本文以2004年《文訊》雜誌所列1983-2003年台灣文學出版市場30本舊書重印書單為對象，根據布爾迪厄(Pierre Bourdieu)場域理論，兼及文化研究相關論述，探討舊書重印現象下隱藏的的權力關係，和文學傳播過程中參與者（特別是作者／出版者／讀者）在其中佔有的權力位置。 此外，本文也分析舊書重印現象背後複雜的出版情境及其隱含的力場互動，透過30本書單，爬梳作者／作品與出版／市場的權力挪移，指出此一現象具有經典再塑(canon reformation)的功能與意義。 本文認爲文學出版市場舊書重印現象，可用「出土重生」來解釋。無論此一再版重印是來自文學場域典範的再塑，或是源於舊情的緬懷，都意味這些書籍與當代社會感覺結構及其共同性的趨同，因此受到大眾社會與文化工業的重視，猶如火中鳳凰，既象徵文本的又一次翻轉，也象徵文學場域的重生－而掌有最終權力者厥爲讀者大眾。

Based on Wenhsun Magazine's (文訊雜誌) 2004 reprint of thirty books published between 1983 and 2003, this paper discusses the power relations in the reprinting phenomenon and the power positions among the participants, especially among writers, publishers and readers, in the process of literary communication. The major theoretical approach used in this paper is that of ”champs” by Pierre Bourdieu. This paper analyzes the complicated publishing situation behind the reprinting phenomenon and its implied interaction of power champs. Examining the thirty reprinted books, I discuss the shifting power between writers/works and publishers/market and point out that the reprinting phenomenon functions as a ”canon reformation.” This paper considers the reprinting phenomenon as ”excavated and reborn.” The reprint may be caused by an attempt to reform the literary canon or simply by a sense of nostalgia; nevertheless, it indicates that the reprinted books shed light on the structure of feeling in a contemporary society. Emphasizing the importance of the reprinted books by the society and its culture industry represents a rebirth of the power champs in literature. And the power is in the hand of the general readership.