黃淑鈴

Shuling Huang

論述、敘事、電視劇、認同、多元文化主義、海洋國家

discourse, narrative, TV drama, identity, multiculturalism, maritime nation

近年來「讓世界看見台灣」成為各領域的熱門詞彙，較少被注意到
的是台劇的角色。本文將《斯卡羅》與《茶金》視為台劇邁向國際的期
待下，凝聚國族認同並行銷台灣品牌的代表性文本，透過文化取向的
敘事分析探討其產製條件、國族性的再現及敘事策略。本文在國家文
化工程、文化國族主義與影視跨國化交織的脈絡下，審視這兩個文本
的論述形構，論證它們如何透過「多元文化主義」與「海洋國家」的敘
事來展示台灣，同時探討其論述建構的局限。

In recent years, the phrase “Let the world see Taiwan” has gained
popularity across various domains in Taiwan, yet the role played by
Taiwanese TV dramas has received less attention. This article uses Seqalu:
Formosa 1867 and Gold Leaf as case studies, viewing them as works that
consolidate national identity and showcase Taiwan's representative
characteristics, with the expectation of their potential to go global. Adopting
the cultural approach to narrative analysis, I analyze their production
conditions, representations of Taiwaneseness, and narrative strategies. By
examining these two texts' discursive formation within the interconnected
contexts of state-led cultural engineering, the participation of cultural
nationalists, and the transnationalization of television, I argue that they
employ the discourses of multiculturalism and maritime nation to highlight
Taiwan's unique features. I also reveal the limits of these discursive
constructions.