跳到主要內容

臺灣博碩士論文加值系統

(44.200.194.255) 您好!臺灣時間:2024/07/23 13:55
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

: 
twitterline
研究生:連柏翰
研究生(外文):Lien,Po-Han
論文名稱:天后崇拜中的酷兒爭戰 - 以台灣男同志與西洋流行天后為例
論文名稱(外文):Queer Contestation in Western Pop Diva Worship Among Taiwanese Gays
指導教授:洪 凌(洪泠泠)
指導教授(外文):Hung,Ling-Ling
口試委員:何春蕤鄭芳婷
口試委員(外文):Ho,JosephineCheng,Fan-Ting
口試日期:2016-06-24
學位類別:碩士
校院名稱:世新大學
系所名稱:性別研究所
學門:社會及行為科學學門
學類:社會學類
論文種類:學術論文
論文出版年:2016
畢業學年度:104
語文別:中文
論文頁數:141
中文關鍵詞:男同志天后流行音樂迷文化性別
外文關鍵詞:gaydivapopular musicfan culturesexuality
相關次數:
  • 被引用被引用:3
  • 點閱點閱:2565
  • 評分評分:
  • 下載下載:104
  • 收藏至我的研究室書目清單書目收藏:3
  在台灣,有一群對西洋流行天后中心的男同志粉絲,舉凡Mariah Carey、Christina Aguilera、Beyoncé、Lady Gaga等,都有專屬的台灣男同志粉絲。男同志與天后的緊密連結不只發生於台灣,在二十世紀末,女歌劇家便擁有著一群忠實的歌劇皇后樂迷,歌劇具有的性別越界、性向游移、誇張敢曝等特質,與男同志產生共鳴。流行音樂天后Judy Garland也是同志偶像,她從受苦到振作的生命歷程,壓抑自身不平凡之處的委屈,以及在兩性框架間遊走的雌雄同體,深深地讓男同志醉心。
  然而,男同志的天后崇拜,隨著同志運動轉向有所改變。在同志身份尚未抬頭前,天后是陪伴男同志啜泣的撫慰,但在同志運動有所起色後,有些男同志開始強調自身的健康陽光心理,宣稱他們不再需要天后。或者,依然有男同志熱愛天后,但是這份崇拜與過去不同,現在的同志開始迷戀強調身分認同與同志驕傲的天后。男同志主體與天后的動態關係在此浮現,在同志論述的改變下,男同志與天后間的關係,應解讀為文化中對某種「男同志-天后」關係的篩汰,對特定男同志主體的放逐。
  本論文便從此種政治視角來分析台灣男同志的西洋流行天后崇拜,分別從主體以及文化階層來研究。在主體方面,台灣男同志會在天后多重的性別折射出多樣的男同志主體,但是這樣的蛻變也不輕易發生,台灣當代男同志論述會阻礙主體超越。此外,此過程中會涉及到非性別的文化面向,譬如男同志會挪用天后的陰柔高雅來鄙視男性運動的粗鄙文化,或者挪用底層主體性向自命文明者進擊。另外,面對新興天后文本中的同志天生論,台灣男同志還是能避開既定的男同志主體,從文本中的敘事與主體性中折射出男同志主體,或者,策略性地使用本質論來面對台灣的恐同宗教。而以同志驕傲論來說,天后中在絕望中的慶賀汙名,以及邊緣處境的自恨還是不斷生產中,這在台灣邊緣與主流同志的對立脈絡下,有其置疑主流同志驕傲面貌的意義。
  而以文化階層來說,陰柔高雅與粗鄙文化的對立,因為男同志所折射的主體以及天后主體並不穩固,因此階層便面臨到潛在威脅;以性階層而言,台灣男同志在九〇年代婦運論戰後,會依在地的政治論述與語言辨識並頌揚西洋流行天后的性解放意識形態。然而現今男同志與天后的攜手性解放面臨忌性意識形態與嬌貴情感的挑戰,本文期盼能以敢曝、慶祝性汙名的幽默突破僵局;同志階層部份,當今西洋流行天后的同志驕傲與進步政治與現今台灣同志論述相呼應,異樣同志主體在其中是被排除的,但即便如此,天后的自恨與汙名也仍然存於歌曲中,能夠接合台灣邊緣同志,推翻直線進步的正典同志階層。
新興天后文本開始呼喚同志粉絲,呼籲差異主體的自由與平等。然而,這樣的多元文化主義,也正是台灣性/別政治此刻所面臨的最大困境,因為它已經變成政府結合NGO來治理人民的方式,吸納階級晉升的族群,排除偏差主體。而在論及同志主體的多元文化主義有其詬病的情況下,本文期待能有一個跳脫同志主體的非西方現代知識取徑,來研究音樂與同性性文化之間的關係,突破現況台灣性/別政治的重圍。

Every diva in Western popular music has their own groups of gay fans in Taiwan. For example, Mariah Carey, Christina Aguilera, Beyoncé, and Lady Gaga—all of them are the center of worship for their Taiwanese gay fans. The close-knit relationship between gay fans and their divas is not a phenomenon limited to Taiwan. As a matter of fact, at the end of the 20th century, female opera singers already had adoring fans who place them as the center of worship. Opera has many elements that resonate with gay fans, including gender crossing, sexual fluidity and camp esthetics. Judy Garland, an iconic diva of popular music, was also a gay idol. Her story of rising from suffering to success, her struggles through the denial of what makes her abnormal, and her androgynous performance that crossed the limitation of sexes—these all deeply affected the gay fans.
However, the worship of divas by gay fans has changed along with the Gay Rights movement. Before de-stigmatization of gay identities, divas played the role of the shoulder to cry on for their gay fans. After the movement had raised awareness, participants started to emphasize the healthy, positive identity and claim that they no longer need diva. On the other hand, some gay fans still held on to their worship, but this sense of worship has grown different from the one in the past. Nowadays, gay fans start to favor those divas who emphasize identity politics and gay pride. Owing to the changing discourses of gay identities, the dynamic between gay subjects and divas shows that the relationship between gay fans and divas should be read as an eliminative system of the “gay fans-divas” relationship: a targeted exclusion of certain gay identities.
This thesis analyzes Taiwanese gay fans’ worship of Western popular music divas politically, from the aspects of subjective identities and culture hierarchy. In terms of subject formation, gay fans find themselves becoming various different gay subjects, which are refracted from the multi-layered sexual identification of the divas. This formation, however, does not happen easily, for Taiwanese contemporary discourses on gay identities is actually blocking the process from happening. Furthermore, the formational process will involve other cultural aspects apart from sexuality. For example, gay fans appropriate the graceful feminine qualities of divas to show their disdain towards the vulgar culture of masculinity or take the stand of the marginalized subjects to attack those who claim to be civilized and progressive. Despite the theory of “natural” gay identities in recent diva texts, Taiwanese gay fans can still avoid following the forming route of the fixed gay subject and find their subjectivity refracted out of the narratives and subjectivities in popular texts. Occasionally, they can even strategically use essentialist discourses to face the anti-gay religious powers in Taiwan. As for the discourse of gay pride, the celebratory tone of divas that praises the stigmatized despite the despair they face and the self-hatred that comes from being marginalized are all still being produced in their texts. This sets it apart from the binary opposition between the marginalized and the mainstream gay identities in Taiwan, which help to put the mainstream discourses of gay pride in doubt.
In terms of culture hierarchy, the binary opposition between the graceful femininity and the vulgar masculinity is destabilized by the relationship between the unsecured gay fan subjects and diva subjects. From the aspect of the sexual hierarchy, Taiwanese gay fans after the local Women’s Rights Movement in the 90s used local political discourses and narratives to identify and celebrate the ideology of sexual liberation from Western popular music divas. However, this partnership of sexual liberation between gay fans and divas is challenged by the ideologies of sex negativity and gendered vulnerability. This thesis thus hopes to use the strategies of camp and celebrating sexual stigma to break the ice. As for the hierarchies within gay communities, since the gay pride and progressive politics of the Western popular music divas correspond to contemporary Taiwanese gay discourses, non-mainstream gay identities are excluded. Nevertheless, the self-hatred and sexual stigma still exist in divas’ songs, which resonate with marginalized gay fans in Taiwan and overthrow the canonical hierarchy out of progressive politics in gay communities.
The new diva texts have started to call for gay fans to celebrate the discourses of freedom and equality among different subjects. However, this multiculturalism is exactly the current predicament of sexuality politics in Taiwan. It has become a way for the government to incorporate NGOs into its governing of people, to absorb social classes that have upward mobility, and to exclude deviated subjects. To face the problems of multiculturalism in the discourses of gay identities, this thesis looks for an alternative route of non-Western knowledge production to break through the existing limitation of gay subjectivities in its exploration of the relationship between music and gay sexualities, and by doing so, to break through the barriers of contemporary Taiwanese sexual politics.
目次:
第一章、研究背景..............................1
第一節、研究動機.............................1
第二節、男同志對天后的迷戀....................3
第二章、學術論著討論..........................7
第一節、聆聽天后的主體超越....................7
第二節、脆弱又堅強的同志偶像-Judy Garland....12
第三節、當代男同志天后迷的分裂................17
第三章、方法論..............................22
第一節、後現代性別主體......................22
第二節、在運動中的同志與酷兒................. 28
壹、台灣的性解放運動.......................29
貳、台灣的同志運動.........................32
第三節、「西洋」、「流行」、「天后」...........35
第四節、研究方法............................37
第四章、從天后而生............................43
第一節、我是天后,千萬個天后..................44
壹、變成天后的滿足.........................44
貳、天后的多重性別主體......................48
參、陰性與陽性的天后力量....................49
第二節、天后蛻變的格格卡卡...................51
第三節、小結...............................55
第五章、我高雅,你粗鄙-天后挪用中的文化階層.....56
第一節、高雅與粗鄙的碰面.....................57
壹、身為高雅天后的我不喜歡運動...............57
貳、走在黑人社區街頭的Carey.................59
第二節、擊出底層女黑人的拳頭..................65
第三節、小結...............................69
第六章、男同志與天后的攜手性解放...............71
第一節、Christina Aguilera的性解放意識形態...71
第二節、台灣男同志的天后「性」喝采.............80
第三節、台灣女性忌性與男同志性解放的衝突........82
第四節、小結...............................86
第七章、前進與倒退-男同志天后崇拜的新舊拉扯.....88
第一節、我天生如此…嗎?.....................89
第二節、Born This Way在台灣................95
第三節、在前進與倒退之間....................100
第四節、小結..............................105
第八章、結論...............................107
第一節、研究總結...........................107
第二節、多元文化主義的陷阱..................110
第三節、非西方現代性的取徑..................112
參考書目..................................115
 
圖次:
圖 1:Andy 介紹Mamma Morta的緊繃表情...................8
圖 2:Lady gaga(左)與RuPaul(右)...................36
圖 3:Lady Gaga.....................................38
圖 4:Beyoncé.......................................39
圖 5:正中為Christina Aguilera.......................40
圖 6:Mariah Carey..................................41
圖 7:1990年剛出道的Carey............................58
圖 8:綁架Carey的黑男人..............................61
圖 9:Heartbreaker Remix版的MV......................63
圖 10:在黑人社區中身著華服的Carey....................64
圖 11:Anaconda MV一幕..............................67
圖 12:三號人物為Aguilera............................72
圖 13:What A Girl Wants中的場景.....................73
圖 14:Aguilera調皮的掀開裙子露出大腿綁帶..............74
圖 15:四位歌手表演Lady Marmalade.....................75
圖 16:Dirrty的MV一景................................76
圖 17:Aguilera在Fighter中的戰鬥蛾后造型..............78
圖 18:Can’t Hold Us Down中男女雙方陣營叫囂畫面........78
圖 19:Aguilera在Not Myself Tonight MV中的造型之一 ....79
圖 20:性階層........................................83
圖 21:Rockshots的Dorothy問候卡......................86
圖 22:Born This Way中的孵化中心.....................91
圖 23:Born This Way 的舞者保持格狀距離...............92
圖 24:Born This Way中的母親怪獸.....................93
圖 25:母親怪獸的頭部背面有著一張臉....................93
圖 26:母親怪獸生產圖................................94
參考書目
英文書目
Abbey, Jennifer. (2012, October 4th). Mariah Carey, Nicki Minaj 'Idol' Feud Heats Up With Gun Reports. Retrieved January 3rd, 2016, from http://abcnews.go.com/blogs/entertainment/2012/10/mariah-carey-claims-nicki-minaj-said-shed-shoot-her-over-idol-feud/
Abel, Sam. (1996). Opera in the Flesh: Sexuality in Operatic Performance. ColoradoL Westview Press.
Allen, W, Dennis. (1995). Homosexuality and Narrative, Modern Fiction Studies. 41(3-4): 609-634.
Ang,I, and Hermes, J. (1991) Gender and/in media consumption, in J. Curran and M. Gurevitch (eds), Mess Media and Society. London: Edward Arnold.
Bedard, Ella. (2011, March 9th). The Trajectory of the Monster: Some Musings on the Ascendance of a Myth and the Decay of the Female Celebrity. Retrieved April 20th, 2016, from http://gagajournal.blogspot.tw/2011/03/trajectory-of-monster-some-musings-on.html
Berger, Arion. (1999, November 25th). Rainbow. Retrieved January 3rd, 2016, from http://www.rollingstone.com/music/albumreviews/rainbow-19991125
Blackmer, Corinne. (1995). The Ecstasies of Saint Teresa: The Saint as Queer Diva from Crashaw to Four Saints in Three Acts. En Travesti: Women, Gender Subversion, Opera. New York: Columbia University Press.
Blender. (2007). Kelly Clarkson and the Bubblegum Machine. Blender. 2007(August).
Bone, Travis D (2003 July). “Diva worship.” Gay & Lesbian Times, (812): 42.
Brett, Philip and Wood, Elizabeth. (2006). Lesbian and Gay Music. Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge.
Brett, Philip. (2006). Musicality, essentialism, and the closet. Queering the pitch, the new gay and lesbian musicology. New York: Routledge.
Bronski, Michael. (1984). Culture Clash: The Making of Gay Male Sensibility. Boston: South End.
Burton, Laini. (2013). Abject Appeal and the Monstrous Feminine in Lady Gaga’s Self-Fashioned Persona ‘Mother Monster’, in Gabriela Mádlo (eds), Re-Told Feminine Memoirs: Our Collective Past and Present. Publisher URI: https://www.interdisciplinarypress.net/online-store/ebooks/diversity-and-recognition/re-told-feminine-memoirs
Butler, Judith. (1999). Gender Trouble:Feminism and the subversion of identity. New York: Routledge.
Cárdenas, M. (2012). Blah, blah, blah: Ke$ha feminism? Journal of Popular Music Studies, 24(2), 176-195.
Castle, Terry. (1995). In Praise of Brigitte Fassbaender: Reflections on Diva-Worship, in Corinne E. Blackmer and Patricia Juliana Smith (eds), En Travesti: Women, Gender Subversion, Opera.New York: Columbia University Press.
Clavin. (2013, January 9th). Mariah Carey Admits To Having Hired More Security Against Nicki Minaj On American Idol. Retrieved January 3rd, 2016, from http://hollywoodhiccups.com/2013/01/09/mariah-carey-admits-to-having-hired-more-security-against-nicki-minaj-on-american-idol/
Cloud, John. (2003, March 31st). 80 Days That Changed the World - Standing Up for Gay Rights. Time, (161).
Cohen, Samantha. (2011, July 26th). Traductor, Traditore: (Un)translating Born This Way’s Duplicitous Message. Retrieved April 20th, 2016, from http://gagajournal.blogspot.tw/2011/07/traductor-traditore-untranslating-born.html
Cooper, Maraih. (2016, May 19th). Adele pauses concert to help gay couple get engaged on stage. Retrieved April 19th, 2016, from http://www.washingtonblade.com/2016/05/19/adele-pauses-concert-to-help-gay-couple-get-engaged-onstage/
Cusick, S. G. (1994). Feminist theory, music theory, and the mind/body problem. Perspectives of New Music, 32(1): 8-27.
Dalton, Deron. (2013). Gay Icons: 25 Divas Who Have Been Embraced by Gay Culture. Retrived March 31st, 2016, from http://www.huffingtonpost.com/deron-dalton/gay-icons-25-divas-who-have-been-embraced-by-gay-culture_b_2882021.html
Ditzian, Eric. (2009, December 16th). Lady Gaga Explains Real Meaning Of ‘Dance In The Dark’. Retrieved April 28th, 2016, from http://www.mtv.com/news/1628355/lady-gaga-explains-real-meaning-of-dance-in-the-dark/
Durbin, Kate. & Vicks, Meghan. (2011, March 1st). From The Fame to Born This Way: Lady Gaga and the Monstrous Evolution of Identity. Retrieved June 6th, 2016, from http://gagajournal.blogspot.tw/2011/03/from-fame-to-born-this-way-lady-gaga.html
Dyer, Richard. (1987). Judy Garland and Gay Men, Heavenly Bodies: Film Stars and Society (pp. 137-191). New York: St. Martin's Press.
Elmore Lauren. (2011, November 9th). RAISE YOUR GLASS IF U R A FIREWORK WHO WAS BORN THIS WAY - WHO'S TO SAY WHAT MAKES A GAY ANTHEM? Retrieved April 26th, 2016, from https://bitchmedia.org/article/raise-your-glass-if-u-r-a-firework-who-was-born-this-way
Epstein, J. S., Pratto, D. J., & Skipper Jr, J. K. (1990). Teenagers, behavioral problems, and preferences for heavy metal and rap music: A case study of a southern middle school. Deviant Behavior, 11(4): 381-394.
Farmer, Brett. (2005). The Fabulous Sublimity of Gay Diva Worship. Camera Obscura, 20 (259): 165-195.
-----. (2007). Julie Andrews Made Me Gay. Camera Obscura. 22(265): 144-153.
Fast, Susan. (2011). Bold soul trickster: the 60s Tina signifies. She’s So Fine: Reflections on Whiteness, Femininity, Adolescence and Class in 1960s Music (pp. 203-234). New York: Routledge.
Fiske, John. (1987). Television Culture: popular pleasures and politics. New York: Routledge.
Flick, Larry. (1999). 'Rainbow' Displays Array Of Styles. Billaoard, 111(42): 101.
Fort Worth Star-Telegram. (2005, April, 15th). Carey-ed away 'Emancipation' has a dull shine, but at least it's better than 'Glitter'. Retrieved March, 6th, 2014, from http://goo.gl/VtHijl.
Foucault, Michel. (1990). The History of Sexuality: An Introduction. New York: Vintage Books.
Frith, Smith. (1996). Music and Identity, in Stuart Hall and Paul du Gay (eds), Questions of Cultural identity. New York: Sage Publications.
Goldstein, Rob. (1999, May 15th ) Dreaming Of Genie. Retrieved July 31st, 2015, from https://web.archive.org/web/20070401032341/http://music.yahoo.com/read/interview/12043048
Gross, M. J. (2000). The Queen Is Dead Gay. Atlantic Monthly, 286(2): 62-70.
Guzmán, J. (2012). You and I: Lady GaGa’s Performative Disidentification of Social Normalcy. Colloquy, 8: 53-71.
Hacking, Ian. (1999). The Social Construction of What? Cambridige, MA: Harvard University Press.
Hall, S. & Jefferson. T. (1993). Resistance Through Rituals: Youth Subcultures in Post-war Britain. Oxford: Psychology Press.
Hall, Stuart. (1996). Questions of Cultural Identity. Modernity: An Introduction to Modern Societies. New Jersey: Wiley-Blackwell.
Harris, Daniel. (1996). The Death of Camp: Gay Men and Hollywood Diva Worship: From Reverence to Ridicule. Salmagundi, 112: 166-191.
Hsieh Wen-hua (2011, July 3rd). LGBT groups turn out in force to support Lady Gaga. Retrived March 10th, 2016, from Taipei Times http://www.taipeitimes.com/News/taiwan/archives/2011/07/03/2003507306
Huffpost Queer Voices (2013, March 17th). Madonna Dresses As Boy Scout, Slams Organization's Gay Ban And Honors Anderson Cooper (VIDEO). Retrieved March 10th, 2016, from http://www.huffingtonpost.com/2013/03/17/madonna-boy-scouts-anderson-cooper-glaad_n_2894081.html
Huffpost TV (2013, January 7th). Mariah Carey Addresses Nicki Minaj Feud During Barbara Walters Interview (VIDEO). Retrieved January 3rd, 2016, from http://www.huffingtonpost.com/2013/01/07/mariah-carey-barbara-walters-nicki-minaj_n_2425535.html
Isay, David. (1999). Remembering Stonewall (radio documentary). As cited in Democracy Now.org. Retrieved May 20th, 2016, from http://www.democracynow.org/2009/6/26/stonewall_riots_40th_anniversary_a_look
Jang, S. M. & Lee, H. (2014). When pop music meets a political issue: Examining how “Born This Way” influences attitudes toward gays and gay rights policies. Journal of Broadcasting & Electronic Media, 58(1): 114-130.
Jennex, C. (2013). Diva worship and the sonic search for queer utopia. Popular Music and Society, 36(3): 343-359.
Koestenbaum, Wayne (1993). The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire. New York: Poseidon.
Lipstiz, G. (1994). Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. London: Verso.
Loughery, John (1998). The Other Side of Silence: Men's Lives and Gay Identities: A Twentieth Century History. New York: Henry Holt and Company.
Lynn, Norent. (1991). Mariah Carey: Not Another White Girl Trying To Sing Black. Ebony, March 1991: 54-59.
Malabou, C. & Shread, C. P. (2011). Changing difference. Cambridge: Polity.
Miller, Melissa. (2013). The Manifesto of Mother Monster: Lady Gaga and Cyborg Feminism. Retrived March 3rd, 2016, from http://www.melissamillerart.com/ladygaga/.
Moore, M. (2012). Tina theory: notes on fierceness. Journal of Popular Music Studies, 24(1): 71-86.
Morgan, Joan. (2005). Mariah Carey: America's Most Misunderstood Black Woman. Essence, April.
Morris, Mitchell (1995). Reading as an Opera Queen, in Ruth A. Solie (eds), Musicology and Difference: Gender and Sexuality in Music Scholarship (pp. 184-200). Berkeley: University of California Press.
Muñoz, José Esteban. (1999). Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota Press.
Musto, Michael. (2014). The 12 Greatest Female Gay Icons of All Time. Retrived December 13th, 2015, from http://www.out.com/entertainment/michael-musto/2014/08/25/12-greatest-female-gay-icons-all-time-also-nathan-matthew
Nichols, James. (2013, October 31st). Lady Gaga Defends Her Bisexuality, Says It’s ‘Not A Lie’. Retrieved April 17th, 2016, from http://www.huffingtonpost.com/2013/10/31/lady-gaga-bisexuality_n_4182059.html
Nickson, Chris. (1998). Mariah Carey revisited: her story. St. Martin's Press: New York.
Paxton, A, Blake. (2011). My Bad Romance: Exploring the Queer Sublimity of Diva Reception. Tampa: University of South Florida.
Peeples, Jase. (2013). Britney Spears: A (Queer) Piece of Me. Retrived January 7th, 2016, from http://www.advocate.com/arts-entertainment/music/2013/12/03/britney-spears-queer-piece-me
Piatt, Christian. (2012, December 19th). From Lady Gaga to Rev. Gaga? Retrived January 13th, 2016, from http://www.huffingtonpost.com/christian-piatt/lady-gaga-ordination_b_1145973.html
Potter, R. (1995). Spectacular vernaculars: Hip-hop and the politics of postmodernism. Albany, New York: State University of New York Press.
Radway, J. (1984). Reading the Romance: Women, Patriarchy and Popular Literature. Chapel Hill, Chapel Hill: University of North Carolina Press.
Reid, Shaheem (2005, June 9th). Dupri Hits The Strip Club With Janet, Shakes It With Mariah. MTV News. Retrieved January 3rd, 2016, from http://www.mtv.com/news/1503792/dupri-hits-the-strip-club-with-janet-shakes-it-with-mariah/.
Ring, Trudy (2011, July 3rd). Taiwan's Gays Welcome Lady Gaga. Retrived March 10th, 2016, from http://www.advocate.com/arts-entertainment/music/2011/07/03/taiwans-gays-welcome-lady-gaga
Rivera, Sylvia. (2009). Stonewall Riots 40th Anniversary: A Look Back at the Uprising that Launched the Modern Gay Rights Movement. Rertrived December 24th, 2015, from http://www.democracynow.org/2009/6/26/stonewall_riots_40th_anniversary_a_look
Robinson, Paul. (2002). Opera, Sex and Other Vital Matters. Chicago: University of Chicago Press.
Ross, Andrew. (1989). No Respect: Intellectuals and Popular Culture. New York: Routledge.
Rubin, G. (1984). Thinking sex: Notes for a radical theory of the politics of sexuality, in PM Nardi and BE Schneider (eds), Social Perspectives in Lesbian and Gay Studies, 100-133.
Smith, Juliana, Patricia. (2011). Divas. GLBTQ Arts, 2011: 1-4.
Spivak, Gayatri, Chakravorty. (1993). In a word: interview. Outside in The Teaching Machine. New York: Routledge.
Streeter, Caroline, A. (2005). Faking the funk?: Mariah Carey, Alicia Keys, and (hybrid) black celebrity. Black cultural traffic: Crossroads in global performance and popular culture (185-207). Ann Arbor: University of Michigan Press.
The L.A. Times Music Blog. (2009, December 15th). Gaga Wisdom: Words from the Lady, Part 2. Retrieved April 28th, 2016, from http://latimesblogs.latimes.com/music_blog/2009/12/gaga-.html
ThisIsTheMusicTV.(2012). Retrieved August 23th, 2015, from https://www.youtube.com/watch?v=6Xlv4Cj68s0
TMZ. (2012). MARIAH SNIPES AT NICKI NICKI GOES BALLISTIC CAUGHT ON TAPE. Retrieved January 3rd, 2016, from http://www.tmz.com/2012/10/02/nicki-minaj-mariah-carey-fight-american-idol-audition/
Toomey, Alyssa. (2013, November 9th). Lady Gaga Smoked 15 Joints a Day to Deal With Hip Pain, Talks Wanting to Piss Off Madonna. Retrieved April 28, 2016, from http://www.eonline.com/news/479045/lady-gaga-smoked-15-joints-a-day-to-deal-with-hip-pain-talks-wanting-to-piss-off-madonna
Vena, Jocelyn. (2009, May 6th). Lady Gaga on Success: ‘The Truning Point For Me Was The Gay Community.’ Retrieved April 17th, 2016, from http://www.mtv.com/news/1610781/lady-gaga-on-success-the-turning-point-for-me-was-the-gay-community/
Werde, Bill. (2011, February 18th). Lady Gaga 'Born This Way' Cover Story. Retrieved April 21st, 2016, from http://www.billboard.com/articles/news/472976/lady-gaga-born-this-way-cover-story
Williams, J. (2014). “Same DNA, but Born this Way”: Lady Gaga and the Possibilities of Postessentialist Feminisms. Journal of Popular Music Studies,26(1): 28-46.
Wilson, E. A. (2010). Underbelly. differences, 21(1): 194-208.
Wood, Elizabeth. (1994). Sapphonics, in Philip Brett, Elizabeth Wood, and Gary C. Thomas (eds), Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge.
Zoonen, Van Liesbet. (1994). Feminist Media Studies. Sage Publications of London.(轉引自張錦華、劉容玫譯,(2001)。《女性主義媒介研究》。台北:遠流。)
施舜翔(2012). The Mother Monsters of the Queers: Constructing Gay Identity through the Images of the Famous Female Singers, from Garland, Madonna to Gaga. 《文化研究月報》,128:24-33.

中文書目
2013台灣同志遊行再聲明(2013)〈說明與邀請 2013台灣同志遊行再聲明〉。上網日期2016年6月1日,取自http://twpride.org/twp/?q=node/101
Hedonist(2012)〈Pray Away the Gay?〉。上網日期2016年3月10日,取自批踢踢實業坊https://www.ptt.cc/bbs/LadyGaga/M.1328973700.A.924.html
LGBT PEACE(2010a)〈It Gets Better ㄟ卡好啦 - 潘翰聲〉。上網日期2016年3月20日,取自https://www.youtube.com/watch?v=XYUdI9VzOCM
LGBT PEACE(2010b)〈It Gets Better ㄟ卡好啦 - 張鐵志〉。上網日期2016年3月20日,取自https://www.youtube.com/watch?v=ZTXb1rweA2Y
NewTalk新頭殼(2015年6月28日)〈談台首位出櫃者祈家威 楊索:社會正義終將臨〉。上網日期2016年6月1日,取自新頭殼新聞http://newtalk.tw/news/view/2015-06-27/61644
syachien(2011, February 11th)〈[歌詞] Born this way 英翻中〉。上網日期:2016年4月29日,取自https://www.ptt.cc/bbs/LadyGaga/M.1297423334.A.BB4.html
Theberge, Paul著、蔡珮君、張志宇譯,何穎怡編審,何東洪審(2005)〈「插電」:科技與通俗音樂〉《劍橋大學搖滾與流行閱讀本》。台北:商周。(原書:Frith, Simon, Will Straw and John Street (1996) The Cambridge Companion to Pop and Rock.Cambridge: Cambridge University Press).
Tommy770726(2016年4月9日)〈[影音] 肥咪也回收業者? (最新F5 belt)〉。上網日期2016年4月13日,取自批踢踢實業坊https://www.ptt.cc/bbs/MARIAH/M.1460173984.A.45A.html
王蘋(2012)〈運動進行中隱而漸現的哀悼情感:回應海澀愛的〈倒退與酷兒政治的未來〉,《酷兒.情感.政治──海澀愛文選》。台北:蜃樓。
卡維波(1998)〈什麼是酷兒〉,《酷兒:理論與政治》。中壢:國立中央大學性/別硏究室。
-----(2001)〈「婦權派」與「性權派」的兩條女性主義路線在台灣〉。《文化研究月報》,5(2001)。
-----(2015)〈性權派是什麼?(性)騷擾是什麼?──蔡正元們抑或麥金儂們?〉。上網日期:2015年9月12日。取自https://goo.gl/Wi0mhZ。
平非(2013年12月11日)〈【想像不家庭】專題系列八 逆行婚姻路──不做家/國代理人〉。上網日期2016年6月1日,取自苦勞網http://www.coolloud.org.tw/node/76658
立法院公報(1994年3月16日),80(20):495。取自http://lis.ly.gov.tw/ttscgi/lgimg?@832000;0485;0508
扣塔(2011)〈Beautiful當選過去十年的"同志聖歌" 轉臉〉。上網日期2016年3月10日,取自批踢踢實業坊https://www.ptt.cc/bbs/Christina/M.1320664370.A.AE1.html
何春蕤(1997)〈女性主義的性解放:序〉,《呼喚台灣新女性》,何春蕤編。中壢:中央大學性/別研究室。
-----(2011)〈情感嬌貴化:變化中的台灣性佈局〉,《中國性研究》,黃盈盈、潘綏銘主編,6:262-276。高雄:萬有出版社。
-----(2012)〈台灣性別政治的年齡轉向〉,《轉眼歷史:兩岸三地性別政治回顧》,何春蕤編。中壢:中央大學性/別研究室。
-----(2013)〈性別治理與情感公民的形成〉,《新道德主義:兩岸三地性/別尋思》,甯應斌編。中壢:中央大學性/別研究室。
何穎怡編審,何東洪審,蔡珮君、張志宇譯(2005)《劍橋大學搖滾與流行樂讀本》。台北:商周。(原書:Frith, Simon; Will, Straw; and John, Street. (1996) The Cambridge Companion to Pop and Rock.Cambridge University Press).
李佳玟、陳昭如(2015年9月11日)〈不保守但歧視的裸體展示〉。上網日期2016年3月10日,取自蘋果日報http://www.appledaily.com.tw/realtimenews/article/new/20150911/688972/
邱奕寧(2016年3月31日)〈蔡依林力挺 6高中職試辦性別友善廁所〉。上網日期2013年3月31日,取自聯合報http://bit.ly/1q4DkAv
施舜翔(2015年3月8日)〈天后賽柏格: 蔡依林的天后身份打造與男同志地下文化〉,上網日期2016年3月10日,取自《流行文化學院》https://popcultureacademytw.wordpress.com/2015/03/08/jolintsaidivacyborg/
洪凌,(1998)〈酷兒發妖:酷兒/同性戀與女性情慾「妖言」座談會紀實〉,《酷兒理論與政治》。中壢:發行人:國立中央大學性/別研究室。
-----,(2012)〈過往遺跡,負面情感,魍罔兩魎:從海澀愛的「倒退政治」揣摩三位一體的酷兒渣滓〉,《酷兒.情感.政治──海澀愛文選》。台北:蜃樓。
-----,(2013年8月31日)〈與幻象對話:論反社會酷兒與台灣同婚訴求〉,上網日期2016年6月1日,取自苦勞網http://www.coolloud.org.tw/node/75463
紅水鮮、紀小尾、蛋糖饃(1994)〈小小酷兒百科〉,《島嶼邊緣》,10:47-71。
孫芳苓(1995年5月26日)〈性自主 打破現代貞節牌坊〉。聯合報,11版,民意論壇。
孫憶南譯,Bennett, Andy著(2004)《流行音樂的文化》。台北:書林出版有限公司。
徐定遠(2016年2月4日)〈《瑪丹娜台北演唱會登場》〈Vogue〉折手舞成功出櫃領潮流 娜姊登基同志教母當仁不讓〉。上網日期2016年3月10日,取自中時電子報http://www.chinatimes.com/newspapers/20160204000638-260112
海澀愛著、鄭聖勳、翁健鐘譯(2010)〈拒絕的政治〉,《文化的憂鬱政治》,台北:蜃樓。
-----、張瑜玶譯(2012a)〈論情感政治:感覺倒退、感覺「背」〉《酷兒.情感.政治──海澀愛文選》,台北:蜃樓。
-----、劉羿宏譯(2012b)〈倒退與酷兒政治的未來〉《酷兒.情感.政治──海澀愛文選》,台北:蜃樓。
袁世珮(2016年3月29日)〈低調「姐姐」謝金燕 高調挺同志〉。上網日期2016年3月31日,取自聯合報http://bit.ly/1ZMCJ20
許瑞麟(2016年6月15日)〈把同志演得太娘? 「麥當勞出櫃男」周賢忠挨批引論戰〉。上網日期2016年6月20日,取自娛樂星光雲http://star.ettoday.net/news/716727
張小虹(2000)〈怪胎喉嚨:歌劇皇后的變聲幻象〉,《怪胎家庭羅曼史》。台北:時報文化。
張育章、張釗維(1994)〈另翼岸譜﹕民眾音樂研究初探〉,《島嶼邊緣》,11:6-9。
張錦華、劉容玫譯、Zoonen, Van Liesbet著,(2001)《女性主義媒介研究》。台北:遠流。(原書Zoonen, Van Liesbet. (1994). Feminist Media Studies. London: Sage Publications.)
望遠鏡(2010年2月8日)〈好gay的MV—Teeth〉。上網日期2016年3月10日,取自批踢踢實業坊https://www.ptt.cc/bbs/LadyGaga/M.1265588988.A.733.html
梁玉芳(1994年9月29日)〈女學會≠性解放 宣佈畫清界限 決定編撰「台灣女性處境白皮書」〉,取自聯合報,17版。
郭石城(2015年11月10日)〈莫忘來時路/11月10日-台灣首場同志婚禮〉。上網日期2016年6月1日,取自中國時報http://www.chinatimes.com/newspapers/20151110000464-260109
陳怡妏(2006年8月26日)〈同志:宗教人士仍歧視同志〉,《中國時報》,C1。
陳思賢譯,Heywood, Andrew著(2009)《政治的意識形態》。台北:五南。(原書Heywood, Andrew. (1992). Political Idologies: An Introduction. London: Palgrave Macmillan.
陳慧玲(2009年5月7日)〈張懸性向懸疑 高歌同志萬歲〉。上網日期2016年3月18日,取自自由時報http://ent.ltn.com.tw/news/paper/301293
甯應斌(2005a)〈性政治:性運的由來及其派別〉,《性政治入門:台灣性運演講集》,朱玉立編。中壢:中央大學性/別研究室。
-----(2005b)〈排斥的公民社會:公民治理與「文化戰爭」〉,《公民身分的再思與打造:華人社會的社會排斥與邊緣性》,香港:香港理工大學應用社會科學系政策研究中心。
-----(2007)〈同性戀是社會建構嗎?保守與革命的社會建構論〉,《政治與社會哲學評論》,(20):1-55。
-----(2012a)〈逆流酷兒〉,《酷兒.情感.政治──海澀愛文選》,台北:蜃樓。
-----(2012b)〈台灣性解放運動十年回顧:試論〉,《轉眼歷史:兩岸三地性運回顧》,中壢:國立中央大學性/別研究室。
-----(2013)〈現代進步觀及其自滿:新道德主義與公民社會〉,《新道德主義:兩岸三地性/別尋思》,桃園中壢:國立中央大學性/別研究室。
-----(2014)〈人民民主20年後的尋思-反公民、反進步、反台灣的知識路〉,《台灣社會研究季刊》,(94):157-179。
陽昕翰(2016年5月14日)〈謝金燕萬梗齊發 彩虹巨哨挺同志〉。上網日期2016年5月16日,取自自由時報http://ent.ltn.com.tw/news/breakingnews/1696785
馮復華(2006年8月26日)〈北市辦同志婚禮 牧師批亡國滅種〉,《聯合報》,A5。
楊宗翰(2014)《Ameizing! 斷背山上的女神台灣男同志迷群之偶像認同與消費研究》。國立台灣藝術大學廣播電視學系應用媒體藝術碩士班論文。
網絡溫度計(2014年10月28日)〈最受歡迎的同志聖歌〉。上網日期2016年3月18日,取自網路溫度計http://dailyview.tw/Daily/2014/10/28
臺灣國家婦女館(2011)〈世紀見證‧女史紀實:臺灣婦女權益發展史〉。取自http://www.taiwanwomencenter.org.tw/public/Attachment/182316422071.pdf
劉人鵬、丁乃非(2007)〈含蓄美學與酷兒政略〉,《罔兩問景:含蓄美學與酷兒閱讀攻略》。中壢:性/別研究室。
蔡雅婷(2014)〈性解放需要所有性別一起努力!〉。上網日期2015年9月23日。取自http://npost.tw/archives/14438
賴彥甫(2015)〈展演「C/娘」的音樂文化-台北同志夜店G*Star的Asia Pop與男同志身分的建構〉,《女學學誌:婦女與性別研究》,37:93-134。
顏甫珉(2011年10月4日)〈張懸接班阿妹 任彩虹大使挺同志〉。上網日期2016年3月10日,取自聯合報http://udn.com/NEWS/ENTERTAINMENT/ENT1/6629895.shtml
-----(2012年10月25日)〈蔡依林「迷幻」挺同志 接髮遮全裸〉。上網日期2016年3月10日,取自聯合報http://blog.udn.com/yoyoman/6982558
顧燕翎(1997)〈台灣婦運組織中性慾政治之轉變:受害客體抑或情慾主體〉,《思與言》,35(1):87-118。

QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top