政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/125086
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文筆數/總筆數 : 113318/144297 (79%)
造訪人次 : 51079700      線上人數 : 992
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
搜尋範圍 查詢小技巧:
  • 您可在西文檢索詞彙前後加上"雙引號",以獲取較精準的檢索結果
  • 若欲以作者姓名搜尋,建議至進階搜尋限定作者欄位,可獲得較完整資料
  • 進階搜尋
    請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/125086


    題名: 女生沒嘻哈?臺灣嘻哈音樂的性別問題
    Are Taiwanese girls able to rap? The gender issues of Taiwan`s hip hop music
    作者: 黃意能
    Huang, Yi-Neng
    貢獻者: 孫秀蕙
    黃意能
    Huang, Yi-Neng
    關鍵詞: 嘻哈文化
    饒舌
    女性饒舌歌手
    性別問題
    Hip hop culture
    Rap
    Female rappers
    Gender issues
    日期: 2019
    上傳時間: 2019-08-07 17:16:44 (UTC+8)
    摘要: 本研究聚焦於臺灣饒舌音樂圈中的性別問題,深度訪談了十名受訪者,其中五位為女性饒舌歌手,包含柔伊、朱妹、蚊子、庭葳、一軒,另外五位為饒舌圈相關人士,包含DJ Ku Da Yeast、林老師、老莫、fishLIN、茱力。本研究分析訪談內容,梳理臺灣饒舌音樂圈的發展與現今樣貌、剖析成功饒舌歌手的支持因素,以及討論女性饒舌歌手在臺灣饒舌圈中所面臨的困境。
    訪談分析發現,新生代饒舌歌手主要以社團及社群媒體作為進入管道,其中原生於臺灣的學院派饒舌,使得臺灣饒舌音樂圈有一派注重知識深度及內容隱喻的饒舌歌手,而饒舌廠牌亦不吝惜給予資源,幫助新生代饒舌歌手成長茁壯。研究整理出成功饒舌歌手所需要具備的支持因素包含下述六項:聲音質地、Keep it real、Homie、培力資源、成功典範、奮鬥週期,研究者並與Schweig之研究對話,修改了聲音質地及Keep it real之定義。
    針對臺灣饒舌圈中的性別問題,本研究發現新進饒舌歌手主要面對的問題分為兩個層面,其一為音樂相關的內部因素,所有新進饒舌歌手皆會受其影響,其二則為性別相關的脈絡因素,此部分則為女性饒舌歌手額外面對的困難;並分析類似問題不僅只存在於饒舌音樂圈,而是整體臺灣社會結構的性別問題。
    This study focuses on the gender issues of Hip hop music in Taiwan. By adopting in-depth semi-structured interview as the research method, ten people related to the Hip hop music circle were invited to share their personal experiences and opinions. Five of them are female rappers, including Zoe, MileN, Wenzi, V!CKY, Husan, and the rest are professionals such as music critics and senior rappers, including DJ Ku Da Yeast, Teacher Lin, ILL MO, fishLIN and Julie. By analyzing their responses, this study explores the development of Taiwan`s Hip hop music as well as the current music scene. Additionally, this study concludes that there are ``supportive factors`` of a successful rapper, and reveals the dilemmas Taiwanese female rappers face.
    According to the analysis in the present study, the young generation musicians nowadays mainly enter the field of Hip hop music community by joining school clubs or through the internet. The scene of ``academism rap`` emerging in Taiwan 20 years ago had a huge local impact. These rappers are known for their knowledge of Hip hop culture and the ability to write well-organized lyrics. Local Hip hop labels in Taiwan also generously provide plenty of resources to help young rappers to development musically.
    The research suggests that there are six supportive factors for a Taiwanese rapper to become successful, such as voice texture, ``keep it real`` attitude, resources, reference model, and persistence cycle. Two of the factors, voice texture and ``keep it real`` attitude, were first proposed by Schweig when she analyzed Taiwan`s Hip hop culture and gender. The present study however updated and modified her points of view.
    In response to the gender issues of Taiwan`s Hip hop music, this study finds that the problems faced by young rappers could be discussed in two aspects. One is music-related internal factors, that all the young rappers, regardless the gender, would encounter, and another is gender-related, which would be faced by female rappers. The gender problems such as discriminations and hostile attitudes toward female rappers do not only exist in the Hip hop music industry, but also reflect social reality in Taiwan.
    參考文獻: 中文部分
    World peace(2017年10月20日)。〈獨家專訪/代表參劈的學院派饒舌巨擘─老莫 ILL MO〉,《CooL》。取自http://www.cool-style.com.tw/wd/archives/268664
    小個、老莫、林老師(合著)(2008)。《參劈的饒舌大計劃》。台北:聯經。
    王友良(2015)。《狂聲見我:東亞跨界文化流動下的臺灣嘻哈樂》。國立臺灣師範大學碩士論文。
    王玉昊(2017年9月12日)。〈《中國有嘻哈》落幕,因它而起的「嘻哈行銷」能借勢成為主流嗎〉,《第一財經周刊》。取自 https://www.cbnweek.com/articles/normal/18713
    何定照譯(2007)。《像女孩那樣丟球:論女性身體經驗》。台北:商周。(原書 Young, IM. [2005] Throwing like a girl and other essays in feminist philosophy and social theory. New York, NY: Oxford University Press.)
    吳念達、張原紘(2018年10月26日)。〈【5是主角】打破刻板印象 iM編織饒舌音樂夢〉,《華視新聞》。取自 https://news.cts.com.tw/cts/general/201810/201810261941097.html
    李政賢譯(2006)。《質性研究:設計與計畫撰寫》,台北:五南。(原書Marshall, C. & Rossman, G. B. [2006]. Designing qualitative research. New York, NY: Sage Publications.)
    李雪梅(2016)。《身體、性別意識與黑人女性文學 : 酷兒理論視域下的女性書寫》,上海:上海交通大學出版社。
    何穎怡譯(2002)。《嘻哈美國》,台北:商周。(原書George, N. [2000]. Hip hop America. New York, NY: Penguin Books.)
    林秀雲譯(2013)。《社會科學研究方法》,台北:新加坡商聖智學習(原書Babbie, E. [2013] The practice of social research, 13e. Belmont, CA: Wadsworth Publishing.)
    林浩立(2005)。〈流行化,地方化與想像:臺灣嘻哈文化的形成〉,《人類與文化》, 37 : 7-28。
    林浩立(2015)。〈饒舌、革命與伊斯蘭〉,郭佩宜(主編),《芭樂人類學》,頁182-189。新北:左岸文化。
    施昱竹(2012)。《舞動臺灣─談嘻哈街舞自1980年代末期進入臺灣後,這20年來的發展流變》。臺灣大學碩士論文。
    唐弘廷(2012)。〈《聽時代在唱歌》之外─被忽略的嘻哈文化/饒舌樂的記憶〉,《文化研究月報》,126: 34-40。
    秦媛(2009)。《音樂中的女性反叛以及反抗策略》。華東師範大學碩士論文。
    張凱強(2016)。〈論復仇式色情這當代厭女文化下的網路獵巫行動〉,《婦研縱橫》,105: 16-21。
    陳莉玲(2017)。〈從職場性別倫理談性別教學〉,《育達科大學報》,44: 137-150。
    陳毓容譯(2018)。《串流龐克:YouTube商務總監揭密100個超級YouTuber經營社群粉絲的爆紅策略》,台北:高寶。(原書Kyncl, R. &Peyvan, M. [2017]. Streampunks: How YouTube and the new creators are transforming our lives. Virgin Books.)
    游美惠(2010)。〈見人說人話,見鬼說鬼話?─跟研究新手談「訪談法」的技巧〉,周平、林昱瑄(主編),《質性/別研究》,頁113-145。台北:巨流。
    黃佩嵐(2018)。《雛妓悲歌設計繪畫創作研究》。《2017藝術與設計國際研討會論文集》,199-212。
    黃意琁(2013)。《以女性主義途徑分析我國性別主流化推行現況》。中正大學碩士論文。
    葉永文(2005)。〈當代臺灣青少年文化的歷史與社會分析:以嘻哈文化和台客文化為例〉,《思與言》,43(1): 137-156。
    楊士堤(2015)。《厭女:日本的女性嫌惡》,台北:聯合文學。(原書:上野千鶴子 [2010].《女ぎらい: ニッポンのミソジニー》。東京:紀伊國屋。)
    蔡宜剛譯(2005)。《次文化:風格與意義》,台北:巨流。(原書Hebdige, D. [2003]. Subcuture: The meaning of style. London, UK: Routledge.)
    蔡致仁(2011)。《嘻哈現場表演的儀式構成與參與研究:以拷秋勤為例》。政治大學碩士論文。
    蘇金輝(2015)。〈從古典到流行:論音樂中女性角色之變化〉,《通識學刊:理念與實務》, 3(1) : 43-68。

    英文部分
    Armstrong, E. G. (2001). Gangsta misogyny: A content analysis of the portrayals of violence against women in rap music, 1987-1993. Journal of Criminal Justice and Popular Culture, 8(2), 96-126.
    Aubrey, J. S., & Frisby, C. M. (2011). Sextual objectification in music videos: a content analysis comparing gender and genre. Mass Communication and Society, 14, 475-501.
    Aubrey, J. S., Hopper, K. M., & Mbure, W. G. (2011). Check that body! The effects of sexually objectifying music videos on college men`s sexual beliefs. Journal of Broadcasting & Electronic Media, 55(3), 360-379.
    BBC News Beijing bureau. (2018, January 24). BBC News. Retrieved from http://www.bbc.com/news/blogs-china-blog-42800032
    Bynoe, Y. (2006). Encyclopedia of rap and hip-hop culture. Westport, Conn. : Greenwood Press.
    Campbell, M. (2011). Rapping gender and violence? Addressing violence and gender with a content analysis of rap lyrics. Kansas, MO: University of Missouri-Kansas City.
    Condry, I. (2001). A history of Japanese hip-hop: Street dance, club scene, pop market. Global noise: Rap and hip-hop outside the USA, 222-247.
    Conrad, K., Dixon, T. L., & Zhang, Y. (2009). Controversial rap themes, gender portrayals and skin tone distortion: A content analysis of rap music videos. Journal of Broadcasting & Electronic Media, 53(1), 134-156.
    D., C., & Jah, Y. (1997). Fight the power : rap, race, and reality. New York, NY: Delacorte Press.
    Greenburg, Z. O. (2011, May 31). Tupac Shakur earning like he`s still alive. Forbes Magazine. Retrieved from https://www.forbes.com/forbes/#63af7f8437dc
    Hunter, M. (2011). Shake it, baby, shake it: Consumption and the new gender relation in hip-hop. Sociological Perspectives, 54(1), 15-36.
    Kubrin, C. E. (2005). Gangstas, thugs, and hustlas: Identity and the code of the street in rap music. Social problems, 52(3), 360-378.
    Morelli, S. (2001). Who is a dancing hero? Rap, hip hop, and dance in Korean popular culture. Global noise: Rap and hip-hop outside the USA, 248-258.
    Negut, A.,& Sarbescu, P. (2014). Problem music or problem stereotypes? The dynamics of stereotype activation in rock and hip-hop music. Music Scientiae, 18(I), 3-16.
    Oware, M. (2011). Brotherly love: homosociality and black masculinity in gangsta rap music. Journal of African American Studies, 15(1), 22-39.
    Prévos, A. J. (1996). The evolution of French rap music and hip hop culture in the 1980s and 1990s. French Review, 713-725.
    Rose, T. (1994). Black niose: Rap music and black culture in contemporary America. Hanover, NH: University Press of New England.
    Schweig, M. (2016). Young soldiers, one day we will change Taiwan masculinity politics in the Taiwan rap scene. Ethnomusicology, 60(3), 383-410.
    Stein, E. (2016, December 1). Afghanistan`s first female rapper: `If I stay silent, nothing will change.` The Guardian. Retrieved from https://www.theguardian.com/international
    Weitzer, R., & Kubrin, C. E. (2009). Misogyny in rap music: A content analysis of prevalence and meanings. Men and Masculinities, 12(1), 3-29.
    White, T. R. (2013). Missy “Misdemeanor” Elliott and Nicki Minaj: fashionistin’ black female sexuality in hip-hop culture—girl power or overpowered? Journal of Black Studies, 44(6), 607-626.
    Zhang, Y., Dixon, T. L., & Conrad, K. (2010). Female body image as a function of themes in rap music videos: A content analysis. Sex roles, 62(11-12), 787-797.
    描述: 碩士
    國立政治大學
    傳播學院傳播碩士學位學程
    104464032
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0104464032
    資料類型: thesis
    DOI: 10.6814/NCCU201900440
    顯示於類別:[傳播學院傳播碩士學位學程] 學位論文

    文件中的檔案:

    檔案 大小格式瀏覽次數
    403201.pdf2261KbAdobe PDF21601檢視/開啟


    在政大典藏中所有的資料項目都受到原著作權保護.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏,無償提供學術研究與公眾教育等公益性使用,惟仍請適度,合理使用本網站之內容,以尊重著作權人之權益。商業上之利用,則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作,已盡力防止侵害著作權人之權益,如仍發現本網站之數位內容有侵害著作權人權益情事者,請權利人通知本網站維護人員(nccur@nccu.edu.tw),維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - 回饋