後冷戰時期文化的彈性資本積累：從台灣通俗文化工作者瓊瑤的創作軌跡談起

Cultural Flexible Accumulation Across the Taiwan Strait in the Post-Cold War Period: The Creative Trajectory of Taiwan's Popular Cultural Writer Chiungyao

海峽兩岸的通俗文化交流一直到1980年代後期冷戰結束後，才因台灣通俗文化商品進入中國大陸而開始，其中言情作家瓊瑤的影響力不容忽視。瓊瑤除了言情小說在兩岸暢銷數十年之外，更首開兩岸電視合拍戲劇，並與她故鄉中國湖南的電視產業發展緊密相連。她也適時將台灣的電視通俗文化引介至大陸，影響中國電視在產業商業化進程中的面貌，並運用其華人離散族裔的特殊身份，在兩岸的文化產業中從事彈性的資本積累。檢視瓊瑤的創作軌跡，不難看出她如何利用後冷戰時期的特殊時代脈絡以及文化產業的運作邏輯，以建立她跨足兩岸的通俗文化產業。

Only after 1980s when the Cold War period ended, the popular cultural production started exchanging across the Taiwan Strait. During the post-Cold War era, Chiungyao, a popular novelist, was an influential figure. She not only had already been an established romance writer as well as film maker and TV drama producer in Taiwan, but also became the first TV producer who emboldened other Taiwan TV producers by accomplishing a historical cross-strait TV co-production project. This ambitious move opened the door of cross-strait co-productions. Through these popular cultural exchanges, Chiungyao helped to introduce Taiwanese TV culture to China's unfledged TV industry. Chiungyao also utilized her Chinese diaspora identity to help her hometown Hunan TV industry growing into a robust player in today China's TV landscape. Chiungyao realized how to utilize resources in the cultural industry to build her unique 'author position.' This paper primarily argues that Chiungyao's creative trajectory deserves more serious analyses, thus we will be able to learn much more about the cultural flexible accumulation practices in the post-Cold War Taiwan and China.