八○年代，台灣文化出版界湧起一陣文學已被商品化的譴責之聲。談論文學商品化現象的人士甚多，可是卻少有人詳陳其概念內涵，更遑論深入舉證具體剖析。由文學商品化論述的興起所引發的種種疑惑，乃是促成本論文的研究動機。簡言之，本論文試圖回答以下研究問題：一、究竟什麼是文學商品化？其在學術上的理論淵源為何？為什麼會產生商品化這種現象？而這種現象真的始自八○年代嗎？二、被商品化的文學究竟是嚴肅文學還是通俗文學，亦或二者？

　　本研究分為二部分來解答上述問題：第一部分是文學商品化概念的理論探討與歷史實證研究，本部分的研究先由理論探討中抽繹出文學商品化現象的觀察層面，再依據理論的啟示從歷史縱剖面（五○~八○年代）來實際探討該現象濫觴之年代以及發崛其可能之形成（或未形成）原因。第二部分探究第二個研究問題。這一部分的研究乃是以九○年代的台灣社會為橫切面，從中揀選出最具代表性的嚴肅及通俗文學出版社（分別是洪範與皇冠兩家出版社），然後根據前一階段中所探討之商品化概念，去檢測九○年代文學出版事業是否有被商品化的現象。

　　研究結果扼要簡述如下：

　　從理論探訪中得知：商品化是伴隨現代他工業發展而來的一個現象，面文學商品他應走在工業經濟發展成熟之後才會產生的現象。文學商品化簡言之就是文學成為資本家牟利的工具，作品存在的意義是以交換價值而非美學價值來衡量。文化產品逐漸如同工業產品一般，必須不斷地被產出、交換為資本家積累財富。文學商品他封藝街創作領域造成的最大傷害便是－－讓異化現象在文化領域中出現。此外，商品他現象令論者關切的焦點是人的自主性，或者說是在資本主義社會中消費者自主性的問題。綜合上述，我們在實際研究文學商品化現象時，觀察的局面當放在文學產銷過程中，究竟有沒有造成文學創作者與消費者自主性逐漸淪喪的問題。

　　隨者資本主義經濟體制在台灣社會的深化，文學商品他現象確實有愈來愈盛行的趨向。七○年代時商品化現象僅發生在文學翻譯領域中，到了八○年代創作領域開始受到侵害，八○年代以後，依循出版企劃目標而生產的文學集體創作有增加的趨勢，作者在有限的自主權束縛下，連創作意念的表達亦顯得支離破碎。九○年代之後商品他的情形更加普遍流行。就目前來說，文學商品他現象封傳統藝術創作理念所造成的傷害應是遠遠地超過對文學消費者自主性的危害。

　　至於嚴肅及通俗文學被商品化的課題，研究結果顯示，皇冠出版社在文學生產方面確有較多商品化市場導向的作品，雖然洪範的出版計劃並非完全無視於市場需求的存在，可是它絕對遵循文人創作者導向的原則，不會為了牟利將理性化作法帶入藝術創作領域中，這一點就是洪範與皇冠最大的差別，至於在銷售模式上，皇冠與洪範倒是相去不遠。

　　九○年代的台灣社會已進入消費社會階段，文學商品化現象似乎是難以避免的趨勢。面對這樣的情勢，如何在當今社會中建立其他文學出版傳播途徑彌補市場機制之不足將成為迫切須要解決的問題。

In the 1980s, many cultural elites consented to the view-point that "literary commodification" phenomenon was very pre-valent. This phenomenon was often discussed, but the "literary commodification" concept was seldom clarified. The main purpose of this thesis is to explore the following questions: (1) What is "literary commodification"? Why does the phenomenon take place? When did the phenomenon originate in Taiwan? (2) Is serious/popular literature commodified?

　　In order to answer questions mentioned above, this research is divided into two parts and each tries to answer one of those questions. The first part includes the theoretical exploration and historical empirical research of the "literary commodifi-cation" concept. The second studies the production and distri-bution of publishing firms of serious/popular literature.

　　The important results of this thesis are as follows:

　　"Literary commodification", simply speaking, is that literature becomes a profitable tool controlled by capitalists. Literary works are measured by exchange value, not aesthetic value. Cultural works are gradually like industrial products. Capital -ists accumulate wealth by producing and exchanging those cultural products continuously. When capitalist economical development is getting mature in Taiwan, "literary commodifi-cation" phenomenon is getting prevalent. In the 1970s, "liter-ary commodification" phenomenon took place only in literary translation field. After the 1980s, there are more and more market-oriented works designed by publishing firms. The authors of those works must conform to publishing firms' requirements. Under these circumstances, artists' autonomy is infringed seri-ously. "Literary commodification" phenomenon is getting worse in the 1990s. The results of the second part indicates that " literary commodification" mainly happens in popular literature field.

　　In the 1990s, Taiwan has become a consumer society in which commodification will be an inevitable tendency. "Literary co-mmodification" may make literary works more homogeneous in the book market, so how to establish other literary communication chaanel except market will be an urgent issue.