臺灣博碩士論文加值系統

噗浪角色扮演為一種社交媒體的角色扮演活動，扮演者多數具備迷的身分，透過書寫和互動的方式扮演既有作品裡的角色，以個人或團體為單位活動於噗浪場域中。社交媒體擁有非語言線索的過濾背景與互動環境，使得迷的扮演由物理進入虛擬，由獨白轉為集體，迷與角色、社群間的關係因而產生改變。

本研究以二次創作類型的噗浪角色扮演為研究對象，修改Davisson & Booth提出的投射性互動模式作為研究框架，將迷的個人實踐、心理認同、團體互動三面向納於噗浪平台下討論，透過原始文本/噗浪文本的戲劇五因分析比較與深度訪談，理出噗浪角色扮演者與角色、社群、媒體及自我的互動路徑，歸納扮演者經由互動路徑所投射出的認同特質，對迷群、社群的傳統研究觀點提出再思考。

研究發現，噗浪角色扮演者各異的構成動機，搖撼了共同興趣作為虛擬社群單一入口的觀點，同時團體成員間擁有去抑的衝突行為及牢固的團體規範，存在對虛擬社群和諧迷思與鬆散社會協議的破除；與角色互動方面，扮演者試圖強化或增添角色感性、缺陷的性格特徵，又或是重整時序，讓角色自原始文本的傷害中暫獲自由，以回應個人及社群的期望；然而另一方面，期望的滿足卻可能觸發互動夥伴的自我投射，使扮演者與扮演者間發展出浪漫關係；與媒體互動方面，噗浪既提供扮演者社會線索及文本管理的高度自主性，亦有效的阻遏社交媒體的情境崩解，滿足噗浪角色扮演者對於「隱密狂歡」的追求。

從研究結果可以看見，投射性互動模式以迷的「互動」補足「盜獵」觀，以「投射」補足「產製」觀，使迷群研究的關懷獲得行為層次的超脫，突顯迷群實踐所面臨的掙扎與侵擾，彰顯迷群文化建構過程中、千迴百轉的投射之旅。未來研究亦可探討其他社交媒體如Facebook的角色扮演，拓展此類實踐的新視野。

Plurk roleplay is a kind of role playing activity on the social media platform. Most of the Plurk roleplayers are fans, who engage the text-based role playing independently or with other roleplay group members. Due to the interacting nature and the absence of nonverbal cues, social media platform has changed the relationships between fans and characters, and between fans and community. In other words, Plurk has transformed fans’ play from physical to virtual, and from monologue to collaboration.

In this thesis, a revised projected interactivity model proposed by Davisson & Booth is adopted as the research framework. By discussing individual practice, projective identity, and group interaction in Plurk, this thesis aims to understand the interactions between Plurk roleplayers/characters, Plurk roleplayers/communities, Plurk roleplayers/media, and the characteristics of projective identity.

Three results are found in this thesis. First, Plurk roleplayers enter roleplay groups based on different motivations, which challenges the perspective that the “shared interest” is the single entry of virtual community. Disinhibited behaviors and solid group norms in roleplay groups also shake the ideas about “social harmony” and “informal social contracts” in virtual community. Second, Plurk roleplayers choose to change timeline and develop characters’ emotional characteristics or flaws in order to release characters from the damages of source texts or to meet the community expectation. However, meeting others’ expectation might lead to solipsistic introjections and hallucination of roleplay partners. Last, Plurk not only provides roleplayers high autonomy to manage their social interactions and texts, but also helps roleplayers to avoid collapsed context. That is, Plurk fulfills roleplayers’ need of a “secret carnival”, which is also the need of fans.

By using the terms “interact” and “project”, fans study gains a new possibility to move beyond the perspectives of “poach” and “produce.” This is because “interact” and “project” could reveal the struggling, winding journey between fans and characters/communities/media inside fans’ psychological world.

中文摘要 i
ABSTRACT ii
誌謝 iii
目錄 iv
表目錄 vii
圖目錄 viii

第壹章、緒論 1
第一節 從類比到數位、有衣裝到無衣裝的角色扮演 1
第二節 橡皮泥的協力搓揉：從獨白式到集體式的迷群書寫 3

第貳章、文獻探討 6
第一節 社交媒體平台中「語言式角色扮演」之現象與定義生成 6
一、讓角色來衝浪：「噗浪角色扮演」的現象探究 6
二、噗浪扮演你、我、他：語言式角色扮演的定義生成 10
三、國外語言式角色扮演的相關現象與研究 21
第二節 語言式角色扮演的主角：迷 25
一、前數位時代的文本盜獵者 25
二、迷群2.0：從主動閱聽人「文本盜獵」 27
三、迷群社群在社交媒體：虛擬社群 31
第三節 語言式角色扮演的行動：電腦中介的書寫與互動 36
一、書寫：角色扮演的限制、解放與自我投射 36
二、互動：社會線索的互動與認同生成 42
第四節 角色扮演的第三認同：Amber Davisson & Paul Booth的投射性互動模式 48
一、角色扮演的出發：突破第四道牆的擬社會互動 48
二、角色與扮演者互動而成的身分認同：投射性認同 50
三、尋找迷群於新媒體的第三認同：投射性互動模式 52
四、投射性互動模式應用於噗浪角色扮演的限制與調整 54
第五節 研究問題 57

第參章、研究方法 58
第一節 研究架構 58
第二節 深度訪談的設計與執行 59
第三節 文本分析：漫畫作品《銀魂》與噗浪文本的戲劇五因分析 61

第肆章、資料分析 62
第一節 扮演者與團體 62
一、初入戲班：愛或不愛「他」──社交媒體中動機各異的戲子們 62
二、戲班共識與協作：從戲班班規到登台出演 68
三、暗潮洶湧的戲班後台：排練衝突、同性愛情節的去留、自殘與網路霸凌 77
四、小結：從「鬆」、「綁」關係看噗浪角色團的「破」與「立」 81
第二節 原始文本與噗浪文本：《銀魂》文本的戲劇五因分析比較 83
一、昔日同窗戰袍情 今日割袍兵戎見vs.狹路相逢閒話小酌 83
二、昔日壓抑兒女情 今日再逢卻死別vs.舊情回憶彼此依偎 89
三、小結：以目的為主導的原始文本vs.以行動者為主導的噗浪文本 95
第三節 扮演者的投射性認同特質 96
一、性格之變：情誼的延續與溢現的溫柔 96
二、時序之變：幸福永恆的彌賽亞時間 98
三、戲子之變：同性之愛的假戲真作──少女Victoria的煩惱 100
四、小結：虛擬戲子不完美的投射性認同到理想的自我投射之路 103
第四節 扮演者與噗浪功能 105
一、社會線索的互動 105
二、情境崩解的防堵 107
三、小結：隱密的狂歡──迷群扮演者對互動功能與社交隱私的追求 110

第伍章、研究結論與建議 112
第一節 研究結論 112
一、社群從何而來？從噗浪角色扮演的社群觀對虛擬社群再思考 112
二、迷的互動與投射：從噗浪角色扮演的研究框架對迷群研究再思考 115
第二節 研究限制與未來建議 118

參考文獻 119

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