中文摘要
重寫與同質化:小紅帽、文化與文化產業
本文以小紅帽的故事為核心，探討其從中世紀歐洲的口述傳統到當代影視
與文創產業的改寫歷程，並由此揭示文化商業化與敘事同質化的運作邏輯。透
過法蘭克福學派對文化產業的批判、傅柯對知識與權力機制的分析、巴特對神
話符號的拆解以及鮑德里亞對擬像社會的診斷，本文指出小紅帽中的紅斗篷從
未以其原始形態存在，而是在文本和視覺再現中逐漸被塑造成一種全球化的文
化商品，最終淪為一個具有高辨識度卻去語境化的視覺符號。
本文分為三章。第一章追溯小紅帽故事的起源，從口述版本中的女性成長 儀式與家庭記憶，到佩羅的道德寓言和格林兄弟的家庭倫理教育改寫，揭示女 性主體性和母系敘事如何逐漸被男性權力所剝奪和取代。第二章分析當代消費 文化中商業化的小紅帽形象。紅色斗篷在時尚、動畫和廣告中成為視覺品牌， 女性角色表面上被強化，卻常常淪為觀看的對象。本文透過安琪拉卡特在《染 血之室與其他故事 》中的改寫如《狼人》《狼女愛麗絲》《與狼為伴》，比較當 代商業改編如何去主體化，而卡特則重構了女性觀看與敘事的位置，展現了抵 製商品同質化的可能性。第三章聚焦於文化與文創商品的矛盾關係，指出在全 球化和政策的推動下，文化不再是歷史記憶的延續，而是被量化、管理和輸出 的創意資源庫。紅色斗篷成為這結構中的典型案例。
筆者認為，儘管文化商品化有其不可避免的現實性，但透過批判性思考和 創作實踐，藝術文化在商業體系中仍可能保留其社會批判性和敘事深度。 《小 紅帽》中的紅斗篷尚未走到盡頭，其意義仍可在改寫、觀看和市場之間被重新
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召喚和轉化。最終，本文不僅為童話的重新解讀提供了文化理論視角，也試圖
指出文化批判與市場邏輯可能共存的辯證空間。

ABSTRACT
Rewritings and Homogeneity in Little Red Riding Hood
This paper takes the story of Little Red Riding Hood as the core, explores its rewriting process from the oral tradition in medieval Europe to the contemporary media industries and cultural industries, and uses this to reveal the operating logic of cultural commercialization and narrative homogenization. Through the Frankfurt School’s criticism of the cultural industry, Foucault’s analysis of the knowledge and power mechanism, Barthes’s dismantling of mythological symbols, and Baudrillard’s diagnosis of the simulacrum society, this paper points out that the red cloak in Little Red Riding Hood has never existed in its original form, but has gradually been shaped into a globalized cultural commodity in text and visual reproduction, and finally reduced to a highly recognizable but decontextualized visual symbol.
This thesis is separate into three chapters. The first chapter traces the origin of the story of Little Red Riding Hood, from the female growth rituals and family memories in the oral version, through Perrault’s moral allegory and the Brothers Grimm’ family ethics education rewriting, revealing how female subjectivity and matriarchal narratives are gradually deprived and replaced by adult male. The second chapter analyzes the commercialized image of Little Red Riding Hood in contemporary consumer culture. The red cloak has become a visual brand in fashion, animation and advertising, and the female role is superficially strengthened but often reduced to an object of viewing. Through Angela Carter’s rewriting in The Bloody Chamber and Other Stories — “The Werewolf”, “Wolf-Alice” and “The Company of Wolves”, this thesis compares how contemporary commercial adaptations de- subjectify, while Carter reconstructs the position of female viewing and narrative, showing the possibility of resisting commodity homogeneity. Chapter three focuses on
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the contradictory relationship between culture and cultural and creative commodities, pointing out that under the promotion of globalization and policies, culture is no longer a continuation of historical memory, but a creative resource library that is quantified, managed and exported. The red cloak becomes a typical case in this structure.
This paper argues that although cultural commodification has its inevitable reality, through critical thinking and creative practice, art and culture may still retain their social criticality and narrative depth in the commercial system. The red cloak in Little Red Riding Hood has not yet reached its end, and its meaning can still be re- summoned and transformed between rewriting, viewing and the market. In the end, this paper not only provides a cultural theoretical perspective for the reinterpretation of fairy tales, but also attempts to point out the dialectical space where cultural criticism and market logic may coexist.

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