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研究生:賴彥甫
研究生(外文):Yen-Fu Lai
論文名稱:展演「C/娘」的音樂文化:台北同志夜店G Star男同志的身分建構與性/別政治
論文名稱(外文):Performing C/Niang Music Culture: the Construction of Gay Identities and Politics of Sexuality in Taipei G Star
指導教授:黃宗儀黃宗儀引用關係
口試委員:徐進鈺朱偉誠
口試日期:2014-12-30
學位類別:碩士
校院名稱:國立臺灣大學
系所名稱:地理環境資源學研究所
學門:社會及行為科學學門
學類:地理學類
論文種類:學術論文
論文出版年:2015
畢業學年度:103
語文別:中文
論文頁數:60
中文關鍵詞:地理學的非再現理論音樂民族誌G Star的Asia Pop男同志身份「C/娘」展演
外文關鍵詞:non-presentational theorymusic ethnographyAsia Pop in G Stargay identitiesperforming “C/Niang”
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在這本論文中,我透過地理學非再現理論的視角,以音樂民族誌方法,分析台北同志夜店G Star的熱門音樂節目Asia Pop,探討夜店客展演音樂所衍生之身分建構與性/別政治,藉此與當前研究台灣男同志的性/別氣質展演的相關文獻對話。Asia Pop是由中、韓文流行歌組成的音樂節目,而這些音樂通常都來自女星的作品。由於Asia Pop的女性符碼,因此該節目在男同志圈中被認為是一展演「C/娘」的音樂文化。對男同志來說,「C/娘」展演具有貶抑與給力等意義甚至相反的意涵,且總是涉及身份的(再)定義。Asia Pop如何作為男同志的音樂文化?而夜店客在參與Asia Pop的過程中所展演的「C/娘」又如何重塑其自身之同志身分?其中又牽涉什麼樣的性/別政治?我在這本論文中指出:1. 以陽剛氣質之於陰柔氣質的概念來理解男同志的「C/娘」展演是不夠的,因為「C/娘」展演具有對圈內歷史及文化操演的意涵;2. Asia Pop作為圈內的音樂文化,乃是參與其中的夜店客徵引男同志文化的實踐過程,因而「C/娘」展演本身乃是男同志認同的一部份;3. 夜店客展演「C/娘」的意義並非全然貼合文化象徵系統,而必須放在夜店客與其他夜店客以及共同置身之空間的互動中方能理解;4. 對於男同志的「C/娘」展演,應探問其所展演的究竟是何種女性形象,以進一步探討其中可能隱含之權力關係。

Drawing on geographical non-presentational theory and music ethnography, this thesis analyzes Asia Pop music show in Taipei G Star, and zooms in on the construction of identities and the politics of sexuality in the process of music performance. Asia Pop is a highly popular music/dancing show composed of both Chinese and Korean pop songs, especially those by female stars. Because of its coded female qualities, Asia Pop is regarded as a sissy, or as it is stylized in Chinese, “C/Niang,” gay music culture in gay community. For gay men, performing “C/Niang” registers very different implications from demeaning to empowering gay subjects based on different conditions, and it always involves the process of identity construction. How does Asia Pop become gay music culture? How are clubbers’ gay identities reshaped through performing “C/Niang” in Asia Pop? How does Asia Pop involve the politics of sexuality? Based on case analysis, I point out: 1) A dualistic masculinity-femininity understanding of C/Niang performance is insufficient as one should not lose sight of both the historical and performative aspect; 2) For gay men, performing Asia Pop is a practice of (re)citing gay culture, which means that “C/Niang” performance is interrelated to the becoming of gay man; 3) Performing “C/Niang,” more than representing a cultural signifying system, should be understood in terms of the environmental space of the club which clubbers inhabit and interact with; 4) It is necessary to make cautious inquiries into what female images are performed so as to study the power relations in the performance of “C/Niang.”

口試委員會審定書 i
誌謝 ii
中文摘要 iii
英文摘要 iv

第一章 走進G Star……………………………………………………………1
第一節 男同志、娘娘腔與性/別氣質的展演…………………………………1
第二節 走進G Star………………………………………………………………3
第三節 Asia Pop…………………………………………………………………7
第四節 非再現理論的分析視角:情感的同性戀性…………………………10
第五節 研究方法………………………………………………………………13
第六節 章節鋪陳………………………………………………………………15
第二章 男同志的「C/娘」展演…………………………………………………17
第一節 男同志的「C/娘」展演與陽剛認同…………………………………17
第二節 男同志的「C/娘」展演與性/別政治………………………………24
第三章 男同志身分的建構………………………………………………………29
第一節 Asia Pop中的張惠妹、蔡依林與謝金燕………………………………31
第二節 在Asia Pop中成為男同志……………………………………………35
第四章 展演MV舞的性/別政治………………………………………………41
第一節 展演MV舞及敢曝文化………………………………………………41
第二節 展演MV舞的性/別政治……………………………………………44
第五章 結論………………………………………………………………………51
參考文獻……………………………………………………………………………55


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