臺灣博碩士論文加值系統

戲仿，又稱諧仿或諧擬，是在自己的作品對其他作品進行借用，以達到調侃、嘲諷甚至致敬的目的。「諧擬」仍然是一種模擬，但卻因為語言的嬉戲而詼諧。「諧擬」不是「再現」，諧擬的再書寫必須以被模仿的客體逼真度為基礎，與模擬的客體虛中有實，但仍解構了被模仿的客體的原型。
文學史上，諧擬始終不受文人與評論家重視和青睞，因為它屬於一種嬉鬧的遊戲行徑，顛覆傳統的幽默態度。在後現代（Postmodernism）文本中，常見源自各種經典文本的典故、角色，被以諧擬的方式重新刻劃，利用諧音、文字遊戲、情節顛覆的方式，兼有模仿（imitation）加反諷（irony）的意味。也就是說，戲仿非但與原典有互文性，更進一步為其重塑再造。

戲仿作為一個影像藝術手法涵蓋了視覺，廣告、攝影、電影等…，它反映了作者的思想以及型態，而最終經由媒體的傳播而出現了不少的結果。本文探討反諷影像的本質，以及各種反諷手法的衍生，如再次創作，以及最終落實於現實的社會運動、或是社會流行。在本研究中針對三件發生於2013暑假的事件作為主題（洪仲丘、核四公投、大埔事件）之被傳播對象(觀眾)進行研究，了解觀眾對於戲仿手法的態度。此外，經由質性研究之紮根理論中塑造理論，作為基本來推論戲仿在社會運動中有何重大之影響。

The use of aggressive media persuasion to parody contemporary events is not only a tradition but also a phenomenon relative to recent developments. The aim of this study is to explore whether during social movements, extreme parody persuasion on social media will affect audience vision. A qualitative method is needed since the impending investigations are engaged with social movements. Moreover, the study required in-depth interviews to understand the impact of parody on the audiences concerned.

This study displays the intention of parody communication, which, by the very nature of its origin in social movements, represents how authors desire to recall commonalities about the immense issues in Taiwanese current events in the summer of 2013, for example, the Chung-chiu Hung incident, nuclear cessation, and Dapu. From various visual images and lazy pack resources, we can see how these artists use their imagination to create finales using pictures as an element to remind the world of the strong issues beneath their works.
This investigation draws conclusions about the relationship of parody and audience and about the value and effectiveness of parody with regard to attitudes toward major issues occurring in Taiwan, as well as the impact of parody on the motivation toward social movements. Moreover, this research explores aspects of social networks that assist in global recognition of parodies and social events.

摘要 i
Abstract ii
致謝 iii
Chapter 1 Introduction 1
1.1 Background and Motivation 1
1.2 Objectives 2
1.3 Terms and Definitions 3
1.3.1 Parody in Definition 3
1.3.2 Transformation of the Term Parody 4
1.3.3 Counter-culture 6
1.3.4 Social Media 6
1.3.5 Social Movement 7
1.4 Purpose of Study 7
Chapter 2 Literature Review 9
2.1 Origins of Parody and Relationship in the Visual Arts 10
2.2 Media Evolution and Persuasions on Parody 13
2.3 Tremble from Internet Activism 17
2.4 Parody and Society with Social Media 21
2.4 Motivation 23
Case 1. The Kiss of Irony 24
Case 2. 99% within an Anonymous Mask 27
Discussion of Two Type of symbols in Parody 31
2.5 Significance of the Study 33
Chapter 3 Incident Studies 34
3.1 The Dapu Incident （大埔事件） 35
3.2 Death of Chung-chiu Hung (洪仲丘事件) 41
3.3 Nuclear Cessation （反核運動、核四公投） 46
3.4 Eruption of Parody and Social Movements on Social Media in Taiwan 51
Chapter 4 Methodology 54
4.1 Research Strategy and method 54
4.1.1 Qualitative Research 54
4.1.2 Grounded Theory Approach 56
4.2 Role of the Researcher 58
4.3 Data Collection Procedures 59
4.3.1 Visual Data Collection 59
4.3.2 Vocal Data and Sampling Frame Development 59
4.3.3 Interviewee Sampling 68
4.4 Evaluation of Validity and Reliabilities 71
Chapter 5 Data Analysis 72
5.1 Word Cloud 72
5.1.1 Impact of Parody on Society through frequency of words 75
5.1.2 Visual Aspects in Interviews 76
5.1.3 Relation of Social Movement 78
5.1.4 Impact of Movement in Discussion 79
5.1.5 Expected Outcome through Frequency 80
5.2 The Fundamentals of Parody 81
5.2.1 Approach 81
5.2.2 Imagery 83
5.2.3 Meaning 90
5.2.4 Theme 97
5.3 Parody and Incident Studies 98
5.3.1 Dapu Incident 99
5.3.2 Death of Chung-chiu Hung 103
5.3.3 Nuclear Cessation 107
5.3.4 Other Examples 109
5.4 Typologies of Parody 114
5.5 Role of “Social Networks” and “Persuasion” plays in Parody 116
5.6 Current Events and Issues 119
5.7 From Parody to Social Movements 121
5.8 Readers’ Positions and Feelings 124
5.8.1 Position from different Viewers 124
5.8.2 Metaphorical Message toward Viewers 125
5.8.3 Extreme Parody 126
Chapter 6 Cross Case Analysis and Discussion 128
6.1 The Essential of Phenomena 128
6.2 Relationship to Fundamentals of Parody 133
6.2.1 Cause 134
6.2.2 Social Media 136
6.2.3 Parody 139
6.2.4 Social Movements 144
6.3 Relation of Phenomena 145
6.3.1 Cause 146
6.3.2 Social Media 146
6.3.3 Parody 147
6.3.4 Social Movement 148
6.4 Findings of Phenomena 148
6.4.1 Cause initials everything 149
6.4.2 Social Media is the mediator of the whole map 149
6.4.3 Everything relies on Social Movement 150
6.4.4 Parody is the reinforcement of social movement 151
6.4.5 Consequence leads to reform 152
6.5 Summary 152
Chapter 7 Discussion and Conclusions 154
7.1 Parody in Visual Aspects 154
7.2 Parody in Map of Phenomena 156
7.3 Limitations 158
7.4 Conclusions 158
References 161
Books/ Articles 161
Websites 163
Appendices 170
Appendix 1 Schedule 170
Appendix 2 Interview Questions 171
Appendix 3 Interview Transcripts 175
Appendix 3-1 Interviewee A 175
Appendix 3-2 Interviewee B 177
Appendix 3-3 Interviewee C 180
Appendix 3-4 Interviewee D 183
Appendix 3-5 Interviewee E 187
Appendix 3-6 Interviewee F 195
Appendix 3-7 Interviewee G 198
Appendix 3-8 Interviewee H 206
Appendix 3-9 Interviewee I 213
Appendix 3-10 Interviewee J 223

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