本論文發現，遺體會因為其生前的物理特性(身高、體重等)和社會特性(性別、社會身分等)，以及死後的物理變化與文化意涵，共同形成遺體的「能動性」，且在與網絡中的人類和非人行動者互動中於「人」與「物」之間飄移。本論文指出，既有研究以Erving Goffman劇場理論來劃分喪禮前台(front stage)與後台(back stage)之觀點，其反映正是遺體在「人」與「物」之間不斷飄移的特性，遺體在喪葬各儀式前台呈現出為「人」，常常即是需要在不同後台以「物」的方式來處理。殯葬工作者必須與遺體及技術物順利連結才能成功劃分出喪禮的前台與後台，倘若遺體能動性造成過於強力的「抵抗」，或是其他人類或非人行動者無法配合，則這樣的前後台劃分網絡將會失敗。因此藉由專業訓練和實際操作來讓從業人員掌握遺體能動特性，也是喪葬流程前後台區分可以順利完成的關鍵。
論文外文摘要：
Basing on Actor-Network Theory (ANT), the research discusses the salient role that corpses play in the funerals. Depending on various social contexts and situations, the corpses exerts its “agency” to interact with other actants (both humans and non-humans) to yield and thus construct its multi-subjectivities and corpses itself constantly switches between human and a lifeless body. This research gathers data and materials through In-depth interviews and participant observations. On the one hand, through the conversations with the workers in the funeral industry, I reveal their daily tasks, the strategies employed during their work, and the motivations and purposes of their actions. On the other hand, in 2018, I went to research fields such as the Taipei Funeral Parlor, the mortuary, the autopsy center, and the cosmetizing room to observe how they define and redefine the corpses by the interacting with them and with the technical objects. Through the frequent interactions with various and heterogeneous actants, I argue that social actors assign meanings to the corpses while it is also possible that they confront the resistances from the corpses.
In short, our society is not only formed by human actors, but also the non-human actants, taking corpses’ agency and funeral industry as my case, human actors’ s willing is not the only factor determines their work. This research makes efforts to suggest that there is not just one perspective to see the
