本研究以巴黎甜點美食觀光為例，從其根源著手，探究巴黎甜點觀光地景的生成，又巴黎甜點文化如何經過全球位移而東傳台灣，而台灣的文化導覽中介建構出什麼樣貌的巴黎甜點觀光場域，使台灣甜點觀光客帶著巴黎甜點意象，滿懷憧憬地穿梭於巴黎大街小巷，一親芳澤，研究最後藉由訪談台灣赴巴黎的甜點觀光客，從符號蒐集、儀式秀異、感官記憶三個面向分析其積累的消費實踐以完整「憶」猶「味」境的甜點觀光朝聖。
　　本研究借重Pierre Bourdieu的場域與消費秀異理論，探討巴黎甜點美食觀光的地景生成、文化中介與消費實踐。研究方法以論述分析為主，其資料來自歷史文獻、導覽書、深度訪談以及巴黎甜點地景的田野調查與甜點店銷售實習的工作觀察。
　　論文重心在於：一、以「文化生產場域」的概念論述法國甜點與甜點店在其歷史脈絡中受到實作家與美食家賦予飲食美學化的位置，以及作為制衡感官邏輯、社會階級要角的象徵權力，並指出法國甜點美食場域與文學、美感、時尚場域的構聯。二、以「文化中介」的概念說明法國甜點藉由日本殖民治台時期西化政策的特殊中介讓傳散的歷史路徑與感官想像得以在台灣呈現，爾後再藉由台灣出版的巴黎甜點觀光導覽書作為巴黎甜點在台灣的象徵符號生成與意識形態建構。三、藉由甜點觀光中的消費實踐形成品味劃分的社會格調，展現「品味秀異」的另類觀光。本研究聚焦在甜點消費是奢侈與美感品味這類象徵符碼的蒐集、有意識地擬仿法國社會共享的甜點品嚐儀式，以及紀念物蒐集、影像紀錄、味覺細描所共組的特定甜點觀光記憶，堆疊出與其他觀光客產生文化距離的秀異品味。

　　Take pâtisserie tourism in Paris as a case study, this research is to explore its destination-making, to study how it is transferred from France to Taiwan by intermediate guiding systems and, by interviewing Taiwanese tourists, to analyze the consumption practices of symbol-collecting, distinctive performances and sensory experiences.
　　Using Pierre Bourdieu’s “field” & “distinction in consumption” theory, the research studies destination-making, cultural intermediaries and consumption practices in the field of gastronomic tourism, focused on Parisian pâtisseries. Research method is based on discourse analysis about historical documents, guidebooks and in-depth interviews. Field records during the fieldwork and the internship about sales and client services in the pâtisserie Carl Marletti in Paris are analyzed.
　　The emphasis on the research is as followed. First, it describes how French pâtisseries (both desserts and shops) are anchored as the role of aestheticization in the field of cultural production by practitioners, gourmets and intellectuals under the historical context. This makes French pâtisseries symbolic powers to standardize sensory logic and to pinpoint social classes. Furthermore, gastronomic field is connected to the field of literary, aesthetics and media on fashion. Second, historical route and sensory imagination about French pâtisseries are introduced to early Taiwanese by means of Japanese colonial development policy, cultural westernization, in Taiwan. Also, the guide books of Parisian pâtisseries, written by Taiwanese travelers, are considered cultural intermediaries and the discourses inside are analyzed as the production of symbols and ideologies. Third, it analyzes the tourists’ consumption practices of photo-taking, souvenir-collecting, performances, as well as sensory description to demonstrate the concept of “distinction in taste” in pâtisserie tourism as alternative tourism.

中文
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