwan’s history, local culture, and folk customs.
These are very precious; they’re Taiwan-specific but could become inter-
national IP,” Liu says.
Kiwi is sparing no effort to make that a reality. “We found a theme that
no one in Taiwan has developed before: Taiwan monsters,” Liu says. “This
IP includes novels and comics, and some people have even compiled a sort
of monster encyclopedia. It’s a complete ‘Taiwan monsterology.’”
Modern people are facing an explosion of information, thus
accessibility is an important factor in IP promotion.
In addition to Taiwanese cultural memes, global
social issues can be a source of ideas, a way to con-
nect with the international scene by stepping out
of the Taiwan market and setting one’s sights on
the world. “The Taiwan TV series On Children
has been very successful,” says Liu. “Social
phenomena and issues are an excellent me-
dium for com mun icat ing with international
audiences. With governmental support, Tai-
wan’s IP will amaze the world.”
An unorthodox approach
“An unort hodox approach to a gentle
revolution in reading” is Kiwi’s mission in a
nutshell. The independent publishing house
was cofounded by a married couple—Liu,

43
定義──用有創意的方式，讓文化變得可見， 會學者出身的台北市議員林穎孟論文的《動
並且讓它成為產業。 漫社會學》系列，到由國立台灣文學館企劃
這立場讓奇異果無論在選書出版還是閱讀形 的憤青作家百年筆戰實錄《不服來戰》，以
式上，都成為出版業裡十分「脫俗」的存在。 及鄉民界名人毛遂自薦投稿並原汁原味將PTT
「2013年成立奇異果時，正值出版產值折半， 文章搬進書裡的《Y O 這位B R O T H E R》等
於是我們想，奇異果一定要用新的方法去做、 書，其IP內容充滿各種的哏，且無一例外地全
去重建『閱讀』這件事。而且最後的目標，是 都談及了社會、人性、語言、身份、性別、
要創立一個IP數位平台。」 鄉土等重要議題。
奇異果決定用創建平台為理想、「文創」
閱讀這回事，怎樣都
的方式來做出版，吸引新的讀者進到閱讀
可以
的世界，包括了處於資訊爆炸時代的孩子，
以及過去因不喜文字而幾乎不閱讀的族群， 選書路線奇特，但目
「我們想要顛覆他們對閱讀的既定印象。另 標永遠很明確，勇於實
外針對有固定閱讀習慣的讀者，提供他們新 現夢想的奇異果，邀
的閱讀材料和方式，變成新的閱讀群。」劉 台灣插畫家作畫，請
定綱想要帶給人們閱讀新體驗：「想讓讀者 小說家和詩人任編輯委
感到驚訝：奇異果會出這樣的書耶！這樣的 員，出版了被稱為「史
主題，奇異果也會做 上最美高中國文課本」
耶！」 《奇異果版普通高中課
奇異果是一家出版 本》，並將搭配桌遊，
社，但隨時扮演I P產業 讓學生「穿越」到文章
鏈中需要的角色。廖之 中的朝代，用卡牌跟古
韻對奇異果在I P文創上 人展開思辨大賽，試圖
的定位，或許更能說明 使孩子從大眾娛樂文化
其目標：「我們將出版 裡習慣思辨。奇異果的
當作是創作本身，而這 目的是讓學生思考：古
奇異果版普通高中課
奠基於我們對閱讀沒 本，透過全面的內容 人這樣講，這樣做，那
形式改革和插畫配圖
有設限，對閱讀口味 你怎麼想？
後，不僅帶動高中學
的接受程度更是遼闊 生思辨行為，更被譽 劉定綱說：「你可以
為「史上最美高中課
無邊。」她笑著說： 本」。 跟秦始皇論法家思想，
Hailed as “Taiwan’s 跟花木蘭談性別角色，
「什麼題材，哪種閱 most beautiful
讀方式，從紙張的到立 textbook,” Kiwi’s revised 跟莊子探討生命，跟蒲
and illustrated high-
體的；從眼睛看的到耳 school Chinese text 松齡請教媒體識讀，跟
encourages students
朵聽的，奇異果都很敢 to think critically. 孟母聊聊直升機父母教
想、願意開拓。」 養問題。」
熟悉出版流程的廖之 劉定綱和廖之韻講到最後雙雙大笑了起
韻、了解社會文化的劉定綱，兩人都不願意 來，「閱讀變得再也不是一個人安靜做的
墨守成規，堅持讓奇異果的選書和做書都成 事，它可以非常有趣、非常圖像化，跟團體
為創作的一部分，讓閱讀者有更多樣性的選 合作交流，調動你所有腦細胞，改變對閱讀
擇。從幫御宅族去汙名化，還收納了同為社 的看法。」

44
a sociologist, and his wife, Liao Chih-Yun, a psychologist
who is also a literary author. “We want to make ‘reading’
more exciting and more diverse,” says Liu Ting-kang.
Liu Ting-kang and Liao Chih-yun have clearly defined
Kiwi’s approach to “cultural creation”: using creativity to
make culture visible and turn it into a business.
Kiwi set out to establish a “creative culture” platform
as its ideal and “cultural creativity” as its publishing
style. “We want to overturn non-readers’ stereotypical
views of reading and provide new materials and modes
of reading to people who already like to read, turning
them into new kinds of readers.” Liu Ting-kang wants to
give people a new reading experience.
Positioning Kiwi as a cultural IP creator may be more
indicative of its goals: “We regard publishing itself as a
creative activity. That’s based on the fact that we set no
limits on reading and have a boundless acceptance of
readers’ tastes,” says Liao Chih-yun.
Liao is well acquainted with the publishing process
and Liu understands society and culture. Neither of them
wants to be bound by convention. They insist that Kiwi’s
book selection and publishing be a part of the creative
process, giving readers more and more choices. From the
奇異果出版內容毫不設限，從一般紙本到桌上遊戲，從輕小說到遊戲繪本，只要其內容IP承載
著知識，奇異果就會嘗試去做。
Kiwi publishes everything from paperbacks to tabletop games, light novels, and picture books.
As long as the content instills knowledge, Kiwi will give it a shot.
Sociology of Anime series, which destigmatizes the stay-
at-home crowd, and Challenge Me if You Can!, a record
of a group of writers’ decades-long war of words, to Yo,
Brother, a collection of posts by a well-known netizen on
Taiwan’s largest BBS, Kiwi’s content invariably touches
on important issues such as society, human nature, lan-
guage, identity, gender, and local concerns.
Read any way you want
Kiwi’s book selection process may be peculiar, but
its goals are always clear. Boldly turning its dreams into
reality, Kiwi has published what’s been called “Taiwan’s
most beautiful high-school Chinese textbook.” An ac-
companying board game, soon to be released, will allow
students to “time travel” to the periods in which the
essays in the book were written and engage in critical
thinking contests with the ancients using a set of cards.
This is Kiwi’s way of getting kids into the habit of critical
reasoning through a form of entertainment.
“You ca n disc uss Lega l ist ph i losophy w it h t he
founder of the Qin Dynasty, talk about gender roles with
Mulan or the meaning of life with the Taoist philosopher
Zhuangzi, ask Pu Songling, author of Strange Tales from
a Chinese Studio, about media literacy, or hold forth on
45
 裡的角色，再寫新的關卡故事並做成繪本。這對夫
為IP創作者搭橋蓋屋
妻彼此有說不完的話題，講不膩的創作可能性，討
劉定綱認為現今的娛樂產業，特別是民眾接 論不完的理想與目標。
觸最頻繁的影視作品，提供人們看事情的另類 「創意人在血液中就有種希望『與眾不同』的
角度，不再像以前一樣只是為了好笑和輕鬆， 堅持。」問及奇異果夫婦如何堅持夢想、支撐奇異
「美國影集『生活大爆炸』是很好的例子，在 果，他們的回答是夢想的路上有太多困難，維持住
滿滿笑點的娛樂形式裡，有著很高的知識含 熱情的始終是初心。
量、名人互動，讓人們願意思考。」像這樣的 面對新時代閱讀模式的多樣化，這家想方設法啟
娛樂文化IP產業，有沒有可能在台灣出現？「我 動人們閱讀的奇異出版社，努力帶給文創產業與創作
們認為有，」劉定綱和廖之韻不約而同點頭， 者新的希望和出路，他們觀察社會脈動、重新定義閱
「但是我們要思考，這能帶給觀眾什麼樣的視 讀，期盼打造台灣IP產業的新商業模式，誓言要成為
野？而那不同視野裡一定要有台灣特色。」 台灣IP與創作者前進世界盃的可靠隊友。 l
劉定綱特別指出做為擁有最大宗視聽族群的
台灣戲劇，已經很成功地做到以娛樂為載體，
把文化、知識和社會重要議題加以轉譯，並讓
觀眾能體驗到故事性，例如《我們與惡之間的
距離》、《做工的人》、《返校》到今年很紅
的《火神的眼淚》等。後來《我們與惡之間的
距離》推出舞台劇、《返校》同時也是遊戲、
《火神的眼淚》開了Podcast……「台灣IP產業
要保持生命力，有兩點非常重要：原創性和延
續性。」劉定綱說：「各種形式的IP產業都應
該要有長遠的規劃，做到異業結合，才能把餅
做大。奇異果如今就在做這件事。」
全力推動台流（台灣娛樂）的奇異果，認
為IP創作者們所需要的長遠規劃，便是透過各
種數位創作平台，並藉由國家的力量，把台
灣的文化產業推向國際。「韓國便是這樣推
動世界級IP『韓流』的成功例子。韓國當年遇
到亞洲金融風暴時，將『娛樂IP產業』列為未
來國際重點項目。從此韓國的娛樂產業站上
世界舞台，帶動文創IP。這背後從選手到資助
者，是一個完整的『國家隊』。這經驗很值
得台灣借鑒。」
結縭14載的奇異果夫婦之間，有著非比尋常
的默契。奇異果跨出的每一步都是兩人腦力激
盪出來的結果，除了出版各種有趣的書籍外，
劉定綱和廖之韻能開Podcast專門討論追劇心
得；也能闢個說書頻道，請來別家出版社的編
輯或作者暢談別家作品的核心思想；還為遊戲

46
‘helicopter parenting’ with the mother of the Confucian
sage Mencius,” says Liu.
Liu and Liao both laugh. “Reading is no longer a quiet,
solitary activity. It can be very interesting and visually
graphic. Joining in exchanges with other readers stimulates
the brain cells and changes people’s views of reading.”
不像一家出版社的奇異果文創，定期開立不同頻道，探討
「別人家的內容I P」。異業結合、跨界合作，對奇異果來
說，能結好果的就是好樹。
Unlike most publishing houses, Kiwi opens channels to discuss
“others’ content IP,” collaborating with enterprises in different
industries. For Kiwi, “if a tree bears good fruit, it’s a good tree.”
Building bridges for IP creators
Liu says that today’s entertainment industry—espe­
cially film and television, the formats most popular
with the public—provides people with alternative per­
spectives. It’s no longer just for fun and relaxation. “The
American sitcom The Big Bang Theory is a good example.
There’s a higher level of knowledge amidst all the laugh­
ter and celebrity interaction, and that stimulates think­
ing.” Could that kind of entertaining cultural IP succeed
in Taiwan? “We believe so.” Liu and Liao nod in unison.
“We’re thinking about how that alternative vision could
be adapted to Taiwanese culture.”
Liu notes that Taiwanese TV dramas have successfully
used entertainment as a vehicle to translate cultural, intel­
lectual, and socially important issues into story form. He
names The World Between Us, Workers, Detention, and the
currently popular Tears on Fire as examples. Among these,
The World Between Us has been adapted as a stage play,
Detention was originally a video game, and Tears on Fire
started a podcast. Liu says, “All forms of the IP industry
should make long­term plans to combine with different
industries to make the pie bigger. Kiwi is doing that now.”
The company is pushing the “Taiwan wave” (Taiwan­
ese entertainment). Kiwi believes that IP creators need
a long­term plan to promote Taiwan’s cultural industry
worldwide through various creative digital models, with
government support. “The ‘Korean wave’ is a successful
example of boosting world­class IP internationally,” Liu
says. “When the 1997 Asian financial crisis hit, South
Korea made the IP­based entertainment industry a key
international project. Since then, its entertainment indus­
try has taken the world stage, driving cultural and cre­
ative IP. Taiwan could learn from that.”
There is an extraordinary rapport between Liu and
Liao, who have been together for 14 years. Kiwi’s every
move is the result of their combined brainstorming.
Facing a new era of diverse modes of reading, Kiwi
is promoting reading in many ways, giving the cultural
and creative industry and creators new hopes and new
paths forward. With its finger firmly on the pulse of
society, the company has redefined reading, breathing
new life into Taiwan’s outstanding IP industry, and
serving as a dependable teammate in our nation’s quest
for world­class IP. l
(Rina Liu/photos by Kent Chuang/tr. by Robert Fox)
47
封面故事

COVER
STORY

泛 閱 讀 世 代
捲 動 華 文 閱 讀 風 潮

Catering to Modern Readers:

New Reading Trends
文•蘇俐穎　圖•vocus方格子提供　版面設計•蕭郢岑

林旻萱攝　photo by Lin Min-hsuan

據國家圖書館今（2021）年4月所公布去年台灣圖書出版趨勢報告，台灣新書出版量連續三年
下滑，且來到了廿年來的新低點。數位時代帶來了挑戰，傳統的紙本書不再受青睞，過往的讀者
究竟去了哪裡？

A ccording to a report released by the National Central Library in April 2021, the number of new
books published in Taiwan has fallen for the third year running and is now at its lowest in 20
years. The printed word no longer seems to be in demand. Where have all the readers gone?

48
 針對數位時代，出版衰退、讀者流失等現象，我們訪談多位出版界專業人士的看法。
「很多人會說閱讀衰退，現在的人越來越少閱讀，但我的感覺反而其實沒有；我覺得大家越
來越常閱讀，只不過真實的情況是，閱讀的載體、體驗與形式都不斷改變。」vocus方格子創
辦人翁子騏說。
「恰恰好就是現在，閱讀完全沒有衰退，讀者閱讀的時間比過去更長，甚至可以說，無時無
刻不在閱讀。」Openbook閱讀誌總編輯周月英表示，「這也是因為，我們對於閱讀的定義是
採取更廣泛的標準，除了傳統的文字，還有影像、聲音，甚至AR、VR，都涵蓋了資訊、文本
的核心意涵在內。」
「倘若說，現代人不再能閱讀長篇文字，理應所有的書都會賣得不好。但即便到現在，還是
有賣得非常好，甚至銷量超過十萬本以上的書分布在不同的領域，」春山出版社總編輯莊瑞琳
分析：「因此我認為，與其說出版衰弱，倒不如說是傳統的出版產業，還沒有找到新的詮釋方
式、行銷方法跟當代讀者互動。」
這些各自在出版領域戮力，致力生產、促成優質文本誕生的愛書人，近年不約而同從推廣閱
讀的脈絡出發，希望能為傳統的出版產業，在泛閱讀世代找到新出路。

Wondering whether publishing is dead in our digital

age, we have interviewed several professionals in the pub-
lishing industry.
“Many people say that reading is in decline. I don’t
agree. I think we’re actually reading more often than be-
fore. It’s just that the carrier of the text, and the experience
and form of reading, keep evolving,” says David Weng,
cofounder of vocus.cc.
“Contrary to what you might expect, reading has not
suffered a decline at all. People spend more time reading
now. You can even say they’re reading all the time,” says
Evany Chou, editor-in-chief at Openbook.
Patience Chuang, editor-in-chief at Spring Hill Pub- vocus方格子創辦人翁子騏。
David Weng, cofounder of vocus.cc.
lishing, observes: “It’s not so much that publishing is in
decline, but rather that traditional publishers have not
come up with new interpretive and marketing strategies
to interact with modern readers.”
In recent years, these book-loving professionals, who are devoted to high-quality publications, have
been working hard to promote reading. In response to challenges peculiar to our digital age, they hope
to forge new opportunities for the traditional publishing industry.

49
v o c u s方 格 子
經營媒體常會遇到一種困境，就是報導的
群眾募資取代廣告點擊
內容，可能會與廣告主立場相互抵觸。」
在2018年問世的「vocus方格子」，前 倘若再尋求以流量來賺取廣告點擊次數的
身是「SOSreader」，以服務記者媒體， 營利模式，勢必會為內容帶來許多牽制，
發表深度報導為主；在轉型以後，從邀請 「這意味著必須去經營最容易帶來大量流
作家駐站，到名家不請自來，作者群穩定 量的文章，好比腥羶色的內容農場風格，
成長，如今已是華文世界最大的寫作服務 標題也必須聳動，甚至不顧內容品質。」
平台。而創辦人翁子騏年紀輕輕，今年才 翁子騏說明。
32歲，一向不喜歡依循常軌前進的他，已 為了顧及品質，也避免殺雞取卵，他參
經是人生中第二次創業。 考國外成功的先行案例，好比目前全球最
方格子與過去曾流行一時的部落格， 大的集資訂閱平台「Patreon」，以及以服
都以提供寫作服務為主，但兩者仍同中有 務新聞寫作為主的「Medium」，確立如
異。最大的相同，是有來自世界各地的寫 今平台的營運模式。
作者，發表大量的文章內容。至今，在方
去中心化的小眾發聲平台
格子網站上，共計有27,000名作者，台灣
以外，還有三成來自港澳、新馬、美加等 回到五年前草創初期，率先提出「內
海外國家地區，每個月上傳超過1萬筆內 容有價」的SOSreader，引發許多人的疑
容，提供給20萬名會員線上觀看。 問，「當時在公開場合，我介紹平台的運
不同的是，部落格以廣告點擊為主要收 作模式，就會有很多人反問，真的有讀者
入來源，方格子卻堅持無廣告置入，且主 願意為了內容付錢嗎？」翁子騏回憶，
張「內容有價」。作者可按自己的想法將 「但現在這樣的疑問越來越少，表示這樣
文章設為免費瀏覽或者付費觀看，因對外 的模式在市場上越來越成熟。」他說。
收費，文章也有一定水平，整個方格子網 尤其，邁向閱讀分眾化的年代，方格子
站，就像一本包羅萬象的電子書。 更合乎小眾創作者的需求。免除掉繁冗的
會有以上堅持，除了因著翁子騏對內 編輯印刷程序，作者寫好的文章能在第一
容文本的重視，也與網站創辦脈絡有關， 時間就能上線，直接面對讀者。就讀者而
「最早成立SOSreader時，是以經營新媒 言，僅數百元的平實價格即能瀏覽，不僅
體的角度出發，當時我們就已經觀察到， 即時，也無傷荷包；就作者來說，能隨心

方格子不僅提供寫作服
務，也從書寫延伸到各項
經紀服務，好比曾媒合圖
文作家與文字設計公司
「j u s t f o n t」跨界合作，
推出「作家手寫字」系列
Vocus·cc

產品。
More than just providing an
online platform for writers,
vocus.cc has diversified
into various agency
services. For example, it
has fostered links between
its writer–illustrators and
Taipei-based type foundry
justfont.com to produce a
series of “Writers’ Fonts.”

50
 Relying on subscribers comes from advertising, while vocus, which asks read-
Established in 2018, vocus.cc is a reincarnation of ers to pay for some of its content, operates a “no ads”
SOSreader, which was committed to serving journal- policy.
ists and facilitating the publication of in-depth reports. This policy originates in the importance Weng at-
While vocus had to invite literary celebrities to write taches to the quality of published text, but it also re-
for it at first, many renowned writers have since come flects the specific reasons why vocus was founded. “Our
on board on their own initiative, and the number of first company, SOSreader, was a venture in new media.
writers who use their services is growing steadily. But we soon noticed a challenge often faced by the
Now vocus is the largest online writing platform in the media—that is, the content of your journalism can run
Chinese-speaking world. It’s surprising that cofounder counter to the beliefs and opinions of those who place
David Weng is only 32 years old. ads on your website.”
Just like blog hosting platforms, which used to enjoy If your website attracts large amounts of traffic, you
immense popularity in Taiwan, vocus provides ser- can indeed make money from advertising, but this will
vices for writers. Both types of creative platforms host impose many limitations on what you can publish.
vast quantities of text produced by writers across the Unwilling to compromise his principles for the sake
world. The difference is that blog hosts derive their in- of profit, Weng sought to establish a different kind
of platform for content
c r eator s by st udy i ng
successful international
cases, including the US-
based Patreon, which is
one of the world’s largest
membership platforms,
and Medium, an online
p u bl i s h i n g pl at f o r m
special izing in journal-
istic writing.
Decentralization
In a world where the
reading public is increas-
ingly segmented, vocus
suits those who write for
small audiences. Here
w r iter s pre s ent t hei r
work without having to
go through complex edit-
or ial and printing pro-
cesses, while readers are
expected to pay only a
few hundred NT dollars
for access. The content on
vocus is not only fresh
and up to date but also
inexpensive. Writers are
given complete creative

51
vocus
所欲不受限地書寫自訂的主題，還能自主 題材，在網站上卻出乎意料擁有極高的訂
方格子

定價，訂閱量積少成多，看上去才幾百人 閱人氣。對此翁子騏提出看法：「傳統的
的訂閱量，所帶來的經濟效益就能夠遠遠 出版模式有最低印刷量的考量，也有固定
勝過傳統出版的收入。 的成本存在，而這種不需要產製成本『去
這些優點，陸續吸引許多享譽文壇的寫 中心化』方式，可以讓很多小眾、特殊主
作者「帶槍投靠」，如舒國治、徐玫怡、 題的作者擁有發揮的舞臺空間。」
馬世芳等；更有許多異軍突起的「素人作 「但這不意味著我們不再需要出版
家」加入，這些作者雖然沒有傳統出版的 社，」他強調：「我們是站在產業的上
經驗，對文風、體例的掌握也未必嫻熟， 游，也幫出版社媒合找到有潛力的作
卻常常予人耳目一新的新鮮感，能勾動人 者。」他們所在做的，無非是在眾聲喧嘩
們的閱讀興趣，「我們會發現，在方格子 年代，提供合乎時代所需的發聲管道。
Vocus·cc

平台上的文章常常是比較rough，比較生
動，觀點也相較有趣。」翁子騏說。
除了最受普羅大眾歡迎的商管、科技、 方格子成立內容實驗室，以IP應用的角度讓文字內
容做更多元的嘗試。
財經分析報導，到泰國成人風俗產業觀
vocus.cc has launched the “vocus Content Lab,” an
察、軍事武器研究，甚至如何走出失婚外 experimental project that will enable the intellectual
property embodied in the creative content that it hosts
遇的個人心路歷程等，在傳統出版冷門的 to be exploited in more diverse ways.
Openbook

與時俱進的書評標準

在2017年創辦的「Openbook閱讀誌」，短短數年功夫，已然成為華文世界中具代表性
的數位書評媒體。由Openbook所主辦、每年一度的「年度好書獎」，也是出版界中相當
閱讀誌

具公信力的獎項。
這個創立未久就站穩腳跟，並交出漂亮成績單的新媒體，原來不是一切都從零開始的
「新」媒體。創辦人莫昭平、李金蓮、周月英三人，都是在出版產業耕耘許久的資深前
輩，也恰好是前《中國時報》
「開卷版」的前後任主編。
這三個嗜書如命的女人，各自
退休、離開了前東家後，投入創
Openbook

由愛書人共同組成的Openbook團隊，前
排三位由左而右分別是創辦人周月英、
莫昭平、李金蓮。（Openbook提供）
Openbook is run by a team of book
lovers. Pictured here in the front row are
its three cofounders, Evany Chou (left),
Amy Mo (center), and Lotus Lee (right).
(courtesy of Openbook)

52
freedom and can put a price on their own work. If someone has several
hundred subscribers, their income will far exceed what they are likely to
get from traditional publishing.
“Articles published on vocus often strike us as being somewhat
Staying up to date
Created in 2017, Openbook has already become
one of the most representative Chinese-language
websites specializing in book reviews. Openbook’s
annual book awards have also become an event much
revered in the publishing world.
This new media platform has been basking in early
success, but it didn’t really start from scratch. The
founders—Amy Mo, Lotus Lee, and Evany Chou—are
senior professionals in the publishing industry, hav-
ing served as successive book review editors at the
China Times.
Moving from a traditional weekly supplement to a
web-based platform that is updated every day or even
several times a day, Openbook supplies up- to- the-
minute information and interacts more directly with
its audience. Unrestricted by column inches, and able
to incorporate visual and audio materials, Openbook
has succeeded in reaching readers from a wide vari-
ety of backgrounds.
roughhewn but more lively, offering
more interesting points of view,” Weng
says. In addition to popular subjects such
as business, management, tech nology,
and financial analysis, some niche top-
ics—including the sex industry in Thai-
land, military weaponry, and even how
to cope with divorce and adultery—also
attract massive numbers of subscribers.
“Traditional publishing models have to
consider minimum print runs and meet
certain fixed costs. Our ‘decentralized’
model, which bypasses production
costs, is able to give creative space to
many writers who focus on niche, spe-
cialized topics,” Weng explains. What
vocus seeks to do is precisely to provide
a timely platform for a diverse array of
voices in modern society.
Chou further observes that there have been cor-
responding changes in the kinds of books that are
selected for reviews and awards. “The media are
becoming more and more diverse, and readers now
privilege faster rhythms and styles. They prefer suc-
cinctness and read in a fragmentary way. Visual nar-
ratives have also become a crucial way to com muni-
cate information.”
Accordingly, Openbook embraces not only tradi-
tional literature but also children’s books and graphic
novels. Openbook’s criteria for its annual awards are
also designed to ensure diversity in terms of content
and genres, jettisoning the traditional emphasis on
serious, canonical tomes.
A leading brand
Openbook entices individual readers by delivering
“beneficial and interesting” content, but it also has
a more important role to play: helping to nurture a
culture of critical thinking essential to every modern
democracy.
53
Ope nbook
閱 讀 誌

放遠來看，一篇篇的書評不僅為讀者去蕪存菁， 選標準、好書獎的遴選方式，也有著與時
也為時代、歷史寫下珍貴的記錄。（Openbook提
供，陳宥中攝） 俱進的變革，因現在的讀者閱讀習慣與過
From a long-term perspective, book reviews not only
help readers make informed reading choices but also
往有別，「媒體的形式愈來愈多元，讀者
furnish precious historical records. (photo by Chen 在閱讀的節奏、調性上更為快速，除了精
Youzhong, courtesy of Openbook)
簡、碎片化的閱讀習慣，圖像敘事也是接
收訊息很重要的一個元素。」
因此在報導上，除了保有傳統的文字
業，由「無薪志工」莫昭平與李金蓮負責籌 書，也加強對童書、漫畫等圖文書的比
措募款重任，在經營的大方向上給予意見， 重。這樣的轉變也發生在年度好書獎上，
總編輯周月英則一肩挑起營運與編務大計。 傳統書籍獎項奉守的「藏諸名山的大部頭
Openbook

從每週見報一次的傳統紙本媒體，轉變 典論」的評選標準，如今已不再適用，
為必須日日、時時更新的數位媒體，除了 多元的創作模式同樣被考量入內。以《小
因應網路媒體的性質，消息傳遞更即時， 輓：阿尼默漫畫集》為例，首開漫畫書獲
與閱聽人的互動更直接，再加上無篇幅上 Openbook「中文創作類」獎項的先例，在
的限制、整合影音元素的動態閱讀方式， 翌年此書還進一步獲得國際知名的波隆納書
讓Openbook閱讀誌成功觸擊到多方背景的 展拉加茲獎青年漫畫類首獎，間接證實了
讀者；周月英更進一步指出，在書籍的評 Openbook評審團隊的眼光與獎項的公信力。

54
 華文書評第一品牌

面對個別讀者，Openbook做到「有益
又有趣」，提升到社會、國家的角度來
觀看，亦有戰略上的高度，「多讀書、
培養獨立思考，民主社會重要的公民素
質，更是民主政治的重要基礎。」莫昭
平認為。
她談及國外重要的書評媒體，好比創
立於1896年、執英語書評之牛耳的《紐約
時報書評》，至今已有125年歷史，瀏覽 （左圖）Openbook好書獎的評選範圍不受限於華文作品，圖為2020年在
「童書類」獲獎的翻譯圖文書《我說話像河流》。（拾光工作室提供）
其百年紀念專刊，「等於涵括了百年以來 (left) Liu Ching-yen’s translation of Jordan Scott and Sydney Smith’s
I Talk Like a River was one of Openbook’s Best Children’s Books award
的西方出版史，反映出各個領域的歷史演 winners in 2020. (courtesy of Gleaner Books)
變，也引領時代的趨勢與思潮。」莫昭平
（右圖）跟隨時代變革的Openbook相當重視圖文書的介紹與評選，
表示，也展示出了書評作為反映時代、社 圖為在2019年，首次以圖文書在Openbook好書獎「中文創作類」獲
會變化的關鍵性角色。 獎的《小輓：阿尼默漫畫集》。（大塊文化提供）
(right) Openbook sets great store by introducing selected picture books
雖說華文書評並不只有Openbook一家， to the public. In 2019 Animo Chen’s The Short Elegy was the first picture
book to be included among the Best Chinese-Language Books at
但Openbook卻是唯一「系統性」介紹新 Openbook’s annual awards. (courtesy of Locus Publishing)

Amy Mo draws our attention to one of the
most authoritative book review platforms in
the English-speak ing world: The New York
Times Book Review, which first appeared in 1896.
Its centenary anthology, Books of the Century, “encompasses
the history of publishing in the West over the course of its
first 100 years, reflecting the evolution of every field, and
initiating new trends in intellectual inquiry.”
Openbook isn’t the only
platform offering Chinese-
language book reviews, but
it’s the only brand in Taiwan
that introduces new books in
a systematic way. It also ex-
plores larger book-related is-
sues. For example, in response

Openbook閱讀誌以專業書評協
助讀者從茫茫書海中找到優質
作品。（Openbook提供）
Through professional book
reviews, Openbook helps readers
make better reading choices.
(courtesy of Openbook)

55
Openbook
書的品牌，同時觸及關照由書衍伸出的周
邊議題。好比因著意識到圖文創作趨勢的
勢不可擋，以及童書繪本在國家教育發展
閱讀誌

中扮演的戰略性位置，富使命感的編輯團
隊，遂精心策畫「前進國際」的系列專題
報導，內容囊括海外借鏡、國家策略、給
創作者與出版人的備忘錄、大師經驗分享
……等幾大面向，不僅為讀者爬梳社會現
象，也供創作者、出版社參考備忘，甚至
可列為國家智庫資源。
Openbook

「整個專題，不只是一本本的童書繪本
介紹，我們把台灣的原創圖畫書創作，拉
到一個文化底蘊跟國際競爭力的高度來處
理。」周月英說。對這三個談到書眼神就
會閃閃發亮的女人而言，Openbook不僅是
愛書人一往情深的告白，也在萬卷書中梳
理出一條入世參與的明晰路徑 。
春 山 文 藝

文學，是尋求共感

以出版人文社會科學類書籍為主，在出
版界享有好口碑的衛城出版社，2018年，
前總編輯莊瑞琳離開了自己一手打造起的
堅實堡壘，以父母親之名，創辦出版社
「春山」，儼然像出版界的造山運動，一
Spring Hill Publishing

座崢嶸青山就此屹立。
在莊瑞琳離開讀書共和國體系以前，在
衛城時代所經手的一套書《字母會》，帶
給了她思索文學的契機。從衛城到春山，
雖然出版主力依舊一如往昔放在人文社科

莊瑞琳在創業後，特意推出文藝雜誌《春山文藝》，
這是她對這個世界的溫柔期待。（春山出版提供）
Having established her own publishing house, Patience
Chuang launched a periodical called Springhill Literati,
which embodies her hopes for the world.
(courtesy of Spring Hill Publishing)

56
to the inexorable rise of picture books, Openbook’s editorial
team have produced a series of reports on international trends
and government strategies, providing advice for artists, writ-
ers, and publishers, and inviting senior figures to share their
experiences. In this regard, Openbook’s work can be said to
constitute a national asset.
For its three enthusiastic founders, not only is Openbook a
love letter to books, but it also paves the way for active social
engagement.

從2017年啟動的Openbook年度好書獎，至今已是出版界公認的榮譽，
也是愛書人雲集的年度盛會。（Openbook提供，陳宥中攝）
Inaugurated in 2017, Openbook’s book awards have already achieved a
prestigious status in the publishing world. The annual ceremony is attended
by many book lovers. (photo by Chen Youzhong, courtesy of Openbook)

Finding a consensus
Patience Chuang was previously editor-in-chief at Acropolis,
a well-known publishing house focusing on the humanities and
social sciences. In 2018 she left the company she had built up from
nothing to establish Spring Hill Publishing, naming this new ven-
ture after her parents.
Although she still concentrates on the humanities and social
sciences, Chuang has a soft spot for imaginative literature. She
thinks that people from all backgrounds should be able to find a
meeting place in literature.
In a world where seemingly irreconcilable ideologies never cease
to clash, literature represents a soft power, reminding us that we all
share certain fundamental values. Chuang says: “Whereas the social
sciences introduce us to inspiring concepts, we need mutual sym-
pathy to coexist with each other in this world.”
In this spirit, when devising Spring Hill’s four book series Chuang
thoughtfully included in one of them a periodical called Springhill
Literati, which continues the work of Letter, her previous literary
magazine at Acropolis. Literati embodies her hopes for the world.

57
 春
山

從衛城時代即開始啟動，最後在春
文

山收尾的《字母會》套書，開啟了
莊瑞琳對於文學的另一番想像。
（春山出版提供，汪正翔攝）
Patience Chuang began work
on the Alphabet Book series—
which approaches literature from
藝

alternative angles—at Acropolis, and

has finally completed it at Spring
Hill. (photo by Wang Zhengxiang,
courtesy of Spring Hill Publishing)

書上，但對於虛構類的文學書，莊瑞琳卻 的共鳴，「文藝雜誌應該可以更跨界，甚
情有獨鍾，「我一直以為，文學應該是所 至去探討政治現象。」她想。
有領域的人的最大交集。」她說。 一旦抱持著這樣的想法，就像打通任督
當世界紛紛攘攘，不同立場的人們各 二脈，過往從衛城時代累積下來的人脈、資
執一詞，不同想法的論述僵持不下，是文 源，彷彿水到渠成，為其所用。好比在《春
學讓人柔軟，提醒著人們彼此並無不同， 山文藝》創刊號上，編輯團隊邀請到他們
「社會科學能讓我們得到概念性的啟發， 熟識已久，也是旗下作者的政治思想學者吳
但不同的人要在世界上共存，彼此應該要 叡人，從日本文學家的自殺看日本近現代
有情感上的共感。」莊瑞琳認為。 的精神史；還有政治學博士蔡慶樺談諾貝
過去所出版的《字母會》，除了由A到 爾文學獎相關議題。在《春山文藝》這個
Z的26本短篇小說集，同時搭配出版六個 平台，虛構與非虛構、文學與人文社會，不
參與書寫的小說家為主題的雜誌書《字母 再壁壘分明，而能彼此援引，跨界共振。
LETTER》。是以，當她框架出春山的四 莊瑞琳同樣提及指標性的《紐約時報書
Spring Hill Publishing

大書系，在「春山文藝」系列中甚至特別 評》，旗下有在各大領域的專業評論者，
涵括了一本文學雜誌《春山文藝》，這是 不僅是讀者是否購書的重要參考標準，也
文學雜誌《字母LETTER》的延續，像是 是出版社在衡量是否要出手購買海外版權
她對這個世界溫柔的期盼。 的重要憑據，權威性可見一斑，她對《春
山文藝》的期許亦如是宏大。
評文學，以入世的觀點
雖說，在文學市場衰疲的時刻推出一本
此刻的台灣書市已不乏文學雜誌，在此 新的文學雜誌，外在條件著實不容樂觀，
刻躋身入列的《春山文藝》如何做出區隔？ 「但我們還是希望，能藉由有深度、有質
莊瑞琳希望能以不一樣的角度來重新探 量的評論，深刻地去理解作品與作者的心
討文藝。她提到了一本近年創刊的香港雜 靈世界，把文學作品的內裡、文本跟時代
誌《就係香港》，這本貫徹文藝精神的刊 的關係挖掘出來。倘若可以把文學評論做
物，創刊號卻以香港首富李嘉誠作為封面 到這個程度，也許，就能讓作品更永久的
專題，這樣入世的切面，引發莊瑞琳深深 留在我們心裡。」她篤定且期待地說。 l

58
 Socially engaged literary criticism
To explain her conception of literary criticism, Chuang
refers to Being Hong Kong, a magazine inaugurated in
2018. Devoted to literature and art, it nevertheless chose
to feature Hong Kong business magnate Li Ka-shing in
its first issue. Chuang was inspired by this “worldly” ap-
proach. “Literary magazines should work harder to cross
borders and even discuss politics,” she says.
Fueled by this idea, Chuang has been able to tap into
the contacts and resources she amassed during her time
at Acropolis. For example, in the first issue of Springhill
「文學，還能做什麼？文學讀者，又去了哪裡？」乘載著這些
疑問，與旗下作家攜手完成的《春山文藝》，是莊瑞琳（右）
的提問，也是一次勇敢的嘗試。（春山出版提供，汪正翔攝）
“What can literature do now? Where have readers of literary
works gone?” In her attempt to answer these questions, Patience
Chuang (right) has collaborated with her writers on Springhill
Literati, a brave literary venture. (photo by Wang Zhengxiang,
courtesy of Spring Hill Publishing)
Literati, her team invited Wu Rwei-ren, an expert on
political philosophy who had worked with Chuang, to
write about the spirit of early modern Japan through the
lens of Japanese writers who committed suicide. They
also invited Tsai Chinghua, a writer who holds a PhD in
politics, to discuss the Nobel Prize in Literature. In Liter­
ati, fiction and non-fiction, imaginative literature and the
humanities and social sciences, are no longer separate
disciplines. They resonate with and enrich each other.
With the literary marketplace entering a sluggish
period, Chuang established her literary magazine at
an unpropitious time. But she’s confident and hopeful:
“Through in-depth, high-quality criticism, we wish to
dig into literary works and the minds of their authors, to
interpret literary texts and rediscover their historical con-
texts. If we can bring criticism to this level, perhaps we
can make literary works live longer in our hearts.” l
(Lynn Su/photos courtesy of vocus.cc/
tr. by Brandon Yen)
59
 好讀
月
中醫到底行不行？ 作者／杜李威

醫療烏托邦
理 想 與現實的差 距 私下 和 我 聊 到 一 件 事。他 說：「曾
是一趟巡覽好文的旅程，
更是一回賞讀美篇的心靈停駐……
也是一段遍閱佳構的遨遊，

俗 話 說「人 類 是 經 濟 的動 物」， 經 有 學 界大 老 發 現 我 的 遠 距 離 血

我 們 經 常 可 以在 新 聞 媒 體 上 看 到 糖監測成效很好，建議我去申請專

某個店家宣布發放免費餐飲，不論 案研究計畫，肯定能夠寫出重要的

食物美味與否，立刻引來大排長龍 學 術 論 文，得 到 很 高 的 積 分。」我

的人 潮。等到餐點發放完畢，一切 當時婉拒的原因是，「如果我拿公

回歸到市場機制，將本求利之下， 家的錢來做研究，對病患而言畢竟

店 家 還 能 不 能 順 利 經 營，就 只 能 是免費的服務，哪怕只有些微的成

各憑 本 事了。再 好比 說，為了讓 生 效，病患的滿意 度一定很高，研 究

態 環 境 永 續 經 營，我 們 都 希 望 能 報 告 當 然 會 很 好 看。一旦 計 畫 終

夠使用乾淨的能源，可是如果乾淨 止之後，你要這些病患花自己的錢

無污染的能源取得成本過於高昂， 繼 續 採 用 遠 距 醫 療 來 控 制 血 糖，

迫於現實也只好放棄。 多 數 的 人 肯 定 不 願 意 接 受。既 然

有一次，新陳代謝科黃峻偉醫師 如此，我寧願一開始 辛 苦 一點，至

少 必 須 證 明 遠 距 醫 療 可 以在 商 業

模式下運作，做出來的成果才有意

義。」 書 名 ：中醫到底行不行？
作 者：杜李威
台 灣 的 醫 學 教 育 有 個 很特 殊 的
頁 數：368頁　
現 象。學 生時 代，我們習慣 將生命 定 價：380元
出版時間：2021年5月
與健康視為最高貴的價值，學校從
出 版：大塊文化
來 不 教任 何 有 關 經 濟 學 的 概 念。

等 到 學 生 畢 業 之 後 步入 臨 床，開

始 接 受 現 實 的 洗 禮，處 處 受 限 之

下，才發現到理想與現實之間的差

距。以下我要說的，是一 個憑藉熱 與 水 腫 症 狀。於 是 我 們 在 她 懷 孕 求 量 增 大。妊 娠 糖 尿 病 可 能 會 造

情、不計成本，宛 如烏托邦的醫 療 十六週時，幫她安排了中西醫聯合 成 的 合 併 症 包 括 羊 水 過 多、酮 酸

案例。 會診。 中 毒、難 產、妊 娠 高 血 壓、水 腫、

這 件 事 發 生 在 好 幾 年 前，禾 馨 從 生 理 病 理 學 的 角 度 來 看，女 急性腎盂腎炎等等，早產的機率也

婦幼診所在當時 還沒有 專 職的新 性 在 懷 孕 時 期，身 體 對 於 碳 水 化 會提高許多。

陳 代 謝 科 醫 師。我 所 遇 到 的 個 案 合 物 的 代 謝 之 所 以 產 生 變 化，主 當天會診完之後，我開了以下這

是一位三十三歲的孕婦，在孕前就 要的原因是孕期體內胰島素分 張 處 方，共計二十 帖中 藥，請孕 婦

有 糖 尿 病 病 史。由 於 她 的 血 糖 數 解 酵 素 的 活 性 增 加，再 加 上 血 中 一天服藥一帖，連續服藥二十天。

值 控 制 不 良，雖 然 每 天 施 打 兩 支 胎盤泌乳素（h u m a n p l a c e n t a l 很 幸 運 地，孕 婦 開 始 服 藥 一 週

胰島素，糖 化 血色素（H b A1c）仍 l a c t o g e n，簡 稱 H P L）的分泌 增 之後，血糖數值 始 終非常 穩 定，即

舊高達百分之十。不同於一般妊娠 加，腎上腺皮質素（c o r t i s o l）、糖 使 吃 完 一 大 碗 飯，飯 後 血 糖 仍 然

糖 尿 病 的 案 例，林 冠 宏 醫 師 在 產 原質分解 因子（g l u c a g o n）隨 之 維持 在13 0 mg /dl左右。二十 天的

檢時 發現她的胎兒成長進度明顯 增加，因而產生了顯著的胰島素拮 中 藥 服 用 完 畢，孕 婦 詢 問 是 否 還

落 後，孕 婦 同 時 合 併 妊 娠 蕁 麻 疹 抗作用，使得人體對於胰島素的需 需 要 回 診 或 是 繼 續 服 藥？經 過 思

63
考之後，我請孕婦 暫且不 要回診， 醫 療 經 濟 學的困境 於 對 病 患 的 關 懷、對 中 醫 的 信 心

我 們 可 以 再 觀 察 看 看。果 然，停 根 據 經 濟 學 原 理「 天 下 沒 有 白 與熱愛，天底下沒有任何醫師會為

用 中 藥 之 後，孕 婦 的 血 糖 又 開 始 吃 的 午 餐 」，首 先，我 們 分 析 一 了五 百 塊 錢 去 找 個 中 醫 師 開 一小

緩 慢 攀 升，但 還 在 可 以 控 制 的 範 下 醫 院 方 面 的 成 本。中 西 醫 特 約 時 的 討 論 會，然 後 再 花 四 十 分 鐘

圍，就 這樣 一路撐到生 產。 門 診 的 掛 號 費 為 兩 千 元。院 方 拿 共同會診這位孕婦。

這個案例特別的地方在哪裡？ 一 千，我 和林醫師各分五百元。站 對 於 個 案 而 言，這 筆 醫 療 費 用

面 對 妊 娠 糖 尿 病，如 果 一 天 打 在院方的角度，禾馨民權婦幼診所 更 是 沉 重 的 負 擔。病 患 先 是 花 兩

兩支胰島素還壓不下來，增加胰島 七 樓 櫃 台 配 置 了 四 位 護 理 師，假 千元掛號，看完診又拿了二十天的

素的劑量確實是個好辦法。要這樣 設 一 位 護 理 師 的 時 薪 三 百 元，顯 中 藥，一 帖 藥 三 百 五十 元，二十 帖

打，當 然 是可 以。問 題 是，誰 都 不 然對院方而言，收一千塊錢完全是 中 藥 合 計 七千 元。試 想一下，當你

敢在沒有監控的情 況下開大劑量 入不敷出的情況。既不足以負擔人 的 親 朋 好 友 告 訴 你，他 去 哪 裡 看

的胰島素讓孕婦拿回家自己施打， 事成本，更遑論門診空間的租金、 醫 生，拿了二十 天 的 藥，總 共 花了

畢竟，你不知道她什麼時候會突然 使用成本，以及稅金支出。 九 千 塊 錢。請 問 你 聽 了 之 後 會 怎

發生低血糖休克。為了避免孕婦酮 對 我而言，坐計 程車去內湖，單 麼 想？難 道 不 會 有 人 懷 疑 醫 院 在

酸中毒或併發其他風險，通常的做 趟 車 程 約 半 小 時，來 回 總 共 耗 費 訛詐 病患嗎？事實上，如果 大家 對

法是將個案收進來住院治療。 一 個小時，車費將近六百元。門診 中藥 市場 稍有了解，清 楚「梧州蛤

所 謂「醫 者 父 母 心」，我們當然 當天，我提早一小時 抵達內湖，先 蚧」的行情，就會發現這張 處 方含

會思考，除了要求孕婦住院臥床直 和 林 醫 師 討 論 個 案 的 病 情，推 演 代煎中藥、快 遞運送，一帖 藥收費

到生產，難道沒有其他的辦法可以 整個狀 況。等 孕婦過來，我們又看 三百五十元絲毫沒有利潤可言。可

幫助她嗎？有沒有機會除了可以控 了四十 分 鐘，加上交通時間，我 總 以 想 見，如 果 拿 著 這 張 處 方 自 行

制孕婦血糖之外，又能解決胎兒發 共 花 掉 三 小 時。五 百 塊 錢 的 診 療 找藥房購藥，花費肯定更加高昂。

育遲緩的問題，同時兼顧蕁麻疹、 費，連 車錢 都 不 夠支付，當然也 沒 妊娠糖尿病若是接受住院治

水 腫 等 孕 期 不 適 的 症 狀 呢？為了 有獲利可言。 療，健保有給付醫 療費用。而自費

通盤考量整體的狀況，我安排了中 對林醫師而言，婦產科醫師例行 看 診 畢 竟 所 費 不 貲，孕 婦 願 意 接

西醫 聯合會 診。然而，理 想雖然美 性的產檢，平均一位孕婦看診五分 受中醫治療，唯一的好處是可以省

好，執行上卻是困 難 重 重，其中的 鐘，健保署的給付雖然 不高，但也 去 住 院 的 不 便，也 不 需 要 因 為 請

問題出在哪裡呢？ 足 以 維 持 生 活 開 銷。如 果 不 是 基 假 住院 而影 響工作。對 我而言，會

64
診 這 個 案 例 不 只 是 賠 上 時 間，我 好 幾 次，我 帶 著 羞 赧 的 心 情 對 知 道，我 們 從 來 就 不 把 賺 錢 擺 在
真 正 擔 心的是，萬一治療 無 效，林 蘇 怡寧 醫 師 說：「蘇 醫 師，謝 謝你 前面，我們是 做 氣質的，只要能 讓
醫師今後恐怕不會再找我合作了。 們 對 中 醫 的 支 持 與 信 任。如 果 沒 病 患 得 到 最 佳 的 醫 療 照 護，賠 錢
整 體而言，最 大的風 險，其實是禾 有 你 們 的 背 書，許 多 傳 統 中 醫 的 都 是小 事。」實 情 確 實 是 如 此。這
馨 診 所 與 林 醫 師 共 同 承 擔。高 昂 治 療 方 式 幾 乎沒 有 機 會 被 嘗 試。 幾 年 來 我 們 進 行 了許 多 中 西 醫 整
的 自 費 醫 療 萬 一 效 果 不 彰，院 方 但 我 真 的 對 您 感 到 很 抱 歉，您 邀 合醫 療，真的是靠著病患的信任，
與 林醫 師 又 該 怎 麼 面 對 病 患 的 質 我來禾馨幫忙，即使已經收了那麼 加上 蘇 醫師、林醫師，以 及 其他許
疑與批 評？長久以來，中西醫 整合 高 昂 的 費 用，我 卻 沒 有 幫 醫 院 賺 多 醫 師 的 幫 忙，我 們 才 能 擺 脫 經
醫 療 之 所 以 如 此 困 難，原 因 就 是 到錢。」蘇 醫師 總 是 笑 著和我 說： 濟 學 上 的 困 境，實 踐 醫 療 烏 托 邦
在此。 「唉，我們 都 相 處 那麼 久了，你也 的夢想。

我們被孤獨起底 作者／林瑞麟

〈淤積〉 長 出 迥 異 的 動 植 物。這 些 是 回 收 貓薄荷般的奇想。

場的主人告訴我的，因為我得了眼 黃 昏 掩 至，我 在 那 座 小 生 態 池
那 首 被 挖 走 眼 睛 的 詩，後 來 被 疾，看不見。 前 竟 也 逗 留 了幾 小 時。向 主 人 告
棄 置 在 郊 外 的 資 源 回 收 場。凹 陷 辭，「喜 歡嗎？帶回去。」沒等我同
的眼窪，已演化成小埤塘。 那 窪 淤 積 雖 不 具 深 度，卻 繁 衍 意，主 人便把池 水往我眼 裡倒。忽

出自己的況味。那氣味是醒腦的， 然，有了清楚的風景。
花 期 尾 聲，萍 蓬 草 仍 具 姿 態， 像 是 打 開 冰 箱，忽 然 竄 出 的 醃 蘿
水黽 輕佻了風。午 後日光西照，躍 蔔味，仔 細聞又像芫荽。伸出手 指 「 那 首 有 缺 陷 的 詩，是 很 久 前
動著波光。這池水會因季節不同， 去 探，有 洋 流 洄 繞。我 吮 指，泌 出 我不要的。」我終究沒說出來。

65
 〈淺眠〉 風很大的時候 這一窩滋味聚合

適合無所事事 翻譯生活

故事從來不認床 像秋分後田裡的草稃 譬如鹽，是乾掉的汗和淚

躺下就可以生根 像媽祖廟旁的老大人 譬如酒，是忘與記的能量

用指尖推移江山

線裝的情境易碎 鐵牛車駛過 咀嚼，能吞的就能忍

閱讀時正面朝上，輕呼吸 爬出一格格倒退的縮時攝影 有肉，寂寞就少了

保持無知的姿勢 那些不及裝幀的風景

闌珊，解散 蒸、滷、炒、炸

瀝乾眼角滲出的星星 途經妳信裡的海 趁熱，把硬的軟化

黏合虛實交迭的文本 不知道要支付多少車資 軟則入味，內斂

抽腿，怔地把夜纏成死結 才可以找回不小心 譬如高溫窯燒的磁磚

被錯拿的行李 提煉靜好

真的，什麼都聽見了 裡面有星砂、貝殼、海螺

卻沒有一句真心 和我手寫的潮音 在灶間

有火與土的構成

＊＊＊ ＊＊＊ 鍋與鏟是金，蒸籠是木

不可或缺的是水

〈知名不具的妳〉 〈灶間〉
＊＊＊
我記得這條路 以日常為薪柴

輕輕的，娟秀，像妳的字跡 入灶之後燃燒 〈問道〉

鄉村搖滾的流動 催熟渴望

是小葉欖仁喜歡的節奏 屬陽 出苗

灑點光影就一派印象 生冷不宜 之前，我是一枚穀粒

66
沒有掌聲的草芥 一波波

沉在土裡 沒有注釋的風光

尋找自己的光，遠方的

你或在不著地的維度 ＊＊＊
懸著

〈隱疾〉
分糱後

我喜歡濕潤與淺水 這不尋常。在腰與臀的交界處，

隱 隱 騷 動，像 男 人 的 指 尖 滑 過。

不宜深入 以為是新買的蕾絲內褲太緊造成 書 名：我們被孤獨起底

作 者：林瑞麟
過多的干涉是一種 的，幾 天後，那已然多肉的地帶 有
頁 數：188頁　
對青春的冒犯 火在燒。 定 價 ：300元
出版時間：2021年2月
問你，可否捲起褲管？
出 版：聯合文學
一 樹 櫻 花 在 鏡 子 裡 炸 開，像 條

你何妨蹲低 粉 紅色 腰 帶，緊緊的勒著，她 嚇出

小滿之後 幾 條 皺 紋。去看醫生，醫生說 是疲

雲敞開，拔節 勞、抵抗力降低所造成的。是帶狀

晴好的每一天適合揭露 皰疹，俗稱皮蛇。這陣子她接 到重 這樣 剛好，她 休了十 天年假，暫 時

刈除多餘的歧義 要 的 c a s e，跟 這 個 有 關 嗎？她 不 不 用去 面 對 那 位 對 她 很 殷 勤 的 客
確 定。坊間有一種 說 法，當 疹子蔓 戶，他 的眼睛、嘴巴都 很會 說 話，
開門見山 延，纏 繞 身 體 一 圈，就 掛了。她 不 三天兩頭約她m e e t i n g順便吃
道在野，我孕穗了 信，卻忐忑起來。 brunch。
美滿，需要活水

你和你們湧來了 皮蛇頻頻吐信，刺刺麻麻的，有 這種事不能也不好讓老公知

傘、腳踏車、浪在阡陌 時 候 還 發 癢。醫 生 要 她 多 休 息， 道，這種病需要的是時間。

67
影像對話　PHOTO ESSAY

我們如何思考歷史的敘事？對今天的台灣來
說，到底什麼是「本土」？如何透過歷史檔案的
重返，打開另一種敘事想像的可能？
藝術家鄭亭亭一直以來操作影像的方式都極
具批判力道，她不只是停在影像表面的形式表
現，更多是透過影像讓人思考社會議題。比方說
台灣歷史、殖民文化、西方人對東方的想像、影
像與認同的建構、集體與私人之間的關係等。在
觀看她的影像時，不能只是留在「可見」表面，
更多得去思考影像背後「不可見」的敘事與脈
絡，而她也透過創作重新安排脈絡，誘發人思考
影像及社會潛藏的問題。

H ow do we understand historical narratives? In

the context of modern-day Taiwan, how do we
define the word “local”? Can we, by revisiting his-
torical documents, reimagine narratives of the past?
Artist Cheng Ting Ting always embeds a strong
vein of criticism in the composition of her images.
Rather than contenting herself with superficial
form, through her images she invites us to think
about such issues as Taiwanese history, colonial
culture, how the West imagines the East, the con-
struction of imagery and identity, and the relation-
ship between collectivity and individuality. When
looking at her work, we should go beyond what
is immediately palpable to consider the invisible
narratives and contexts behind her images. Cheng
rear ranges contexts through her creative mind,
prompting us to contemplate problems hidden in her
images and in society at large.

68
從影像解構到歷史檔案再述
〈TAKTH AWAY〉
Renarrating History:
Cheng Ting Ting’s TAKTH AWAY

文•沈柏逸　圖•鄭亭亭　版面設計•馬英凱

The Colour Chart南韓大邱藝術工廠（Daegu Art Factory）

展出現場紀錄，2019
A scene from an exhibition of The Colour Chart at Daegu Art
Factory in South Korea, 2019.

69
 United Nation Blue（聯合國藍），2014，60 x 60公分x 2
United Nations Blue (dypitch), 2014, 60 x 60 cm

解構攝影建構的意識形態 Deconstructing ideologies

Cheng’s early work Colour Chart, which comprises
以她早期作品為例，〈Colour Chart〉的五組 five sets of photographs, accentuates the absurdities in-
攝影作品，便凸顯了影像建構與分類的荒謬。這 herent in the construction and categorization of images.
組作品是她在倫敦時，到當地的亞洲超市，搜集 This series arose from her experience in London, where
許多西方對於「東方」符號的亞洲食材和器具想 she collected many examples of Western orientalism—
像，並以類似商品規格的形式擺拍。而她也刻意 European conceptions of Asian foods and utensils—
in local supermarkets. Cheng arranged the objects as if
將五組攝影作品各別以裱框、無裱框的方式呈
they were commercial displays. Exhibiting her photo­
現，故意凸顯「裱框的完美想像」與「無裱框的
graphs both with and without frames, she purposely
建構情境」（顏色、歪斜的背景等），進而讓人
distinguished between “perfect framed views” and
反思「被建構的亞洲形象」。 “unframed scenes in the making,” where process was
相較於直接再現事實的紀實攝影，鄭亭亭更 emphasized through the inclusion of color scales and
多是透過「操演影像」來挑戰固定的史觀，進而 lopsided backgrounds. All this was intended to help
反轉人們「觀看習慣」，誘發人思考自己跟歷 her audience reflect on the “constructed image of Asia.”

70
The Colour Chart南韓大邱藝術工廠（Daegu Art Factory）展出現場紀錄，2019
A scene from an exhibition of The Colour Chart at Daegu Art Factory in South Korea, 2019.
Unlike reportage photographers, who seek to repres­
ent facts directly, Cheng sets out to challenge estab­
lished ideas of history through her manipulation of
images. Radically modifying our viewing habits, she
invites us to think about our relationships with his-
tory, memory, and processes of construction. On the
one hand, she is inspired by “concept photography”—
which calls factual reportage into question—to consider
the non­transparency of imagery and to lay bare the
power dynamics and ideologies implicated in the “con-
structed” nature of photographs. On the other hand,
in her recent work she has returned to the relation ship
between photography and reality. However, instead of
merely asking her audience to “gaze” on her work as
traditional photographers do, she resorts to an immer-
sive approach, combining visual images with “walking
and sounds.”
Referencing historical memories
Cheng’s new work TAKTH AWAY offers an immer-
sive tour of Lane 60 of Dengshan Street in Kaohsiung
71
 TAKTH AWAY，2021，作品現場紀錄
A scene from TAKTH AWAY, 2021.

史、記憶與建構的關係。一方面，她吸收觀念攝 的歐洲移民，葬身於台灣），以朋友的方式緩
影對紀實再現的質疑，讓人反省影像本身的不透 緩道來他們的生平故事，並且跟觀者一起行走
明性，以及揭露攝影充滿權力與意識形態的「建 聊天，引導觀者到他們死去的墓碑及重新感受
構特質」。另一方面，她近來的創作又重新回歸 過去的景物。
攝影與現實的關係，但她運用的不是傳統攝影的 在旅行過程中，可以看到許多她研究調查時
「觀看」；而是將影像融合「行走與聲音」等沉 所搜集到的檔案與老照片，而她也將這些照片或
浸式的體驗。 物件置於街上。比方說在地的過去風景照、小
商標、物件等，將街道連結鬼魂敘事地「再地方
將攝影重新索引歷史記憶
化」（相較於刻板印象的「地方」）。值得一
她的新作品〈TA K T H AWAY〉是位於高雄 提的是，這些老照片不再是運用她以往揭露影像
登山街60巷的體驗式聲音旅程，該作品運用手 如何建構的虛構特質；而是再次發揮照片的「索
機、語音導覽與現場物件，引導觀者一步步進 引」功能，連結歷史、移民記憶、移民與在地人
入她形塑的「日常劇場」。觀者在參與旅程的 的關係。有趣的是，這些照片必須搭配她的「敘
過程中，會遇到「兩位鬼魂」（19世紀到台灣 事」，才能進一步發揮功能。

72
City, using mobile phones, audio guides, and in­situ
installations to usher the audience into an “everyday
theater” she has created. As the tour unfolds, we are
joined by the “ghosts” of two Europeans who came to
live in Taiwan, and who died and were buried here.
In a friendly manner, these 19th­century ghosts tell us
about their lives and chat with us as we walk, guiding
us to their gravestones and helping us re­experience
the past. The area is the former site of Kaohsiung’s for-
eign cemetery, and the name of Cheng’s work is taken
from the inscription on one of the gravestones there,
which reads, “The Lord givth the Lord takth away.”
During the tour, we come across many of the docu­
ments and old photographs Cheng collected while
researching her topic. Installed in the lane, old photo­
graphs of local landscapes, commercial labels, and
other materials serve to establish connections between
the place and the ghosts’ narratives. The physical space
is thus “relocalized,” while stereotypical views of the
locality are rejected. It is worth mentioning that these
TAKTH AWAY，2021，
作品現場紀錄
A scene from TAKTH
AWAY, 2021.
old photographs do not lend themselves to Cheng’s
erstwhile interest in revealing the fictionality of con-
structed images. Rather, they bear witness to the “refer­
ential ity” of photography, shedding light on history,
the memories of immigrants, and the relations between
immigrants and local people. Interestingly, though, it
is only with the support of Cheng’s “narratives” that
these photographs can perform their referential role.
Conjuring up specters
However, Cheng’s narratives are not official col-
lective histories on a grand, national scale. Rather,
they are intimate stories full of personal feelings and
subject ive imaginings. These revisitings enable us to
feel for “others” who have been excluded from the col-
lective memory of the Taiwanese people—that is, the
ghosts of immigrants who were here a century ago,
who were not born in Taiwan but who nevertheless
came here to live, and died here. Cheng thus brings in
the issue of identity, something in which she has long
been interested. Exactly what does being “Taiwanese”
73
TAKTH AWAY，2021，作品現場紀錄
Scenes from TAKTH AWAY, 2021.

74
 「再敘事」地召喚邊緣幽靈 mean? Are “foreigners” who have lived many years in
Taiwan not “Taiwanese”? These questions lead us to
然而，她的「敘事」並非是國族大歷史的集體 reconsider the frameworks within which we construct
官方敘事，而是充滿私人情感與主觀想像的幽微 our own identities and to challenge narratives that re-
敘事。這樣的重返，也讓我們感受到「台灣集體 inforce monolithic ideas of nationhood.
記憶」之外的「他者」，也就是那些駐台一百多 Cheng’s recent creative projects draw on archival
年的移民幽靈，他們在血緣上不是正統台灣人， work and field research to open up possibilities of
“renarration.” She summons up specters that haunt
但卻生活與逝世於台灣這片土地上。這同時也連
the margins of historical documents, enabling them to
結到鄭亭亭長期關注的「認同」問題，到底什麼
speak again, and using their voices to help her audience
是台灣人？長期處於這片土地上的外國人不是台
interact physically with the street space. This “immer-
灣人嗎？這些提問，也讓我們省視自己的認同框 sive somaticity” is an experience that differs signifi-
架，進而挑戰單一國族認同的敘事建構。 cantly from Facebook “check­ins,” which are products
鄭亭亭近來的創作方法，主要奠基在檔案與田 of the “consumerist gaze.” While walking with these
調的研究基礎上進行再敘事。她召喚潛藏於歷史 specters, we are able to rethink familiar things in our
邊緣檔案中的「幽靈」，重新賦予他們聲音，並 daily lives. Connecting with gravestones and ghosts in
this way helps us resist our national amnesia. Thanks
以聲音引導觀者身體跟街道空間互動。這種「沉
to these alternative narratives, we start to recover those
浸式身體感」，也不同於「消費觀看」的拍照打
precious memories that are being buried in our cul-
卡，在這「與魂同行」的過程中也反轉人們熟悉 ture of consumerism. At the end of the tour, the oral
的日常，以「接地氣」的方式（墓碑與鬼魂的地 histories will have taken root in our memories. Every
氣），抵抗歷史健忘症，以另類敘事方式憶起逐 time their stories are renarrated, the ghosts are called
漸消逝於消費文化裡的人事物。這些口述邊緣敘 back to life in vivid detail. I was deeply impressed at
事，也隨著這趟旅程深植在我們的記憶裡，而幽 how, towards the end of the tour, these spirits talked
to me i n a poet ic way, i nvit i ng me to ponder t he
靈也於每次「重新敘事」的過程中，栩栩如生地

75
被喚醒。讓我印象深刻的是，行走旅程最後，兩 interpenetration of place, history, memory, the legacy
位幽靈以詩意口吻跟觀者對話，進而引導我們思 of immigrants, and myself.
“Fear not. We are not actually ghosts. We exist in
考自己跟地方、歷史、記憶與移民鬼魂互相滲透
your consciousness. We emerge from the country’s col-
的混雜關係。
lective consciousness to engage in this conversation. If
「不用害怕，我們不是真正的鬼魂，我們存在
people forget us, we begin to gradually disappear. But
在你的意識裡，在這段對話中，我們是集體意識 we verily exist. We are as real as the ground beneath
的產物，一旦被遺忘就會開始慢慢消失，但是我 your feet, or the walls you touch. We are the birdsong
們的存在卻是真真切切的，和你腳下踩的土地， that you hear, the unpleasant smell that happens to be
和你手所觸摸的牆壁一樣真實，你聽到的鳥叫是 wafted to your nose. We live beneath you, above you,
我，而聞到那不舒服的氣味也是我，我們生活在 and inside you. Like you, we cannot own this land for-
ever. But we, like you, belong here. We are the future
你之下、之上、之中。和你一樣，我們無法永遠
you, and you are what we once were.” l
擁有這塊土地，但也和你一樣，我們屬於這塊土
(photos by Cheng Ting Ting/text by Shen Bo-yi/
地，我就是未來的你，而你也是過去的我。」 l tr. by Brandon Yen)

TAKTH AWAY，2021，
觀眾體驗記錄，駁二藝術
特區提供
A visitor at TAKTH AWAY.
(courtesy of Pier-2 Art
Center)

76
TAKTH AWAY，2021，觀眾體驗記錄，黃佩蔚攝影
A visitor at TAKTH AWAY, 2021. (photo by Huang Pei Wei)

77
全球視野　GLOBAL OUTLOOK

讓移工的明天更好
移動人權特展
Making Life Better for Migrant Workers
—An Exhibition on Migrants’ Human Rights
文•陳群芳　圖•林旻萱　版面設計•王敬勛

這首滅火器樂團的〈海上的人〉，道盡出外 代的人權議題，規劃串聯國內外博物館、NGO組
打拚的漂泊感，也正是離鄉背井移工們的心緒。 織、人權工作者，藉由展覽、講座、藝術行動，
多數民眾不了解移工在台灣的生活處境，他們彷 打造人權的文化地景。
彿社會裡隱形的存在。 因應2020年國際博物館日的主題「平等的博
今（2021）年，國家人權博物館邀集國內15 物館：多元與共融」（Museums for Equality:
個NGO組織，一同策劃移動人權特展，為大眾 Diversity and Inclusion），不同族群間因為遷徙而
描摹移工處境。唯有提升社會整體的人權意識， 有了互動，「移動人權」成了人權館在FIHRM-
才有機會讓促進移工權益這項使命，在眾人的盼 AP架構下，第一個要碰觸的議題。人權館聚焦在
望下緩步前行。 與台灣關係密切、卻常被人們忽略的身影──移
工，思考著如何以博物館的角色去引領大眾發現
2019年國際人權博物館聯盟亞太分會 偏見，克服偏見。
（Federation of International Human Rights
共同勾勒移工身影
Museums–Asia Pacific, 簡稱FIHRM-AP）在國家
人權博物館（以下簡稱人權館）成立，肯定了台 去（2020）年人權館邀集國內15個博物館與15
灣在人權發展上的努力，也讓台灣成為推展人權 個長年為移工發聲的NGO組織，如台灣國際勞工
實踐的重要平台。擔此重任的人權館思索亞太當 協會（TIWA）、桃園市群眾服務協會、越在嘉

78

F ew citizens understand what life is like for
foreign migrant workers in Taiwan. It is as if
they are invisible in society.
In 2021 the National Human Rights Museum has
invited 15 domestic NGOs to jointly curate a Spe-
cial Exhibition on the Human Rights of Migrants,
depicting the situation of migrant workers in Tai-
wan. Only by raising overall awareness of human
rights in society can the rights and interests of mi-
grant workers be protected.
In 2019 t he Federation of International Human
Rights Museums established their Asia–Pacific branch
(FIHRM–AP) at Taiwan’s National Human Rights Mu-
seum (NHRM), making Taiwan an important platform
for promoting respect for human rights. With thoughts
focused on current human rights issues in the Asia–
Pacific region, the NHRM plans to bring together
外交部資料　MOFA file photo
domestic and foreign museums, NGOs, and human
rights advocates in building a cultural landscape for
human rights through exhibitions and arts activities.
In response to the theme for International Museum
Day 2020, “Museums for Equality: Diversity and Inclu-
sion,” the topic of migrants’ human rights is the first
to be addressed by the NHRM within the FIHRM–AP
framework. In this exhibit the NHRM will focus on mi-
grant workers, who are intimately involved in Taiwan-
ese society yet are often overlooked, and will guide the
public to discover and overcome their own prejudices.
Collectively depicting migrant workers
In 2020 the NHRM invited 15 domestic museums
and 15 NGOs with established track records of advo-
cacy on behalf of migrant workers (such as the Taiwan
International Workers Association) to share the various
aspects of migrant workers’ lives on which they focus,
and to join with the NHRM in curating the Special
79
文化棧、1095文史工作室等，分享彼此關注的移 聘僱與管理機制、NGO的「補位」角色等面向，
工面向，一起尋找實踐的途徑，開啟了共學的旅 梳理造成移工困境的脈絡。
程，並在今年舉辦移動人權特展，共同構思社會 害喜團隊表示，原本的設計方向是拼貼移工生
溝通的可能，讓移工的聲音被更多人聽見。 活場景，可能是輪椅、是漁船……，但隨著策展
延續共學的精神，人權館跳脫以往由研究人 討論的推進，「讓台灣人看見日常生活中的移工
員或策展人做田調，再由製作團隊依據策展人的 身影」，才更貼近展覽的視野。家裡、安養院、
規劃去執行設計，資訊的消化與整合全由策展人 山上、工廠、遠洋……，台灣處處有移工的身
主導；移動人權特展則是以「策展工作坊」的形 影；桌上的海鮮、手機的晶片、高樓、捷運等，
式，將話語權回到NGO團體。由負責展覽設計的 都因為移工的付出，填補了3K產業（骯髒、危
害喜影音綜藝，先逐一訪談各N G O，再彙整出 險、辛苦產業）的人力缺口，讓台灣民眾得以享
100多個關鍵字，設計成工作坊，讓NGO們討論 受生活中的便利。但，移工對多數民眾而言，
激盪。奠基在N G O多年耕耘移工權益的厚度， 僅是外來者，他們的生活需求、工作環境沒人在
每次的工作坊都提供了豐富的論述素材，再由策 意。因此，害喜規畫在展間以全輿圖的方式，點
展人林正尉與害喜團隊收攏。經過多次工作坊討 出台灣民眾生活中無處不在的移工。沿著展間走
論，最後將展覽規劃為台灣人的日常需求、走進 一遭，內容從生活需求、工作環境，到政策制度
移工勞動現場、移工生而為人的基本需求、移工 等範疇，由近而遠地呈現移工在台生活的縮影，
使特展更貼近展覽的主軸，「讓移工的身影從模
糊的團塊逐漸清晰。」林正尉表示。

生活中不被察覺的歧視
每場工作坊，NGO團體都會提出許多移工面臨困境的觀察，
經由策展團隊轉譯成大眾可吸收的語彙，期望更多人一起尋
找移工議題的解方。（國家人權博物館提供）
聊起特展的目標觀眾，人權館展示教育組張文
At workshops, NGOs described the difficulties facing foreign 馨表示，館方在與NGO共學的過程中，彼此對於
migrant workers in Taiwan. The curators used these observations
to devise exhibits that ordinary people can understand, in the 「人權教育必須向下扎根」十分有共識，「我們
hope that more people can help find solutions to migrant workers’
issues. (courtesy of National Human Rights Museum) 常開玩笑地說，現在教育的下一代，就是未來的

80
Exhibition on the Human Rights of Migrants, to enable toward “letting Taiwanese see the presence of migrant
more people to hear the voices of migrant workers. workers in their daily lives.” In homes, in factories, on
In a spirit of mutual learning, the NHRM set aside the distant-water fishing vessels… everywhere in Taiwan
usual practice of having researchers or curators do field there are migrant workers. From fresh seafood to mobile
research, after which a production team implements the phone chips to metro systems, in so many areas of life
project, with the informational content and presentation Taiwanese are able to enjoy convenience only thanks to
all being decided by curators. Instead, the exhibition the dedicated efforts of foreign laborers.
is being planned through “curatorial workshops” that However, for the majority of Taiwan’s people, migrant
empower NGOs to express their views. Hide and Seek workers are simply outsiders, and no one pays attention
Audiovisual Art, which is tasked with designing the to their daily needs and work environments. Therefore,
exhibition, first visited each NGO, then compiled a list of in the exhibition Hide and Seek plans to use large-
over 100 keywords and arranged a series of brainstorm- scale graphics to draw attention to the countless ways
ing workshops with the NGOs, out of which curator Lin in which migrant workers make an impact in the lives
Chen Wei and the Hide and Seek team drew together of Taiwanese. Walking through the exhibition space,
the NGOs’ opinions. After numerous such workshop the content will depict the lives of migrant workers
discussions, plans were finalized for an exhibition that in Taiwan in broad strokes and in detail, in categories
will depict the difficulties faced by migrant workers
through themes such as the needs of Taiwanese citizens
in their daily lives, the nature of migrant workers’ work-
places, migrant workers’ basic needs as human beings,
the migrant labor employment and management system,
and the complementary role of NGOs.
Hide and Seek states that their initial idea for the
exhibition’s design was to piece together scenes from
migrant workers’ lives, with content such as wheel-
chairs and fishing boats. But as discussions progressed,
the perspective of the exhibition shifted increasingly

移動人權特展
Special Exhibition on
the Human Rights of Migrants

．展出時間預計為2021年9月23日至2022年3月27日
．展出地點：國家人權博物館景美園區
．Dates (provisional): Sep. 23, 2021 – Mar. 27, 2022
．Venue: National Human Rights Museum,
Jingmei White Terror Memorial Park

81
潛在雇主，而移工的處境，其實很大部分取決於 以畢生之力守護移工的李麗華（右2）為漁工募集冬衣、爭
取勞動權益等，她說：當我把移工的問題放在最前面，我就
雇主的態度。」 忘掉自己的困難與害怕。（李麗華提供）
生在台灣這樣一個講求自由民主的人權國家， Allison Lee (second from right) has decided to devote her life
to protecting migrant workers. She collects winter clothing for
沒有人會認為自己罔顧人權，但很多時候生活中 fishing boat crew and fights for their rights. She says that when
she prioritizes migrant workers’ problems, she forgets her own
不經意的歧視，卻不斷地發生。多年參與移工人 difficulties and fears. (courtesy of Allison Lee)

權議題的台灣人權促進會秘書長施逸翔分享，前
陣子一則地方新聞，報導移工改裝電動自行車，
影響公園的使用。報導中里長強調改裝車無法可
管、改裝車業者說移工把錢用來玩樂，花大錢改 便綁定了雇主，不得自由轉換，「通報為逃逸移
裝代步工具，整篇報導的走向，以先入為主的觀 工」成了雇主和仲介讓移工聽話的武器。制度賦
點，將移工視為亂源。施逸翔在大學教媒體識讀 予雇主寬鬆的通報系統，但移工申訴雇主通報不
時會提醒學生，報導缺乏移工的說詞，沒有查證 實的程序卻是無比困難，面對難以忍受的職場，
對用路人的影響，且改裝車炫目的外型設計、提 移工只能用逃跑來表達意願，大眾在無形中貼上
升性能的技術，說不定有機會成為產業有力的人 「逃逸移工」的標籤，但事實上有更複雜的結構
才，同一事件應有不同的觀看視角。 因素須設身處地去理解他們為何而逃。
而近期為了防疫，地方政府提出「特赦外勞」
串起你我，點燃希望
的政策，呼籲逃逸移工出面篩檢，一般人乍看不
覺有異，宜蘭縣漁工職業工會秘書長李麗華則提 喚起台灣人公共自省的意識是此次特展的訴
出另一番見解，「他離開他的職場，不是逃跑、 求，策展團隊試圖用感性的方式，消化移工人權
不是犯罪，所以不需要特赦。」李麗華解釋，面 這樣生硬的議題。張文馨笑說，每個N G O都是
對不喜歡的工作或雇主，台灣人可以自由更換； 練家子，大家都具備策展的能力，提出許多讓民
但台灣的移工政策採「客工制度」，移工簽約 眾更容易理解的方法。例如用台人與外籍兩套不

82
ranging from daily needs and work environments to
government policies and systems, to achieve the exhibi-
tion’s goal of “bringing our previously blurred image of
migrant workers into sharp focus,” says Lin Chen Wei.
Unrecognized prejudices in daily life
In a free and democratic country like Taiwan, which
emphasizes human rights, no one will see themselves as
disregarding these rights. But there are many occasions
in daily life when unintentional biases appear. Shih Yi-
hsiang, secretary general of the Taiwan Association for
Human Rights, who has long been involved in the issue
of migrant workers’ human rights, shares the example
of a local news report that stated that migrant workers
were adversely affecting local residents’ use of a park by
using it as a space to customize their electric bicycles. In
the report the neighborhood chief emphasized that there
was no legislation to regulate such activities, and a bike
parts shop proprietor said that the migrant workers were
frivolously spending large sums of money remodeling
these machines. The whole orientation of the report was
based on preconceived notions, portraying the migrant
workers as a source of trouble. In his media literacy class
in university Shih reminds students that the report lacks
any comments from the migrant workers themselves,
and adds that by customizing and upgrading the bikes
they may acquire technical skills that are of benefit to
industry. In short, there are different angles from which
to look at the same situation.
Another example is that recently some local govern-
ments, as part of their epidemic control work, have pro-
posed an “amnesty” for runaway migrant workers in
order to encourage them to come forward for Covid-19
screening. Most people would find nothing odd about
this, but Allison Lee, secretary-general of the Yilan Mi-
grant Fishermen Union (YMFU), has a different take on
the matter: “If they leave their workplaces, they shouldn’t
be seen as ‘running away’ or as committing a crime, so
they shouldn’t need any ‘amnesty.’” Lee explains that
whereas Taiwanese who don’t like their work or their
employer can freely change jobs, under Taiwan’s migrant
worker policy laborers are tied to the employer to whom
they are contracted, and cannot change jobs at will. The
threat of reporting workers as “runaways” has become a
weapon used by employers and labor brokers to intimidate
employees. If a migrant worker is faced with intolerable
conditions in their workplace, their only avenue to express
their dissatisfaction is to abscond. The public unwittingly
accepts the label “runaway migrant workers,” but in fact
there are more complex structural reasons behind their
actions, and we need to put ourselves in migrant workers’
shoes to understand why they flee in the first place.
Coming together to find hope
The goal of the exhibition is to awaken self-reflection
and awareness among Taiwanese, with the curators
adopting the approach of using emotional appeals to
討海的生活本來就艱困，移工願意承擔這些辛苦的工作，更
需要我們關心他們實地的生活條件。（李麗華提供）
Earning a living from the sea has always been hard. If migrant
workers are willing to take on such grueling work, it behooves us
to understand the living conditions they experience on board and
on shore. (courtesy of Allison Lee)
83
同的工廠安全裝備，顯示移工在工作環境面臨的 會。因為第二個工會的成立，讓宜蘭縣漁工職業
職災風險；或是用棺材來展現漁工在船上狹小到 工會有望加入國際運輸工人聯盟，在移工議題上
無法翻身坐起的生活空間；又或是設計情境，體 獲得更多的國際聲援。
驗家庭看護工被要求浴室、房門不能上鎖，隱私 林正尉分享自己多年前到東南亞國家駐村的經
被剝奪之感；或者是用一只塞滿玩具、衣物的貨 驗，街上林立著仲介公司，計程車司機聽聞他來
運箱，傳達移工對家人的思念。意欲用各種展覽 自台灣，便說出自己親友也在台灣工作，台中、
物件，串起台灣民眾與移工之間的連結，進而理 基隆等地的工廠，成為他與司機的連結，林正尉
解，移工也是人，本應享有和台灣人一樣的人 的地理觀重新被解構。台灣對東南亞的民眾而
權。 言，早已是熟悉的遠方，卻也令他反思為何台灣
有了關注，或許就能引發行動，帶來改變的 人對東南亞的所知甚少。
契機。就像李麗華離開勞工局的職務，投身無給 在今年下半年推出的移動人權特展，除了在
職的漁工職業工會，只因她看見外籍勞工在勞資 台灣展出，館方也希望藉著FIHRM-AP的角色，
爭議中的弱勢與無助。她從桃園搬到宜蘭，成立 讓展覽與國外的組織對話。過去移工選擇來台工
台灣第一個由外籍漁工所組成的職業工會，無懼 作，看到的可能是家鄉有人到台灣工作改善了經
地方勢力，陪伴移工爭取他們的勞動權益。來自 濟，加上移工習慣報喜不報憂，鮮少吐露在台生
美國康乃爾大學的產業及勞工關係學系博士生高 活的諸多辛苦，許多資訊都是片面不完整的，他
燕迪，因為在網路看到李麗華的付出，主動申請 們並不知道來台後等在前方的是什麼樣的現實。
來台灣實習。來台前他特地學了印尼文，除了協 因此，人權館希望將展覽帶到移工的原鄉，開啟
助宜蘭的工會事務，他也到基隆的港邊，與移工 討論的契機，讓更多人走進移工議題，共思改變
一起吃飯生活，協助移工成立基隆市漁工職業工 的可能。 l

84
移工補足了長照、勞力密集產業等的人力缺口，因此改善
移工生存環境，也是改善整體勞動環境，才能攜手迎向更
好的明天。
Migrant workers supplement the workforce in sectors where
there is a shortfall of labor, such as long-term care and labor-
intensive industries. Improving the living environment of migrant
workers also improves the overall working environment for all.
Only in this way can we work hand in hand for a better tomorrow.
help people understand the somewhat arcane topic of
migrants’ human rights. Chang Wen-hsin of the Exhibi-
tion and Education Office of the NHRM says with a
smile that all the NGOs involved have the ability to
curate an exhibition, and they proposed many ideas
to make things easier for the general public to under-
stand. For example, a coffin will be used to display the
living space of fishing boat crew, which is so narrow
they can’t turn over or sit up. Also, a dramatization was
created to illustrate the lack of privacy of home care
workers, who are often told not to lock the doors of the
bathroom or their bedrooms. In these ways the curators
hope the exhibition can forge links between migrant
workers and the people of Taiwan, and show them that
migrant workers are people too, and should enjoy the
same human rights as Taiwanese.
Drawing attention to issues will perhaps spark ac-
tion and bring opportunity for change. Allison Lee left
her job at the Taipei City Department of Labor to take
up an unpaid position at the YMFU simply because she
saw how disadvantaged and helpless foreign workers
are in labor–management disputes. She formed Tai-
wan’s first union of foreign fishing boat crew, and, fear-
less of the local powers that be, helps migrant workers
to secure their rights. Andi Kao, from Cornell Univer-
sity in the US, saw Lee’s story on the Internet, and took
the initiative to come to Taiwan to do an internship.
Besides helping out at the YMFU he went to Keelung,
where he lived side by side with migrant workers and
helped them form the Keelung Migrant Fishermen’s
Union. With the second union established, the YMFU
hopes to be able to join the International Transporta-
tion Workers’ Federation, to garner more international
support on issues relating to migrant workers.
As for the Special Exhibition on the Human Rights
of Migrants, which is due to open in the second half
of 2021, the NHRM hopes that beyond the exhibition’s
impact in Taiwan itself, through the FIHRM–AP it
can foster dialogue with foreign organizations. In the
past, migrant workers have perhaps chosen to come to
Taiwan because they saw how people from their home
area had improved their economic situations by work-
ing here. But migrant workers tend to report only good
news to people back home, and rarely speak of the dif-
ficulties they encounter. Thus much of the information
that their compatriots receive is one-sided, and foreign
workers may not be aware what kind of life awaits
them in Taiwan. With this in mind, the NHRM hopes
to bring the exhibition to the homelands of migrant
workers and create opportunities for discussion, so that
more people get involved in issues related to migrant
workers and think about possibilities for change. l
(Chen Chun-fang/photos by Lin Min-hsuan/
tr. by Phil Newell)
85
島嶼行旅　AROUND TAIWAN

深入鄉野．尋小米去
小米復耕的挑戰
Millet Renaissance
—The Challenges of
Reviving a Traditional Crop

86
 文•曾蘭淑　圖•林格立　版面設計•王敬勛

台灣的小米顆粒細小，帶著特殊的風味，但
小米不只是小米。
從太古時期開始，有部落就有小米。根據行
政院農委會的資料，1960年代全台小米種植面積
達6,000公頃。小米是原住民的主食，是部落祭
儀主要的祭品，一年四季流轉的節曆，均以小米
為核心來計算。
隨著部落青壯人口外流，種植小米面積大幅
縮減，200多種小米品種消失，小米失耕，連帶
原鄉文化也失散零落，甚至有些部落釀的小米
酒、豐年祭，都以進口小米取代，直到小米的復
耕，亦復育了原生小米承載永續風土的路。

東台灣晴空萬里，大冠鷲在藍天盤旋，金峰鄉
拉冷冷部落的山丘上，傳來噹啷噹啷的搖鈴聲。
仔細一瞧，79歲的溫貞義正拉著用啤酒空罐串起
的鈴鐺網趕鳥，成群的白腰文鳥卻老神在在地不
為所動，仍站在穗梗上啄食小米，溫貞義得起身
跑到田中央去，小鳥才會被嚇到飛走。

T aiwanese millet is small-grained, with a dis-

tinctive flavor; but there is more to millet than
meets the eye.
From ancient times, wherever there were indige-
nous communities there was millet. According to the
Council of Agriculture, in the 1960s millet was grown
on some 6000 hectares of land in Taiwan. It was the
staple crop of indigenous peoples, and an important
offering at tribal rituals. Major annual celebrations
revolved around millet planting and harvesting.
With the outmig ration of young people f rom
indigen ous communities, the area of land planted
with millet declined sharply, and more than 200
millet varieties have disappeared. This near aban-
donment of millet farming brought with it the dis­
solu tion of some elements of indigenous culture.
Only with the resumption of millet cultivation are
native varieties of this cereal beginning to regain
their status as bearers of sustainable culture.

87
 凌晨五點，天剛亮，溫貞義就到小米田上 趕鳥的無奈與生氣，是種小米的日常，卻是守
工。他說：「一定要比小鳥早上班啊！而且小 住收成最重要的環節。
鳥很聰明，知道你在打瞌睡，馬上飛過來。還
把小米種回來
好太陽下山，小鳥們也會回巢。」在小米成熟
結穗的一個月間，小米農都得駐守在田間，稍 台灣生產的小米具有特殊風味，價格是進口
一失神，回過頭來，連罕見的山麻雀也來大啖 小米的四∼五倍，但在市場卻供不應求。慈心有
小米大餐。 機農業發展基金會（以下稱「慈心基金會」）執
行長蘇慕容分析，想擴展小米種植面積，就要處
理嚴重的鳥害問題，如果不趕鳥，小鳥們不會客
氣，會把小米吃得一乾二淨。
2019年6月起，慈心基金會承接國家發展委員
會「建構花東六級化產業鏈計畫」，扣除花東盛
產的水稻不談，想到台東就想到小米，這個富有
區域特色的農作物，符合提高國產雜糧自給率，
達到物種多樣性的目標。
但慈心早在2015年協助發展花東地區農產六級
化的計畫中，就看到了小米沒落的困境與復耕的
挑戰。蘇慕容說，以台東金峰、太麻里、大武、
達仁這南迴四鄉為例，實際耕種小米的面積不到
50公頃，耕種人力老邁，種植區域若在山坡與礫
石地，無法機械化，若在種植集中的區域，鳥害
更加嚴重。
把小米種回來，就要解決鳥害，提高種植面積
的經濟效益，還有保種的問題。

趕鳥大作戰

為了解決鳥害，部落與農政單位方法用盡，老
鷹風箏、稻草人，農委會台東區農業改良場甚至
發明太陽能「趕鳥機器人」，可以在田間走來走
去，但效期太短，過了四、五天之後，「老鳥」
會察覺這些都是假的！
台 東農改場經過多年的田間試驗，發現在太
麻里、金峰、大武、達仁等地多是小面積的小米
田，若是從開花結穗時，架設全罩式防鳥網，不

不管是用啤酒空罐串起的鈴鐺網、塑膠旗趕鳥，或是用鳥
網，防鳥害是守住收成最重要的環節。
Whatever method one uses—be it empty beer cans strung on a
line, a plastic flag, or bird netting—preventing bird damage is the
most important way to protect the harvest.

88
 Clear blue skies stretch as far as the eye can see over
Eastern Taiwan, and crested serpent eagles circle over-
head. From a hilltop in the Dralengdreng indigenous
community of Taitung County’s Jinfeng Township
comes a sound like the ringing of handbells. On looking
closer, we see 79-year-old Wen Zhenyi shaking a line
with empty beer cans attached to scare away birds. But
the flock of white-rumped munia are unmoved, and still
stand on the millet stalks eating the grain. Only when
Wen stands up and runs to the middle of the field do the
birds take fright and fly away.
Wen has been in his millet fields since daybreak,
around 5 a.m. He says: “You have to start work before the
birds do! Moreover, these birds are smart. They know
when you’re taking a nap, and fly in immediately. Fortu-
nately, the birds return to their nests when the sun sets.”
The frustration and anger of having to keep birds
away is part of the daily routine for millet farmers, but it
is a vital step in protecting their harvest.
Bringing back millet
The millet produced in Taiwan has a unique flavor,
and though it fetches four to five times the price of im-
全罩式防鳥網可以達到百分之百的防鳥率。
Full-coverage bird netting can be 100% effective in preventing
bird damage to millet.
ported millet, supply still can’t keep up with demand.
Su Muh-rong, CEO of Tse-Xin Organic Agriculture
Foundation (TOAF), says that if the area of land planted
with millet is to be expanded, it is necessary to deal
with the severe damage that birds cause to the crop.
In June of 2019 the TOAF took on a project under
the Hualien–Taitung Six-Level Industries Development
Program of the National Development Council, which
aims to construct an industrial value chain for “six-level”
industries. (A “six-level” industry is one combining pri-
mary, secondary, and tertiary industries.) Paddy rice is
grown in abundance in Hualien and Taitung, but when
thinking about Taitung people’s minds turn naturally
to millet, which is widely considered a distinctive lo-
cal product. Increasing production of this crop would
conform to the policy goals of increasing Taiwan’s self-
sufficiency in grains and enhancing biodiversity.
89
用整天在田裡顧。推廣課長陳振義 表 示 ， 人 工
趕鳥，只是把鳥從這一區趕到另一區，裝設鳥
網後，可以達到百分之百的防鳥率。換成收成
率，人工趕鳥，一分地可以有一半、約150公斤
的收成；用防鳥網可以有300公斤，可說是事半
功倍。
陳振義建議，考慮到通風性、遮光率，1.5公
分孔徑的無結網，小型的鳥兒飛不進去，效果最
好。至於多良村小米田面積較大，如要使用鳥
網，不如協調米農同時撒種，同時結穗，大面積
的小米田分散鳥害的損失。
但是一分地裝設鳥網的成本大約要1.5萬元，部
落老人家捨不得投資，寧可自己顧一天、超過12
個小時，因為自己顧不用工錢。陳振義認為，如
果米農請人趕鳥，一天工錢要一千元，再加上一
瓶保力達、二包檳榔、一個便當，真的不如直接
裝設至少可以用四∼五年的鳥網，治標也治本。
經慈心基金會協助向國發會、原住民委員會爭
90
收成小米，先褪去葉子，再用手指將穗梗夾斷，保留30公
分長的穗梗，綁成一大撮來曬。曬好了的小米，可以收藏
入穀倉。
When harvesting millet, farmers first remove the leaves, then
use their fingers to pinch and break off the stalk about 30
centimeters from the tip and tie it up into a tuft to dry it in the
sun. The dried millet can then be stored in a granary.
取，運用金峰鄉地方創生的經費來補助設置防鳥
網，最快八、九月的秋作可以派上用場，希望能
見機而作，杜絕鳥害。
新一代耕法
要解決農耕人力老化的問題，導入小型農機具
是另一個解方。
曾在拉冷冷區推廣紅藜耕作的專案經理周思
源曾發現，這個區域高達三分之二的農地廢耕，
主因在於原鄉耕作人力老化，而且耕作的紅藜、
小米，外面的盤商收購價低，沒有經濟誘因。周
 But TOAF had already become aware of the decline of
millet cultivation and the challenges to reviving it when
it assisted with a program for building six-level indus-
tries around agricultural produce in Hualien and Taitung
back in 2015. Su Muh-rong says that in the county’s four
southernmost townships—Jinfeng, Taimali, Dawu, and
Daren—for example, less than 50 hectares of land were
actually planted with millet. Moreover, the millet farm-
ers were aging, and if the fields were on slopeland or the
soil was stony it was impossible to mechanize produc-
tion, while in areas where millet cultivation was more
concentrated there was severe crop damage from birds.
To resume more widespread cultivation of millet,
it would be necessary to resolve the bird problem, to
enhance the economic efficiency of the cultivated land
area, and also to preserve existing varieties of millet.
花東縱谷是小米重要的產區。
The East Rift Valley, which runs through Hualien and Taitung, is
an important production area for millet.
Chasing away birds
To reduce bird damage, indigenous communities
and agricultural agencies have used various approaches
from eagle-shaped kites to scarecrows, and the Council
of Agriculture’s Taitung District Agricultural Research
and Extension Station (TDARES) even invented a solar-
powered bird-scaring robot which could move around
in the fields. But none of these approaches was effective
for very long, as the birds would figure out within four
to five days that they were fakes.
Through many years of field experiments, TDARES
has established that if farmers put up full-coverage
bird netting when the millet plants flower and form
ears of grain, there is no need to spend all day in the
fields keeping birds away. Chen Chen-i, head of the
Department of Agricultural Extension at TDARES,
says that chasing birds away only causes them to move
from one section of farmland to another, but erecting
bird netting can be 100% effective. In terms of harvests,
when a field is guarded by people or protected by other
bird scaring methods, a tenth of a hectare (1000 square
91
小米經過脫粒、脫殼後，才能食用。 小米只能供應到300公斤，因此只要種得出來，
Millet has to be threshed and hulled before it can be eaten.
不用擔心賣不掉。
慈心基金會還協助小米農導入農委會種苗改良
繁殖場研發的種子披衣（seed coating）技術，以
微生物製劑作為披衣基質，並且研發穴盤育苗取
思源因而在2018年結合小米產銷班成立「代耕 代撒種，希望藉此提高發芽率，除了降低螞蟻、
隊」，用中耕機協助除草、翻土，利用機器「條 鳥害的威脅，可以減少疏苗的勞力。
播」，取代傳統用手「撒播」，分擔了農作中最 慈心基金會與農政單位用盡力量，讓種的人多
耗費勞力的部份。 一點，發芽率好一點，產量高一點，甚至已接洽
代耕隊也請農改場協助病蟲害防治，鼓勵小米 好全家超商通路，就等小米耕地再擴充。
農實施不用除草劑、化學肥料的友善農法，增加
文化的復耕
消費者選購的誘因。周思源成立「原穀傳說」的
品牌，打入里仁等有機市場通路，將小米收購價 如蘇慕容所說：「小米多樣性的流失，也是部
從原先一公斤80元，提高至160元，加上代耕隊 落文化的流失。」早在政府提高國產雜糧自給率
的介入，這些年下來，單單拉冷冷區的耕作面積 之前，部落意見領袖與青年以保種、復耕的積極
從近10公頃增為超過17公頃，同時按照季節輪作 行動，力挽小米文化流失的危機。
紅藜、樹豆與洛神花。 太麻里鄉拉勞蘭部落的「小米工坊」，即是在
周思源計劃成立「南迴友善耕作雜糧合作 部落領袖戴明雄牧師的倡議下，從2005年以近三
社」，將代耕面積擴及整個南迴地區，參加的成 公頃的土地開始，投入小米田復育工作。目前擴
員必須認同友善耕作的理念。他透露，以目前有 大至近十公頃，不僅實施友善環境的農法，更遵
機通路而言，台灣小米供不應求的比例大約1： 循祖先的教導，以休耕、輪耕的方式讓土地休養
10，以每月需求3,000公斤的小米為例，目前台灣 生息。

92
meters) of land yields only about 150 kilograms of mil-
let. But when bird netting is used harvests can reach
300 kg, doubling production for half the effort.
However, netting to cover a tenth of a hectare costs
about NT$15,000, and elderly indigenous farmers are
unwilling to make such a big investment. They would
rather protect their fields themselves, even though they
have stay there more than 12 hours a day, because it
doesn’t cost them any money to do so.
TOAF persuaded the National Development Council
and the Council of Indigenous Peoples to allow regional
revitalization funds allocated to Jinfeng Township to
be used to subsidize bird netting. The netting could be
in place by August or September 2021 to protect the fall
crop. They hope that local millet farmers will seize this
opportunity to prevent bird damage.
Cultivation for a new generation
One possible solution to the aging trend among millet
farmers is to introduce small-scale agricultural machinery.
Project manager Gabi Chou, who has previously pro-
moted cultivation of djulis (Chenopodium formosanum, a.k.a.
red quinoa) in Dralengdreng, discovered at the time that
as much as two-thirds of the farmland in the area was
abandoned. This was mainly due to the aging of the agri-
cultural workforce in indigenous areas. Furthermore, out-
side wholesalers were paying very low prices for djulis
and millet, giving farmers no economic incentive to
grow them. To address the labor shortage, in 2018 Chou
worked with the local millet production and market-
ing group to set up a “contract farming team” that uses
mechanical cultivators for weeding and tilling and seed
drills for planting, thereby taking over the burden of the
most arduous agricultural tasks.
Chou established a company called Aboriginal Cereal
Legend to sell products to Leezen and other organic mar-
kets, raising the selling price for millet from NT$80 to
NT$160 per kilo. Thanks to this branding effort and the
involvement of the contract farming team, in the past few
years the area planted with millet has increased from just
under ten hectares to more than 17 hectares in Draleng-
dreng alone. In addition, farmers grow djulis, pigeon
peas and roselle in seasonal rotation.
Chou plans to form the “Southern Link Cooperative
for Eco-Friendly Grains” to expand cultivation through-
out southern Taitung. Cooperative members must adopt
environmentally friendly cultivation practices. He reveals
that based on current organic sales channels, the supply
of Taiwanese millet meets only one-tenth of the monthly
demand of 3000 kg. Therefore farmers who grow it
needn’t worry that they won’t be able to sell their crop.
93
 戴明雄強調：「小米的復耕，亦是文化的復 農產品，得到大企業義美的收購，也因為小米收
耕。」1996年當拉勞蘭部落想恢復歲時祭儀時， 購價格的提高，進一步帶動達仁、大武一帶復耕
卻發現沒有小米作物，這才知道，小米的消失， 小米。
也是部落文化的消失。
小米文化的復興
「當冬去春初種小米，就是一年歲時祭儀的
開始，小米的價值不只是食物，也是提醒人不要 我們再走訪金峰鄉嘉蘭部落裡維持自給自足農
忘記上天賞賜土地，人要努力照顧土地。我們友 耕方式的「保種阿嬤」歐春香，68歲的歐春香為
善土地，大地也會對我們有所回報，這是愛的互 了防曝曬，全身包著密不透風，正在小米田揮著
動。」戴明雄說。 自製的塑膠旗趕鳥。
在戴牧師的鼓勵下，排灣族的青年林建中十 魯凱族名為魯灣的她，目前保有16種不同小米
多年前回鄉復耕小米，結合二代回鄉青農所種紅 品種，其中不乏已經失傳的品種，魯灣根據小米
藜、樹豆，以品牌「後山寶食」在市集與網路通 的系譜、家族，負起命名的責任，堅持不給盤商
路販賣，擴大小米行銷的管道。「小米工坊」的 收購的她，用原住民特有的幽默說：「我自己種
的小米拿來送給親友，參加慶典就不夠用了。一
年365天，我工作366天，但是很快樂啊！各個品
種的小米，滿足生活的不同需求，例如 稉性白小
各個品種的小米，滿足原住民生活的不同需求。 米拿來給作月子的孕婦，或是大病初癒的人吃；
Different varieties of millet have been used for
different purposes in Aboriginal life. 灰小米被漢人的中醫師拿來做藥方。」

94
 Restoring culture
Long before the government proposed raising Tai-
wan’s self-sufficiency in grains, opinion leaders and
young people in indigenous communities were already
taking action to preserve millet varieties and resume
cultivation of this grain, to rescue millet culture from
the threat of disappearance.
In the Lalauran indigenous community in Taimali
Township, the “Millet Workshop,” started under an
initiative by tribal leader Reverend Sakinu Tepiq, began
the work of reviving millet growing with slightly less
than three hectares of land in 2005. Today that area has
expanded to nearly ten hectares. They use eco-friendly
farming methods, and follow the ways of their ancestors
by allowing the land to lie fallow or using crop rotation
to give the soil a chance to rest and be reinvigorated.
Sakinu Tepiq emphasizes: “By restoring cultivation
of millet we are also restoring culture.” In 1996, people
in Lalauran wanted to revive their traditional rituals
marking the passage of the year. But when they dis-
周思源以品牌「原穀傳說」在市集與網路通路販
賣，擴大原住民米食行銷的管道。
Gabi Chou founded the brand “Aboriginal Cereal
Legend” and sells its products at markets and online,
broadening sales channels for indigenous grains.
drekai indigenous community in Jinfeng Township and
is known as the “seed saving grandma.” We find the
68-year-old Ou, whose clothes cover her from head to
foot to shield her from the sun, in her millet fields, wav-
ing around a home-made plastic flag to chase away birds.
Ou, whose Rukai name is Iruane, currently preserves
16 different varieties of millet, including several that
would otherwise have been lost. Iruane has taken on the
用小米做的阿拜或是祈納富，是親友來訪或結婚典禮時，
用來分享食用的點心。
Abai and cinavu are traditional indigenous foods made using
millet. They are served as treats at weddings or when friends and
family come to visit.

covered that their community had no millet crop, they

realized that the disappearance of millet meant the dis-
appearance of tribal culture.
“Planting time for millet is in early spring, just after
winter has passed. This is marked by the first of the
annual rituals. The value of millet lies not only in its
being a food, but in reminding us that the earth is a
gift from God and people must care for the land. If we
are good to the land, the earth will repay us: this is the
reciprocation of love,” says Sakinu Tepiq.
Renaissance of millet culture
We next visit a woman named Ou Chun-hsiang,
who practices subsistence farming in the Ngudra-

95
 來自達仁鄉土 坂 部落的排灣族獵人藍保．卡 responsibility of naming the varieties, based on their
路風，從他稱為「乾媽」的魯灣手上，接過一穗 lineage. She has always refused to sell to wholesalers,
and says with characteristic indigenous humor: “I have
「萊麗曼」（lialieman）。藍保解釋，「我努力
barely enough left after giving most of it to friends and
把這一穗小米培育成一畝田，兩年後我會回贈魯
family and providing it for use in ceremonies. There
灣二束，一束感謝她，一束謝天。」透過這樣的
are 365 days in a year, and I work 366, but I’m very
交換與贈送，亦延續了小米的品種。 happy! Each variety of millet has its own use in daily
已經蒐集11個品種的藍保說，在他爺爺的年 life. For example, white millet can be given to new
代，小米有100多個品種，卻一直消失、一直消 mothers during their postpartum month of rest, or to
失。他說：「但我不贊成小米的品種，跟芋頭、 people just recovering from major illnesses, whereas
地瓜一樣，經過農改場的育種改良，變成一號、 gray millet is used in traditional Chinese medicine.”
Lanpaw Kalijuvung, a Paiwan hunter from the Tjua-
二號，小米農為求經濟效益，只會種植產量高的
bal indigenous community in Daren Township, received
品種，久而久之，品種會過於單一。」
an ear of grain (a lialieman) from Iruane. Lanpaw ex-
「種子不會從天上掉下來，必須不停地播種， plains, “I’m working to plant up a whole field with the
才能保種。」仍在公務機關上班的藍保堅持上午 grain from that ear, and in two years I will give Iruane
六點先巡完小米田，戲稱「陪小米吃完飯」後再 back two ears, one to thank her and the other to thank
去上班。用一天工作18小時的心力來復耕小米， God.” It is through exchanges and gifts of this kind that
他在部落成立Talem文化教室，教授狩獵、獸皮製 different varieties of millet survive.
“Millet is our almanac, and our calculations of the
作，還有小米種子的保留、交換及分享，希望傳
important days of the year revolve around millet.”
承部落文化。
“Millet is an important crop for celebrations and rituals,
「小米是我們的『曆書』，族人推算歲時節
espe cially the harvest festival.” “Millet is like genes,
氣以小米為軸心，例如播種大約是國曆的12∼1 every family keeps its own variety.” “Millet is a food: we
月；疏苗是2∼3月；收成是5∼6月，邊收成邊唱 use it to make cinavu and abai [two traditional dishes], as
著小米歌謠，祈求上蒼，護佑小米豐收；7∼8月 well as millet wine.” In these sentences Lanpaw briefly
是討論豐年祭的時候。」 explains the importance of millet to indigenous cultures.
「小米是祭儀，尤其是豐收祭重要的農作 As Reverend Sakinu Tepiq puts it: “Our generation
has experienced a sense of inferiority and been sub-
物。」「小米是基因，每個家族都有自己收藏的
jected to prejudice. The revival of millet culture and of
品種。」「小米是食物，可以做祈納富、阿拜，
seasonal rituals can help give the younger generation
可以釀小米酒。」藍保一口氣講了小米對原住民 in indigenous communities a stronger sense of identity,
文化的重要性。 and they can confidently invite outsiders to come and
正如新香蘭教會牧師戴明雄所說：「我們這一 get to know their communities and learn the wisdom of
輩走過自卑、被歧視的路，小米文化的復甦，歲 millet culture.” This is something that he didn’t foresee
時祭儀的恢復，讓這一代部落青年有更明顯的身 back when he started resuming the cultivation of millet.
Not only is Taiwan millet good for the digestion, but
分認同，能夠自信地邀請外人來認識部落，學習
the plan to revive millet cultivation is meaningful for
小米文化的智慧。」這是他在復耕小米時沒有預
the economy, cultural continuity, and environmental
見的。
sustainability of indigenous communities. Once the
台灣小米，不只吃了有益腸胃，小米復耕計畫 Covid-19 pandemic recedes, why not visit indigenous
還肩負著承載部落經濟、文化傳續、生態永續的 villages in southern Taitung, try some millet-based
多元意義。當疫情退散之後，不妨走訪一趟南迴 cuisine and sweets, and experience the rich cultural
部落，嚐嚐小米美食與甜點，體驗小米豐富的文 significance of millet? l
化意涵。 l (Esther Tseng/photos by Jimmy Lin/tr. by Phil Newell)

96
收成小米時，唱著小米豐收歌，感謝上蒼護佑小米豐收。
Farmers sing the millet harvest song when harvesting millet to
thank God for protecting the crop.

97
產業新創　ENTREPRENEURSHIP

用利他光耀生命
社 會 企 業 種 子 在 台 開 花 結 果

Brightening Life by Benefiting Others

—The Blossoming of Social Enterprises

文•李珊瑋　圖•林格立　版面設計•馬英凱

由利我到利他，台灣年輕世代的眼界和襟
懷，在覺醒中改造提升。
頂著創業女傑特別獎光環的鄭惠如有著富足
的成長歷程，卻沒有漠視社會上的貧瘠與悲悽，
用社會企業、B型企業的理念，以女性溫婉的特
質，帶領弱勢族群走出困頓，看到陽光。
撒下推動社會企業的種子，林以涵深耕近十
年，社企流在世代變遷中，歡呼收割。喚醒沉
睡的靈魂，因為自覺而改變，因為利他而實現自
我。
不放棄，才是真正的勇氣
「其實不放棄才是真正的勇氣。」鄭惠如說。
2016年銘宇興業與食藝餐飲獲認證為台灣第一
A mong the younger generation, a growing sense
of compassion and social vision has been ac-
companied by a turn from seeking to benefit oneself
toward a desire to benefit others.
The winner of a special Business Startup Award
for outstanding women entre preneurs, Viola Cheng
evinces a gentle feminine sensibility as she draws on
the concepts of social entre preneurship and “benefit
corporations” to help disadvantaged groups over-
come hardship and find their place in the sun.
Meanwhile Sunny Lin, the CEO of Social Enter-
prise Insights, has been working for nearly a decade
to spread the seeds of social entrepreneurship. To-
day, amid changing times, she is reaping what she
sowed.
Perseverance is courage

家餐飲業的B型企業，創辦人鄭惠如在亞太B型 “In truth, courage is shown in not giving up,” says

企業協會張大為理事長推薦下，榮獲《富比士
Forbes》雜誌的「30 Under 30」亞洲傑出青年。
鄭惠如在師大社會教育研究所就讀時，非常
認同2007年由美國賓州非營利組織── B型實
Viola Cheng. In 2016 Ming Yung Enterprise and Good
Food Enterprise became the first designated “benefit
corporations” in Taiwan’s restaurant industry, and
Cheng, their CEO, earned a spot on Forbes’ “30 Under
30” list of Asian social entrepreneurs.

98
99
驗室（B L a b）發動的全球B型企業（B e n e f i t
Corporation, B Corp）運動，並於女性主義課程
中，受到教授左乙萱的影響至深，持續關懷弱勢
女性、微型創業培力，以及帶領女性領導力培
訓，盼能藉此提升女性的自信心，進一步經濟自
主，實現婦女經濟賦權。
父親是電腦研發主管，母親擔任教職，鄭惠如
在優渥的環境中成長，卻在志工服務中，深刻體
會弱勢族群的無奈。「從小媽媽就帶著我們去育
幼院，關懷院童。」鄭惠如小小的心靈敏銳體認
到，社會中存在著多樣的生活型態。「2011年，
我到行政院青年輔導委員會擔任旅遊志工，接著
獲聘青年諮詢委員，也在那裡認識了楊博宇。」
鄭惠如和楊博宇，因為對社會中的高關懷族群，
有「不僅餵魚，還要給釣竿」的相同理念，而攜
手走上結婚紅毯。
「我們一家人最早跨足餐飲業是從碧潭美食
街做起。」笑稱有著夫妻臉的鄭惠如說：「我們
一家人覺得對社會好的事都去做，經常在店裡舉
辦公益活動，像是兒童節、母親節這種賺錢大節
100
（左上圖）2017年鄭惠如（右）獲位於夏威夷的美國智庫東
西中心所提供之全額獎學金，參與女性領導力培訓研討會。
（鄭惠如提供）
(left, top) In 2017 Cheng (right) attended the Changing Faces
Women’s Leadership Seminar at the East–West Center, a
thinktank in Hawaii. (courtesy of Viola Cheng)
鄭惠如（右）協助輔導寬泰食品「Modern Menu新植肉」創
辦人張桂榛（左）融資，並轉介媒體宣傳。
(left, bottom) Viola Cheng (right) consulted with Quanfood for
its Modern Menu line of plant-based mock meats, helping its
founder Emily Chang (left) with financing and media referrals.
日，我們反而提供給家扶中心親子用餐，沒想到
恰恰符合了B型企業的商業模式。」
鄭惠如和楊博宇走在一條對社會有益的道路
上。他們所做的事，包括提供「待用餐」（終
止飢餓）、優先雇用社會弱勢（消除貧窮）、
線上學習SOP（優質教育）、同工同酬（性別平
等）、採購小農與社會企業產品（永續的消費與
生產模式）、使用綠建材（保育與永續）等，都
符合聯合國17項永續發展目標（SDGs）。
 Cheng’s father worked as an executive in computer
research and development, and her mother was a teacher.
Although growing up amid privilege, Cheng came
to under stand the frustrations of the dis advant aged
through her work as a volunteer. “When I was young, our
mother would bring us to a preschool to help care for the
children.” From a tender age Cheng acutely understood
that society contained many different life circumstances.
“Our earliest foray into the food and beverage indus­
try was in a restaurant at the Bitan riverside scenic
area,” says a smiling Cheng, who shares a “couple face”
(strong resemblance) with her husband Yang Boyu. “We
wanted to do good for society, so we’d often put on pub­
lic interest activities there. Children’s Day and Mother’s
Day are big holidays that provided chances to make a
lot of money, but we observed them by providing food
to parents and children in family support centers. Back
then it never occurred to us that what we were doing
completely matched the benefit corporation model.”
Cheng and Yang are both fully engaged in work
benefiting society.
Yang, who studied architecture at university, and
his brother James, who studied landscape design, first
marketed creative uses for green building materials.
Then, more than a decade ago, the Yang brothers en­
tered the dining industry when they helped a family
assistance center that was supporting a group of young
people. “They wanted to open a restaurant but lacked
money and skills.” Apart from putting up the money
and making good use of their design expertise to open
a restaurant and employ the young people, they also
helped the staff learn viable skills. Because these first
steps were so successful, they went on to establish a
chain of eateries. “We opened 25 restaurants in all,
employ ing more than 400 people.”
Apart from teaching skills herself, Cheng also en­
courages her staff to enroll in training sponsored by
the Workforce Development Agency of the Ministry of
Labor and to take accreditation exams.
“We have many workers who save up some money
and open their own businesses. There was even a cook
who got interested in design and, with James’ counsel,
obtained Class C certification for interior design, and
is now making a living as a designer.” Cheng and her
family take great joy in seeing their workers grow,
stand on their own two feet, and set off in their own
directions in life.
Opening another door
“The coronavirus pandemic has had a big impact on
our business,” says Cheng, not mincing words. To be
sure, their operations have been hit hard.
After counseling workers to change careers or fields
鄭惠如擔任F a c e b o o k亞
太區#SheMeansBusiness
講師，教導微型創業女性
使用社群軟體行銷品牌及
產品。
An official Facebook
#SheMeansBusiness
trainer for the Asia–
Pacific, Cheng teaches
microentrepreneurs how to
make use of social media
to build their brands and
market their products.
101
 學建築的楊博宇從大學開始就和學景觀的弟
弟楊宗融，運用綠建材等環保和創新理念，一起
投入商業市場。十幾年前，為了幫助家扶中心個
案，楊博宇兄弟兩人投入餐飲市場。「他們想開
店，但是沒有本錢，也沒有技術。」楊博宇除了
出資、善用設計專長開店，更讓員工透過學習，
取得一技之長。因為起步成功，陸續成立了連鎖
餐飲企業，「總共開了25家餐廳，同時管理400
多位員工。」
食藝餐飲公司執行長鄭惠如落實關注公司治
理、員工照顧、環境友善、社區關照和客戶影響
力等B型企業面向，檢視營運體質，取得競爭優
勢。除了傳授技能，鄭惠如也推薦員工接受職訓
局相關課程的訓練，鼓勵他們去考證照。用行動
力實踐「創造共享價值」的B型企業核心宗旨。
「我們有很多員工，在取得第一桶金之後，都
紛紛自己開店了。甚至有廚師對做設計有興趣，
也在楊宗融的輔導下，考取室內設計丙級證照，
現在是獨當一面的設計師了。」看著員工的成長
與獨立，找到自己人生的方向，是鄭惠如一家人
最大的欣喜。
轉身開啟另一扇門
「這次的疫情，對我們的衝擊真的很大。」
鄭惠如毫不諱言經營的狀態。曾經以拉麵、輕
食、韓式、義式、點心、飲料等各種類型叱吒風
雲的餐飲集團，也不敵突如其來的虧損。原本找
到具有競爭力的好地點，卻因為疫情而流失大幅
訂單，再加上大樓外牆整修、鷹架遮蔽而雪上加
霜，營業額無底下滑。「員工們都好悶，一整天
都等不到一組客人。」
在輔導員工轉業或是轉介到其他店家後，鄭惠
如卸下肩頭重擔，暫時離開了餐飲業的第一線。
「我們現在主要是做展店顧問的工作。」運用以
往的經營經驗，訓練員工成立營運小組，提供展
店的全面規劃。
「對於求知若渴的我來說，轉換跑道並沒有
什麼困難。」鄭惠如是FB #SheMeansBusiness 亞
太區講師，她走入台灣偏鄉，教導與協助微型創
業者，運用人手一機的科技載具，以社群媒體交
流模式，打亮自己的品牌。她談起一個港式蘿蔔
102
社企流發起人林以
涵，以催生和改造推
動社會企業。
Sunny Lin, founder
of Social Enterprise
Insights, is engaged
with the birth and
transformation of social
enterprises.
糕的輔導案例，協助一對父女用故事性來打造品
牌賣點。由父女關係到口味傳承，透過影片的傳
播，在消費者心中留下深刻的印象。實踐她「輔
導攤商門市化、傳統產業品牌化」的服務目標。
「輔導女性創業是未來重要的課題。」經濟部
中小企業處的「女性創業飛雁計畫」、「女性創
業加速器」，多次邀請鄭惠如擔任講師及輔導培
訓導師，從資金籌措、財務管理，到技能培育和
銷售管道，她樂於分享女性創業的知能與甘苦。
寬泰食品「Modern Menu新植肉」就是她在計
畫中所輔導的成功案例。除了轉介寬泰創辦人之
一的張桂榛融資，還定調媒體宣傳，以零膽固
醇、低卡路里、低GI的健康食品優勢和創新口感
技術，立足台灣，走向國際。
2021年3月8日經濟部和美國在台協會（AIT）
攜手合作，啟動美國國務院「女性創業學院
計畫」（Academy for Women Entrepreneurs，
AWE），鄭惠如也投入導師培訓，參與一系列築

and go work for other companies, Cheng shifted gears
herself and temporarily left the front lines of the din­
ing business. “Now we are mainly doing consulting
on retail chain expansion.” She is making use of her
previous management experience to train management
teams and provide comprehensive planning for chains
opening new locations.
“For someone like me with a thirst for new know­
ledge, changing tracks wasn’t a big deal.” Cheng is an
official Facebook #SheMeansBusiness trainer for the
Asia–Pacific region, and she goes to remote areas of
Taiwan to instruct and assist microentrepreneurs on
using social media apps to highlight their own brands.
One case involved advising a father–daughter team
opening a Hong­Kong­style turnip cake business. She
helped them establish their brand through videos
that told stories. One focused on the father–daughter
relationship and another on the passing down of a
gastronomic legacy. They made a deep impression on
consumers. The approach realized the goals of turning
food stands into modern retail businesses and creating
brands for traditional industries.
“The issue of assisting female entrepreneurs is only
growing in importance.” Several times the Small and Me­
dium Enterprise Administration of the Ministry of Eco­
nomic Affairs has invited Cheng to serve as a lecturer or
instructor in connection with its “Women Entrepreneur­
ship Flying Geese” and “Women’s Entrepreneurship Ac­
celerator” programs. On topics ranging from fundraising
and financial management to skills development and
sales channels, she has happily shared her knowledge
and experiences, both the bitter and the sweet.
Quanfood International’s “Modern Menu New Plant
Meat” is a successful example of the assistance she has
provided. Apart from referring Quanfood cofounder
Emily Chang to sources of financing, Cheng also set
the tone for a marketing campaign that emphasized
the health advantages of zero­cholesterol, low­calorie,
and low­glycemic foods as well as the creation of a new
mouthfeel through innovative technology. The cam­
paign has helped the company bolster its position in Tai­
wan and advance into international markets.
On March 8, 2021 the Ministry of Economic Affairs
and the American Institute in Taiwan joined hands
to kickstart the US State Department’s Academy for
Women Entrepreneurs program in Taiwan. Cheng took
training to become a program instructor and partici­
pated in DreamBuilder, an online curriculum for entre­
preneurs that aims to leverage the special qualities and
strengths of women, with the expectation that partici­
pants will then become international bridges that help
to raise women’s competitiveness.
Promoting social enterprises
Social Enterprise Insights (SEI) is the most influen­
tial Chinese­language platform for sharing information
about creating and nurturing social enterprises. It can
be used for promoting and building connections, and
for mentally supporting and motivating social entre­
preneurs. “We really put our all into everything we
do.” Sunny Lin, one of the platform’s founders, who is
now serving as its CEO, has a pair of big, bright eyes,
whose steadfast gaze reflects her determination to pro­
mote the ideals of social entrepreneurship.
When Lin entered National Chengchi University to
study public administration, she went in without spe­
cific expectations, but during her studies she gradually
103
夢計畫（DreamBuilder）的線上創業課程，發揮
女性的特質與優勢，期許自己未來能成為介接國
際，提升女力競爭的橋梁。
推動社會企業的領頭羊
社企流是華文界最具影響力、催生社會企業的
知識分享與交流平台，藉此力量來推廣、連結、
支持社會創新創業的精神與行動。「我做每一件
事都很認真投入。」社企流創辦人之一，目前擔
任執行長的林以涵有雙靈動的大眼睛，閃爍著堅
定的目光，全力宣揚社會企業理念。
當初林以涵懵懵懂懂地進入政治大學公共行政
系時，並沒有特別的期許，但在學習過程中，她
漸漸對非營利組織有了進一步探索的興趣，也在
赴美研讀過程中，對社會企業有了堅定的認同。
「美國的課程，真的和我在大學所學的有很大的
差異。」眼界大開的林以涵，學成後沒有在美國
停留，而是懷抱著理想，回到台灣。
「我是社企流的發起人，我覺得必須承擔所
有的責任。」林以涵與一群懷抱熱情理想的新世
代，為了改變社會價值觀，志願為宣揚社會企業
而投注時間精力，這份為理想奮鬥的堅持，秉持
催生和改造的動力，鞭策前行，獲得社會認同，
是社企流成功的關鍵。如今十年有成，社企流交
出了亮麗的成績單，服務層面更加多元。2017年
由中文版網站拓及為國際版，除了一本初衷，持
續蒐羅國內外社會創新、社會企業的相關新知，
以專題、評論、案例等深度報導，建置最完整的
全面性資料庫。
育成培力孵化器
社企流在星展銀行和聯合報系「願景工程」
的支持下，匯聚了前人的創業精華，出版《社企
力》、《讓改變成真》、《開路，社會企業的10
堂課》三本專書，讓國人了解社會企業的定義和
規範，以及如何找到商業和公益平衡點的指南。
社企流同時更增添了活動交流和育成培力部
門，扶助社會企業創業者，平順地走過草創期。
「社會企業育成計畫 iLab，是2014 年我們首創
的。」社企流扮演加速孵化器，引進全球最大的
社會企業育成網絡 UnLtd，提供學員課程培訓、
交流媒合、諮詢輔導等關鍵性資源。
林以涵談到社企流曾經協助教育新創業者，開
發市場。「協助他們和大型企業的人資部門或是
福委會合作，舉辦客製化的教育新創課程。」除
了給教育新創業者展示的舞台，也間接讓受教的
員工或員工子女了解社會企業，進而認同，發揮
漣漪效應。

社企流以創業營型式，邀請
入選育成計畫的社會企業
經營者們，培育他們的經營
管理能力，並為他們媒合資
源。（林以涵提供）
SEI holds entrepreneur
camps, cultivating the
management skills of the
social entrepreneurs who
have entered SEI’s incubator
programs and matching them
with sources of financing.
(courtesy of Sunny Lin)

104

developed an interest in advancing her understanding
of non­profits. Her support for the concept of social
enter prises only strengthened when she attended grad­
uate school in the United States.
“As a founder of SEI, I feel that I must shoulder full
responsibility.” Lin and the idealistic youths at SEI are
spending their time and energy promoting social enter­
prises with the aim of changing society’s values. Their
determination to fight for their ideals and to keep creat­
ing and pushing forward has garnered recognition. It is
a key to Social Enterprise Insight’s success. Over the ten
years since its founding, SEI has met with success after
success, and it is now offering an ever­ broader array
of services. In 2017 the platform added an English ver­
sion of its website. While holding true to their original
ideals, SEI staffers have continued to gather information
about social innovations and social enterprises from
Taiwan and abroad, as well as writing in­depth articles,
opinion pieces and case reports, thus building the plat­
form into a comprehensive knowledge bank.
Talent incubator
With the support of the “Vision Project” of DBS
Bank and the United Daily News Group, SEI has crys­
tallized the entrepreneurial insights of those who came
before them in three books: The Power of Good, Making
a Difference, and Starting Out: Ten Lessons About Social
2019年末在社企流的
聖誕趴中，林以涵和社
企流的全職、兼職夥伴
向友好組織分享心得。
（林以涵提供）
At SEI’s 2019 Christmas
party, Lin and all of SEI’s
full- and part-time staff
got together to share their
thoughts. (courtesy of
Sunny Lin)
Enter prises. These have introduced the people of Taiwan
to the definition of social enterprises and the rules that
govern them, and provided guidelines about how to
achieve a balance between commercial considerations
and the public interest.
Social Enterprise Insights has also added depart­
ments responsible for training and empowerment, as
well as for activities and exchanges. These support
social entrepreneurs to smoothly navigate the early
stages of their journey. “We first opened our iLab to
nurture fledgling social entrepreneurs in 2014.” SEI
serves as a kind of incubator and accelerator, providing
its students with key resources, such as access to UnLtd
(the world’s biggest online network for cultivating so­
cial entrepreneurs), courses and training, matches and
referrals, as well as guidance and advice.
Lin mentions that SEI has also assisted educational
entre preneurs to develop markets. “We have helped
them to work with the personnel departments or wel­
fare committees of major corporations to put together
customizable curriculums for new entrepreneurs.”
Apart from giving new entrepreneurs an arena to
demonstrate their talents, these efforts have also in­
directly helped those being trained and even their chil­
dren to better understand social enterprises. A greater
sense of identification brings ripple effects.
105
 社企流十年有成，扶助社會企業創業者，平順地
走過草創期。
Founded a decade ago, SEI helps social entrepreneurs
smoothly navigate the early stages of their ventures.

「透過活動，可以面對面接觸。」林以涵表示
女力當道，捨我其誰
除了舉辦論壇，讓資訊激盪，更以頻繁的交流活
動，整合產官學各方資源，讓參加者在交流中，找 一件真正想做的事，總是經得起磨難的試煉。
到契合的創業夥伴與可用的資源。「我們扮演中介 期待台灣成為亞洲最具代表性的社會創新聚落，
角色，而且提供媒合服務。」社企流曾經為農業新 是支持社企流前進的驅動力。社企流的員工清一
創的產品牽線，進入大企業採購的供應鏈。 色是女性，都具有獨當一面的幹練。談到女性
因為社企流在協助小農的過程中，掌握了各地 創業的挫折點，「我最困擾的是知識經濟不受
優良食農的多元資訊，當有需求時，大家就會想 尊重。」林以涵嘔心瀝血的成果，卻被人全盤
到請社企流協助轉介。社企流會站在中介的立場 抄襲，當提出證據向對方理論時，卻難以討回公
做篩選，先了解對方的需求，然後才提供最適合 道。但是強烈的使命感，讓林以涵的女力團隊，
的資訊。 愈挫愈勇。
曾經有大型企業舉辦運動會、家庭日時，希 鄭惠如在經營受挫後一切歸零，但是她沒有被
望透過社企流，邀請食農類的社會企業來設攤。 失敗擊倒，反而突破限制，開創新局，更積極投
「我們會先對企業邀請擺攤的目的（販售產品或推 入輔導女性創業的多項計畫，用傳承模式，為女
廣理念）、產品類型（生食或熟食）、地域偏好、 力注入新力量。
分潤方式等進行了解和確認，再依據上述條件，去 鄭惠如與林以涵運用知識經濟，累積改變社會
推薦合適的社會企業做媒合。」社企流用心搭起交 思維的能量，因為信念而有力量，甘願挑起推手
流媒合的橋梁，為永續合作和企業發展鋪路。 的重任，為台灣更好的未來做開路先鋒。 l

106
 “We play the role of intermediaries and match­
makers.” SEI has helped make connections for agri­
cultural entrepreneurs launching new products, giving
them an entrée into the supply chains of major cor por­
ate purchasers.
In the course of assisting small farmers SEI has
amassed a wealth of diverse data about outstanding
farmers in various locations, so the organization quickly
springs to mind when companies need referrals related
to agriculture.
One major corporation that was sponsoring an ath­
letics event and family day wished to go through SEI
to invite agricultural social enterprises to set up stalls
at the event. “We first asked about the corporation’s
aim in making the invitations (whether to sell products
or to promote ideals), the type of food products they
wanted (raw or cooked), geographic preferences, and
how sales revenues would be divided. Once we had con­
firmed these details, we then suggested suitable social
enterprises to partner with them.” Looking to facilitate
sustainable cooperation and enterprise development, SEI
takes great care over the matchmaking process.
Women at the helm
The hope that Taiwan will become a hotspot of social
entrepreneurialism and even its leading exponent in Asia
has been a source of motivation for SEI. When speaking
about the obstacles and frustrations that women entre­
preneurs face, Lin notes, “The biggest difficulty I’ve
had is that our intellectual property is not respected.”
The fruits of Lin’s hard work have at times been copied
whole cloth, and when she has presented evidence of
this plagiarism to the offenders, she has found it hard
to get fair treatment. But a strong sense of mission has
made Lin and her strong team of women only more
deter mined to overcome the obstacles they encounter.
Although Cheng has encountered setbacks in busi­
ness that forced a return to square one, they have never
fazed her. Rather, she has overcome these hurdles by
opening new businesses and seeking out new avenues,
actively throwing herself into various programs to em­
power women entrepreneurs through her counsel and
instruction.
Viola Cheng and Sunny Lin have leveraged the
knowledge economy to bolster their capacity to change
society and prevailing ways of thinking. Knowing that
there is power in belief, they have willingly taken on
responsibility as first movers, blazing a trail toward a
better future for Taiwan. l
(Lee Shan Wei/photos by Jimmy Lin/
tr. by Jonathan Barnard)
2016年在台灣大學
體育館舉行社企流週
年論壇，主題是擁抱
未來，參加者十分踴
躍。（林以涵提供）
In 2016 SEI held an
anniversary forum
on the theme of
“embracing the future”
at the National Taiwan
University Sports
Center. There was no
shortage of enthusiasm
among the participants.
(courtesy of Sunny Lin)
107
產業新創　ENTREPRENEURSHIP

Dcard於2011年，由兩位台大學生創立，初衷
很簡單，想要透過網路平台來認識異性朋友。
Dcard由代表命運（Destiny）的字母D與卡片的
單字card組成，驗證學生身分的會員就可以「抽
卡」，由系統配對一位「卡友」，如果晚上12
點前沒有回覆是否接受，配對就會消失。隔年，
Dcard更推出論壇功能，讓用戶以匿名（或是只
露出校名）的方式發文、留言討論，希望每個人
都有機會在平台上找到共鳴。
平台的使用者越來越多，Dcard於是在2015年
正式成立公司，不斷推出新功能，讓用戶有更多
元的體驗。成立迄今十年，Dcard目前在台灣擁
有 500 萬名註冊會員，每月不重複訪客數1,600
萬，月瀏覽量更高達16億次。在國內打穩基礎
後，Dcard也進軍香港與日本的國際市場，朝世
界級網路公司的目標逐步邁進。

全 台 最 大 年 輕 人
社 群 平 台
讓 每 個 人 都 有 機 會 找 到 共 鳴

In Search of Kindred Spirits

—Youth Social Media Platform Dcard

文•謝宜婷　圖•Dcard提供　版面設計•馬英凱

108
 Dcard執行長林裕欽
Kytu Lin, CEO of Dcard

D card was founded in 2011 by two National Taiwan Uni-

versit y underg raduates with the simple in te ntion of
providing an online platform to help people meet friends of the
opposite sex. Members—verified students—were able to draw
a “card” and be matched with someone by the system, hence
the name, short for “destiny card.” If they didn’t reply by mid-
night, the match would be canceled. The following year, Dcard
launched a forum, allowing users to post comments and engage
in dis cussions anonym ously, or with only the names of their
universities shown. Through this, it was hoped that all users
would be able to find something that resonated with them.

109
 D c a r d的創辦人兼執行長林裕欽，去（2020）年
登上富比世雜誌年度亞洲「30 Under 30」名人榜，
當時年僅28歲的他，帶領團隊打造台灣原生的社群
平台，高比例的年輕會員在平台上豐富的討論，讓
Dcard成為觀察台灣18∼35歲族群想法的重要媒介。

注重隱私、氛圍溫暖的社群

註冊Dcard後，用戶一點開手機app，會看到系統
邀請，先挑選五大有興趣的主題，接著透過人工智
慧運算，呈現個人化的推薦貼文。如果想要跳脫自
己關注的領域，也可以切換到依照熱門程度排序的
頁面，觀察Dcard用戶的整體討論趨勢。一個十年前
就開始使用Dcard的大學生，即使現在出社會一段時
間、有了婚姻與孩子，依然可以在這個有將近500個
話題看板的網路平台裡，找到共鳴。
十年的時間裡，不只討論的看板增加，用戶族
群也從大學生開放到校友與社會人士，近年還推出
「好物研究室」的電商服務，販售美食、彩妝、生
活、服飾與3C產品等等。為了與用戶有更多互動，
Dcard也推出各式線上活動，例如：「半熟大人交朋
友」，邀請30初頭、對年輕世代有影響力的公眾人
物，像是創作歌手韋禮安與「為台灣而教」的創辦
人劉安婷，在Dcard上發文分享他們20多歲時深刻的
回憶與選擇，以及他們喜歡瀏覽的Dcard看板。
「我們希望社群的氛圍是正向、溫暖的。」林裕欽
表示Dcard的產品價值觀在於保護用戶的隱私，並營造
鼓勵大家發言的環境，在這個前提下，衍伸出許多活
動與服務，像是同名的YouTube頻道，總是在輕鬆、
歡樂的氣氛中，討論年輕人關注的生活話題。
 T h e pl at f o r m b e c a m e m o r e a n d m o r e u s e r -
friendly, and in 2015 Dcard was made a company,
whi c h e n abl e d t h e m to k e e p i nt rod u c i ng n e w
features and give users a wider range of experi-
ences. Now in its tenth year, Dcard has 5 million
registered members in Taiwan, 16 million monthly
unique visitors, and 1.6 billion monthly views. Af-
ter having set down a solid foundation in Taiwan,
Dcard entered the international market via Hong
Kong and Japan, gradually moving towards the
goal of becoming a world-class online business.
Kytu Lin, founder and CEO of Dcard,
was included in Forbes’ “30 Under 30”
Asia 2020 list at the age of 28. The team
he heads up has created a homegrown
Taiwanese social media platform with
a wealth of discussion from a user base
most ly made up of college st udents.
Today, Dcard has become an invaluable
window into the minds of Taiwanese in the treasured
18–35 demographic.
A friendly community that values privacy
After registering for Dcard, users of the mobile app
are invited to select five topics of interest and are then
presented with AI-driven personalized recommenda-
tions of posts to check out. If you want to reach outside
your normal areas of interest, you can also switch to a
new page to sort posts by popularity and see the overall
trends in discussion among Dcard users. Even someone
who started using Dcard at university a decade ago can
still find something that strikes a chord from among
the 500-plus topic boards, despite having moved on and
started a family.
In the past ten years, not only has the number of boards
increased, the user base has also grown from solely col-
lege students to include graduates and other members of
the community. In recent years, the company has even
launched an e-commerce service called Good Choice,
which sells food, makeup, lifestyle goods,
clothes, electronics, and more. To boost
interaction between users, Dcard also
hosts online events like “Adult-ish
Friend Finder,” inviting public figures in
their early 30s who are influential to the
younger generation—such as singer-song-
writer WeiBird and Teach for Taiwan
founder Liu Anting—to share their memories
and the life-shaping decisions they made in their 20s, as
well as the Dcard boards they like to browse.
“We want the atmosphere of the community to be
positive and warm,” says Kytu Lin. The value of Dcard as
a product, he says, is in its protection of its users’ privacy
and in creating an environment in which everyone is
在D c a r d的電商平台
「好物研究室」上，
用戶可以針對商品留
言討論。
On Dcard’s
e-commerce platform,
Good Choice, users
can comment on or
discuss products.
111
 創業是緣分，也是選擇 快的方式」，經年累月下，各種領域的智慧成了
他創業路上的燈火，幫助他看清前進的方向。而
林裕欽與Dcard的緣分彷彿命中注定，從小立志
這次參訪，不僅讓他近距離觀察到其他國家在制
創業的他，被學長找去寫Dcard程式，原本好玩的
度與文化上的差異，也讓他發現自己外語能力的
成分居多，但在用戶不斷增加的情況下，讓他們
不足，於是回台後積極地加強。
有了創業的念頭。
後來，林裕欽申請上科技部的「創新創業激勵
身為家中的老么，林裕欽希望儘早打造一番事
計畫」（FITI），到美國矽谷與創業家交流，到
業，讓父母放心。進入台大資管系就讀後，他開
了當地他才發現，許多新創公司的配置，背後都
始接案寫程式，靠自己賺取學費，從中也獲得大
有發展的脈絡，位在郊區的矽谷，因為購物不方
量實戰經驗。喜歡接觸新事物的他，積極參與各
便，所以公司會在辦公室設置零食區。在資訊流
式社團，除了與創業有關的管理顧問社，也曾經
通快速的矽谷，如何保持內心平靜，也是一項要
擔任外交部青年大使，憑著寫程式的優異表現，
學習的課題。在這趟旅程中，最大的收穫莫過於
到加拿大參訪當地政府機構，與官員與華僑交
創業信心的提升，他回憶：「到了當地會發現，
流。
台灣的創業實力其實跟國外沒差很多。」
問起林裕欽當時在參訪期間負責的表演，他微
與一般大學生相比，林裕欽似乎付出更多努
笑回答：「魔術，在網路看影片自己學的。」熱
力，不過對於這樣的觀點，他認為自己其實「沒
愛學習的他認為「書與線上影片是向大師學習最
有多做什麼事情，只是作了不同選擇。」這些不
同的選擇，帶給他非凡的經驗，帶領他走上獨特
的生涯道路。回首創業起點，他說：「從第一天
起，我就希望做一個世界級網路公司，在這個產
業，新加坡有Sea Group，南韓有Naver，台灣不
應該缺席。」

攜手打造台灣的品牌

今年四月，Dcard在日本推出國際版「Dtto」，
取名來自義大利文Detto與英文Ditto，代表找到有
共鳴的人與事物。公司規模從當初不到十人，擴
展到國內外超過兩百位員工，並在日本當地擁有
團隊，其中的關鍵與林裕欽的「習慣」有關。
無論在經營公司或生活管理，林裕欽表示：
「我想要的都不是達到一個目標，而是打造一個
『系統』。目標是一個月瘦下兩公斤，但系統
是養成每天運動的習慣。當看事情是從系統的角
度，就能長期維持，不容易中斷。」

（上圖）D c a r d影音團隊與台灣知名Yo u Tu b e r一起討論

Dcard熱門話題。（下圖）Dcard影音團隊到各大學訪問學
生對生活時事的看法。
(top) Dcard’s video team engages well-known Taiwanese
YouTubers in discussions about hot topics from the site.
(bottom) The team visits college campuses around Taiwan to
gauge students’ opinions on a variety of issues.

112
encouraged to speak up. The company has drawn on this
basic idea to create many activities and services, like
their eponymous YouTube channel, which discusses
topics of everyday concern to younger people in a re-
laxed and joyful atmosphere.
Working together to build Taiwan’s brand
This April, the first international iteration of Dcard
was launched in Japan under the name Dtto. This name
is taken from the Italian detto and its English cognate
ditto, representing the idea of finding people and things
that resonate with one another. The key to the compa-
ny’s expansion from a workforce of less than ten people
at the beginning to over 200 employees in Taiwan and
abroad, including a local team in Japan, has to do with
a habit of Kytu Lin’s.
Whether in business or in life, he says, “What I want is
not to achieve a goal, but to create a system. A ‘goal’ could
be losing two kilos in a month, but a ‘system’ would culti-
vate the habit of exercising every day. When you approach
things from a systemic perspective, they can be sustained
over time and won’t be easily interrupted.”
Dcard員工會在自己喜歡的辦公室位置完成任務，工作氛圍自
在。
The atmosphere at Dcard is relaxed and open, with staff hard at
work in their preferred locations around the office.
Since its earliest days, Dcard has emphasized user
privacy and the authenticity of its posts. In order to
maintain these principles, any unauthorized com­
mercial posts are handled by a dedicated team of
moderators. The sharing of real-life experience by users
has further enhanced the credibility of Dcard’s posts,
so that people will often add “Dcard” to their searches
online. As a result, even those who don’t use the site
itself are likely to come across and consult Dcard posts
in their searches for particular things. In Lin’s analysis,
“this means that people believe these posts have value,
which is why they’ll input this kind of search query.
Over time, Google is trained to just suggest ‘Dcard’
automatically after you type such and such a term and
a space into the search.”
113
D c a r d注重團隊成員的
成長，除了提供學習資
源，林裕欽也會各自與
員工對談，了解大家的
想法。
Dcard as a company is
focused on the growth of
its team members. Not only
do the staff have access
to educational resources,
they are regularly engaged
in discussions by CEO
Kytu Lin, who gives them
a chance to have their
ideas heard.

Dcard一開始就強調用戶的隱私與文章的真實 狀思維」，因為用過去的經驗、業績來推導未來
性，為了堅守這個價值觀，會主動處理站上未經 表現，所以容易侷限企業發展；而「餅型思維」
同意的業配文章，因此還有專人維護看板。用戶 強調「用未來推導現在」，去思考市場未來出現
真實的經驗分享，提升了文章的可信度，因此大 的機會，不自我設限，並加強目前不足之處，因
家在網路搜尋時，習慣於關鍵字後面加上Dcard， 此學習是成長關鍵。Dcard的公司文化就奠基在
讓原本沒有使用Dcard的人，在搜尋特定事物時， 「學習」，員工只要在群組提出想閱讀的書籍，
也常常看見Dcard的文章。林裕欽分析：「這表示 想參加的研討會，林裕欽都會在48小時內達成使
大家相信上面的文章有價值，所以很常這樣輸入 命，因為他相信這是對伙伴最負責任的作法。
搜尋，Google被訓練後，只要打上○○○，加上空 如同樂於分享的執行長，Dcard的同事們也在部
格，就會自動出現Dcard」。 落格平台Medium成立Dcard lab，公開創業一路上
喜歡學習的林裕欽，常在臉書分享閱讀心得， 遇到的瓶頸與解決方式，例如：透過量化研究，
從這些文章可以窺見Dcard成功發展的線索。在一 找出註冊頁面離開率高的原因，進而改善註冊流
篇關於「餅型思維」的文章中，提到常見的「柱 程，最後達成提升500%的註冊表現。其他文章還
包含各團隊的經驗分享、實習生的心得。對林裕
欽而言，他關注的不是競爭，而是用戶，因此團
隊不藏私地分享，同時也展現品牌的理念。
林裕欽擔任青年大使時，在加拿大看見一個
廣告，寫著「我們無法出口美景，但可以進口遊
客。」這段話清楚地存放在他腦海裡十年，在
這段期間，他創業，到各國探勘市場與創業家交
流，心裡有個聲音不斷增強：「台灣是一個需要
被打開的品牌，當有更多國際級的企業出現，世
界就會更認識台灣，而Dcard能作的，就是面向世
界，不斷擴大影響力。」 l

114
 Lin is an eager learner and often shares his reading
experience on Facebook. From these posts, you can get
an insight into the thinking behind Dcard’s success. In
a Medium post of his on “pie-chart thinking” versus
“line-chart thinking,” Lin mentions that the latter tends
to limit company development because it relies on past
experience and achievements to deduce future perfor-
mance, whereas pie-chart thinking emphasizes “using
the future to deduce the present,” which is to say think-
ing about future market opportunities rather than lim-
iting oneself, and using that visionary insight to bolster
areas of weakness in the present. As such, learning is key
to growth. Dcard’s company culture is based on learning.
Whenever employees propose a book they want to read
or a seminar they want to attend in their group chat, Lin
will get things sorted out within 48 hours because he
believes that this is the most responsible way to treat his
colleagues.
Like their eager-to-share CEO, Dcard’s employees are
also committed to transparency, disclosing problems and
solutions on the online publishing platform Medium as
Dcard Lab. For example, one post discusses how the com-
pany used quantitative research to determine the reasons
for the high rate of people leaving the registration page,
and then improve the registration process, ultimately
achieving a 500% increase in registration completion.
Other posts offer experience from various teams and tips
from interns. For Lin, his main concern is not commercial
competition, but his users, so Dcard shares information
openly in a demonstration of the philosophy of the brand.
During his college days, Lin was a youth ambassador
for the Ministry of Foreign Affairs, and while on a visit
to Canada he saw an advertisement that said, “If we can’t
export the scenery, we’ll import the tourists.” This quote
has stuck with him for the past decade. During this time
he has started his own business and visited various
countries to explore markets and meet other entrepre-
neurs, and throughout, a voice in his head has said, “Tai-
wan is a brand that needs to be opened up. When more
world-class companies emerge from here, the world will
get to know Taiwan better, and so what Dcard can do is
look to the world and keep expanding its influence.” l
(Tina Xie/photos courtesy of Dcard/
tr. by Geof Aberhart)

Dcard已經進軍香港與日本，未來有機會開拓更多市場，朝世界級網路公司邁進。
Dcard has already entered the international market via Hong Kong and Japan, and
continues to keep an eye out for opportunities to expand into other markets, moving
towards the goal of becoming a world-class online business.

115
多元族群　COMMUNITIES

江湖在走，法律要懂
法律白話文運動
We All Need Some Basic Legal Knowledge
—The Plain Law Movement
文•蘇晨瑜　圖•林格立　版面設計•王敬勛

《民法》中規定：「以日、星期、月或年定
期間者，起始日並不算入，並且以期間末日之終 T aiwan’s Civil Code provides: “If a period be
fixed by days, weeks, months, or years, the
first day shall be excluded from the calculation
止，為期間之終止。」
thereof, and said period shall expire at the end of
阿鬼，你還是說中文吧！！
the last day of the period.”
──〈法律白話文運動．冷到法抖專題〉 Whaaat? Convoluted enough for you?
—Daily Cold, Plain Law Movement
有人說，法律條文從來都是寫給懂法律的人看
的，很多人感到好奇，為何要把法律條文寫得那 Some people say that legal language was always
麼拗口，難道不能寫得白話一點，讓每個人都看 meant to be read by those with legal expertise. But
得懂嗎？ curious minds want to know: Why does it have to be
so impenetrable? Couldn’t laws be written in a more
懶人包一堆，誰才正確？ straightforward manner, so that anyone could read and
understand them?
這個問題，有一群法律人注意到了。
Explainers to the rescue?
2014年台灣爆發「太陽花學運」，當時《海峽 Many people within the legal profession have begun
兩岸服務貿易協議》（以下簡稱服貿）在立法院 to take an interest in this issue.
發生審查爭議，一時之間網路出現很多「服貿懶 As the Legislative Yuan began reviewing the Cross-
人包」，但網路上資訊混亂，眾說紛紜，到底是 Strait Service Trade Agreement (CSSTA) in 2014, stu-
真的在解釋服貿，還是在帶風向，一時之間大眾 dents took to the streets in the “Sunflower Movement”
to oppose ratification. Suddenly the Internet was
也搞不清楚。
awash with “CSSTA for dummies” packages crafted to
「當時網路上流傳的懶人包各有各的立場，有
familiar ize readers with the nuts and bolts of the issue.
的立場偏頗，結果最基礎的法律知識，民眾反而
But the result was a cacophony of conflicting interpreta­
接收不到。」「法律白話文運動」（以下簡稱「法 tions. Were these explainers giving straight-up facts, or
白」）站長、律師楊貴智聊起當時的創站因緣。 were they putting their own spin on things? The gen-
為了釐清服貿議題，楊貴智當時與好友開始在 eral public couldn’t tell one way or the other.
網路上撰寫服貿科普文，用大眾能夠理解的語彙 Yang Kuei-chih, an attorney and the founder of the

來解釋服貿，因為文筆流暢，打破法律文章總是 Plain Law Movement (PLM) website, explains what

prompted him to create the website in 2014: “Every
艱澀難懂的刻板印象，而漸漸受到矚目。
‘CSSTA for dummies’ package on the Internet had its

116
時常一句話突破「盲腸」，法白梗圖令人
捧腹大笑，卻也因此成功打破學習法律知
識的門檻。（擷自法律白話文網站）
Sometimes a bit of pithy wisdom can get
people to see the light. The Plain Law
Movement’s GIF memes do hit the funny
bone, but they also shake people out of
their reluctance to learn about the law.
(screenshots from PLM website)

117
 楊貴智邀請民主人權人士上「法
客電台」開講。該節目榮獲第
19屆新聞卓越獎「Podcast新聞
節目獎」。
Yang Kuei-chih invites democracy
and human rights activists to
speak on Plain Law Radio. The
podcast received a prize at the
2020 Excellent Journalism Awards.

學運熱潮褪去後，服貿科普文轉型為現在的 「法白」擅長說故事，為了「置入」法律知
「法白」網站，開始關注更多不同的社會議題。 識，把童話故事都搬出來。在IG上的「#童話法
從預防性羈押、核四到婚姻平權，文章刊出總 律毀滅你的童年」系列文章，「硬要」探討從小
是緊扣社會脈動，以淺顯易懂的文字跟上熱門時 耳熟能詳的故事裡有什麼法律問題。例如《白蛇
事，在社群媒體上掀起一股旋風。 傳》中法海為收服白蛇，白蛇一怒水漫金山寺，
「法白」之所以大受歡迎，在於團隊採用年輕 可就觸犯了「決水罪」；雷公正義感爆棚，沒看
人喜愛的語彙，降低了理解法律的門檻。原本枯 清楚就雷劈打死了孝順的五娘，結果觸犯「過失
燥乏味的法律條文經過「法白」包裝後，大家突 致死罪」等等。「當你認真起來，會令讀者覺
然覺得有趣受用，而且全都看得懂；之乎者也、 得更加趣味盎然。」操刀此系列文的廖伯威介紹
咬文嚼字的判決書，透過「法白」專家與FB小編 時，忍不住笑到前俯後仰。
的拆解，精彩程度竟堪比小說。
你沒注意到的「冷到法抖」
法官認證的台南人小確幸
楊貴智才是整個團隊中的冷面笑匠。他企劃過
今年四月中，一則〈法院認證？北部人不懂不 的法律知識專題〈冷到法抖〉，把難懂的法律知
要吵，鹹粥是台南人的小確幸〉文章在網路上瘋 識包裝成「冷知識」（意指有趣的小知識），例
傳。一名66歲的老翁下班後繞路去吃鹹粥早餐， 如訂婚時贈送的鑽戒，悔婚時可以取回來，但交
吃完後發生車禍，勞保局卻拒絕職業傷害醫療給 往時送的iPhone、名牌包可就拿不回來；總統府
付。老翁一氣之下把勞保局告上法院，沒想到法 裡其實裝著「總統」與「總統府」兩個政府機關
官判決老翁勝訴，等同法官認證吃鹹粥是台南人 等等……「大家會發現生活中很多你沒注意的地
的小確幸。 方，其實都牽涉法律的觀念，這是專題的趣味所
寫出這則瘋傳文的「法白」創意長廖伯威，談 在。」楊貴智解釋。
及此事忍不住哈哈大笑。「這是兩、三年前的判 「法白」除用社群媒體溝通，也邀請法律領域
決，我自己是覺得蠻瞎的。」廖伯威聽朋友提起 的專欄作家駐站，暢談各領域的法律觀點。為維
這則判決，心想怎麼可能？「有時法院會把當事 持文章品質，每則專欄文章都有編審團隊把關，
人的主張寫進去，但不一定會採納。」沒想到一 確保論述能夠擲地有聲。「法白」製作的節目
查判決書，竟然真是法官見解。 「法客電台」則以當下最流行的Podcast為媒介，

118
own take on things, and some were pretty off­the­wall.
The upshot was that ordinary citizens couldn’t get a
grasp of the legal basics.”
To shed light on the CSSTA issue, Yang and some
good friends started writing up explanatory texts on the
agreement and posting them to the Internet. Using lan-
guage understandable to non-experts, their lucid style
helped to dispel the longstanding notion that legal writ-
ings are not for the layman. Yang’s group began to attract
growing attention.
After the student movement faded away, the PLM web-
site gradually wrote less on the CSSTA and morphed into
today’s offering, which takes an interest in lots of other
social issues, such as preventive detention, the Fourth
Nuclear Power Plant, and marriage equality. Articles on
the PLM site are always very timely, and use accessible
language to lay out the facts on current events. PLM
makes waves in the social media world quite frequently.
PLM’s great popularity stems from its use of the lan-
guage of youth, which lowers the bar for understanding
the law. Once stuffy legalese has been repackaged by
PLM, people suddenly find it interesting, and completely
comprehensible. All the gag-inducing whence and
whereas wordings found in court judgments, lovingly
recrafted by PLM and Facebook content editors, are sud-
denly as readable as a novel.
Tainaners’ congee-gal rights
This past April, PLM posted an article entitled
“Court Has Spoken: Whether Northerners Like It or
Not, Tainan People Have a Right to Congee for Break-
fast.” The article went viral. A 66­year­old man finished
working a graveyard shift and took a roundabout path
to get a bowl of savory rice congee for breakfast on his
way home. After finishing breakfast he got into a traffic
accident, and filed with the Bureau of Labor Insurance
to receive compensation for an occupational injury. But
the bureau rejected the claim on the grounds that the
man had taken such a long detour that the crash didn’t
qualify as a work commute accident. The old fellow
sued the BLI and won a favorable judgment. In effect,
the court’s decision stood as recognition that the people
of Tainan have the right to savory congee for breakfast.
A storyteller par excellence, PLM goes so far as bor-
rowing from fairytales to work legal concepts into its
「太陽花運動」掀起法律論戰，讓楊貴智與法律界好友動
念做出「服貿科普文」網站，成為「法白」的前身。
（莊坤儒攝）
After the Sunflower Movement of 2014 sparked debate over
the legal aspects of the Cross-Strait Service Trade Agreement,
Yang Kuei-chih and friends from legal circles set up a website to
educate the public about the agreement. The site later morphed
into today’s Plain Law Movement. (photo by Kent Chuang)
119
邀請民主人權人士上節目開聊，節目同步在Apple 籤，叫做「#我也是看法白才知道」，他邊笑邊
Podcasts、Spotify等頻道播出，每集吸引兩到三萬 說：「反正跟時事有關的，其餘所有無法分類
人次下載，該節目並在2020年榮獲第19屆卓越新 的，全部都使用這個標籤。」
聞獎「Podcast新聞節目獎」。 「法白」團隊從上到下，幾乎全是年輕人，很
近年「法白」將部分專欄與文章陸續集結成 懂得操作時下年輕人喜愛的流行語與時事梗，從
冊，也與出版社合作新書，推出《臺灣法曆：法律 「在餐廳中大撒蟑有什麼問題嗎？」到「後悔改
歷史上的今天》、《江湖在走，法律要懂》、《召 名鮭魚，還有救嗎？」，展現超強的議題企劃能
喚法力》、《What the 法》等書，深受讀者歡迎。 力，有時手癢還會跳下去跟網軍筆戰。
「法白」從創團初期三、四人逐漸擴增到20幾 廖伯威觀察，「法白」在年輕人當中已深具
人，編制漸具規模，部分成員屬有給職，但這樣 影響力，「25∼30歲以下年輕族群如果想要接受
的團隊型態，要怎麼開闢財源呢？楊貴智幾經摸 法律有關的資訊，通常第一個都會想到我們。」
索後，大膽開始接受業配。「我們最近搭配鍋子 「法白」以淺顯易懂的文字普及法律知識，轉化
業者的案子就成效很不錯，講解因鍋子吵架的判 艱澀的法律條文與判決，的確在年輕人當中產生
決案例，最後賣出十幾只鍋子。」搭配Podcast串 廣大迴響。這幾年高中生報考法律系，面試時都
流的業配，彷彿電台賣膏藥再現，但比賣膏藥更 強調「自己有在看『法白』」，作為入學就讀的
潮、更有趣，而且再度置入法律的知識觀念，這 動機之一。
是法白不同於其他法律人的創新DNA。
提升全民法律素養
深耕年輕族群
這股由「法白」帶動的法律知識普及風潮，正
負責把網站資訊轉上社群的廖伯威，在系列 在網路上逐漸發酵，這剛好符合楊貴智法律教育
文章「#童話法律毀滅你的童年」、探討刑法名 向下扎根的初衷。「法律白話文的重點並不是要
詞的「#你今天犯罪了嗎？」及Podcast節目介紹 把法律文字變得口語或淺白，而是要引起大眾的
外，把賣鍋子這類「葉佩雯」特別下了一個標 興趣。」「法白」最在意的是基礎，因為民主、

「法律白話文運動」關注各項社會議題，希望普及法律的知識。
The Plain Law Movement focuses on a wide range of social issues
and works to bring the public up to speed on related legal matters.

120
reporting. In its Instagram series #A Fairy Tale Never
Told, PLM explores legal issues that come up in fairy-
tales that we’ve all known since childhood. In Legend
of the White Snake, for example, the white snake uses
her powers to flood Jinshan Temple and rescue the
one she loves, but in doing so she breaks the law by
endangering public safety. Then there is the legend of
hot­headed Leigong, the god of thunder, who in a fit of
pique kills an innocent woman, thus committing the
crime of negligent manslaughter. Chief creative officer
Liau Po-wei, who is in charge of this series, explains:
“When you get serious about what you’re up to, readers
are going to find it a lot more entertaining.”
The unnoticed Daily Cold
Daily Cold, a daily legal literacy column once man-
aged by Yang Kuei-chih, presents knotty legal issues in
a series it calls Bizarre and Insane Laws You Should Know
About. For example, someone who gives an engagement
ring and then backs out of the proposed marriage can
ask to get the ring back, but cannot ask for the return
of an iPhone or name-brand purse given during the
courtship. Says Yang: “A lot of everyday things that
we don’t much notice actually have legal implications.
That’s what makes Daily Cold so interesting.”
In addition to communicating via social media, PLM
also hires legal experts as contributing bloggers. The
website has an editing team to ensure high-quality con-
tent. PLM produces a legal affairs podcast called Plain
Law Radio. Democracy and human rights activists from
Taiwan are invited to speak on the programs, which are
streamed via Apple Podcasts and Spotify and attract
some 20–30,000 listeners per show. The show received
a prize in the podcast category at the 2020 Excellent
Journal ism Awards.
Young target audience
Liau Po-wei is responsible for getting PLM website
「法律白話文運動」以詼諧風趣的方式解讀法律。
專欄及網站文字最後出版成書，深獲讀者好評。
The Plain Law Movement takes a humorous approach
in explaining the law. Content from its website has
been published in book form to rave reviews.
content onto social media. In addition to the Instagram
series #A Fairy Tale Never Told, he also administers a se-
ries called #Everyday Things You Didn’t Know Were Crimi-
nal, introduces the podcasts, and handles another series
named #Never Would Have Known but for the PLM Report,
which was specially created as a “home” for one­off top-
ics that defy categorization. Liau chuckles: “All that other
miscellaneous current affairs stuff gets hit with this tag.”
Virtually everyone on the PLM team is young and
quite familiar with the expressions and memes that
are popular among youth. The discussion topics they
come up with (such as “Is there a problem with releas-
ing a bunch of cockroaches in a restaurant?” or “If you
changed your name to ‘Salmon’ and now regret it, is
there anything you can do?”) always elicit a huge re-
sponse, and sometimes the team members get directly
involved in the online chats they’ve started up.
Liau Po­wei has noticed that PLM has a lot of influ-
ence with youth: “When people younger than 25–30
years old want to find out about some legal issue or
other, we are the first information source that comes to
mind.”
Boosting legal literacy
This PLM-led move toward better legal literacy is
currently bearing fruit on the Internet, and dovetails
nicely with the idea that Yang Kuei-chih had in mind
when he first founded the Plain Law Movement: “The
point of PLM isn’t to simplify legal language. The point
is to get people interested in the law.” What PLM cares
most about is the fundamentals, because if people don’t
121
 「法白」成員非常年輕，青春熱血投入法
律推廣運動，深受年輕人喜愛。
Plain Law Movement members are very
young. They throw themselves enthusiastically
into their work to promote legal literacy, and
the movement is wildly popular with youth.

法治、人權等觀念如果不成熟，很難期待這個社 have a mature understanding of democracy, the rule of

會會往更好的方向前進。 law, and human rights, then it’s hard to expect our so-
ciety to progress in the direction of something better.
「我們會希望民眾去關心法律，去關心這個
Says Yang: “We want people to care about the law,
社會，因為這個社會的運作是建立在法律制度之
and to care about society, because we depend on the
上。」楊貴智說。
legal system to run our society.”
既然如此，何不讓法律本身就白話一點呢？ Yang and his partners feel that Taiwan still doesn’t
「法律的文字必須追求精確，因為它會影響很多 properly appreciate the importance of legal education.
人的權利義務。」楊貴智坦言自己在寫正式文書 In pushing the Plain Law Movement, their hope is that
時，使用的文字也會比較古典感，「畢竟這是正 members of the general public will come to understand
式的文書，用語必須莊嚴，這也代表律師、法官 the value of legal knowledge, and will become better
versed in the subject. Therein lies the value and signifi-
與檢察官有認真對待你的案件。」
cance of PLM.
楊貴智與夥伴認為台灣還不夠重視法律教育，
There’s no saying whether the legal knowledge peo-
力推法律白話文，期盼讓民眾理解法律知識的價 ple pick up thanks to PLM’s efforts will ever actually
值，提升法律的素養。這是「法白」的價值與意 come in handy, but a person does need to make use of
義所在。 the law from time to time, and when the need arises,
這些法律知識不見得有朝一日能派上用場， PLM is the best gateway for leading an individual to-
但是總有一天人們會需要用到法律，而「法 ward a better understanding of the law and a greater

白」便是民眾了解法律，關心社會制度最好的 concern for social systems. l

(Sharleen Su/photos by Jimmy Lin/tr. by David Mayer)
入門磚。 l

122
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