月亮是外國的圓？以皮耶．布迪厄觀點分析品味與資本對本國藝文參與之影響

Is the grass always greener on the other side of the fence? An analysis of the impacts of taste and capital upon cultural participation from the perspective of Pierre Bourdieu

立基於皮耶‧布迪厄（Pierre Bourdieu, 1930-2002）的文化區異觀點，本研究以大高雄地區電話問卷調查為基礎，實證檢驗資本與品味對本國藝文參與和支持的影響，探索既有的經濟與文化優勢如何透過本國藝文參與或不參與而得以展現，希望凸顯土洋美學區異的階級權力運作面向。統計結果發現，具備文化與社會資本不致於阻礙高雄民眾過去或未來的本國藝文參與，易懂與實用品味加上過去接觸本國藝文的正面經驗還能發揮中介作用，強化下一波本國藝文的參與。反倒是高收入與年輕族群不太接觸本國藝文、對本國藝文之正面評價不高、未來也不太會以行動支持本國藝文。

Focusing upon the impacts of capital and taste, this study uses the case of Kaohsiung to explore into the distinction regarding the cultural participation of the local and the foreign art works. Data have been collected through a city-wide telephone random survey and analyzed from the perspective of Pierre Bourdieu to sort out the causes and consequences of cultural participation. Statistic analyses show that, to some extent, the local/foreign cultural distinction has been the result of the symbolic violence of class power. High cultural and social capitals, according to regression analyses, defer neither participation nor support of local art works, whereas both practical taste and positive participatory experience have further encouraged future engagement with local cultural activities. However, those who reject local art works tend to be richer and younger. For them, distinction works with the discrimination against local culture, and the outcomes of their non-participation in return have led to certain kinds of class reproduction, which might be detrimental to the development of local cultural industries.