English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  全文筆數/總筆數 : 113303/144284 (79%)
造訪人次 : 50794466      線上人數 : 704
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
    政大機構典藏 > 傳播學院 > 新聞學系 > 學位論文 >  Item 140.119/70331
    請使用永久網址來引用或連結此文件: https://nccur.lib.nccu.edu.tw/handle/140.119/70331


    題名: Bitch-Style男街舞舞者的妖、騷、婊-其舞蹈實踐、跨性別展演與自我
    Bitch-Style Male Street Dancers - Their Dance Practices, Transgender Performances, and Self-fashioning
    作者: 林青儀
    貢獻者: 蔡如音
    林青儀
    關鍵詞: 街舞
    實踐
    自我
    妖騷婊
    Girl`s Style
    Bitch-Style
    跨性別展演
    Street Dance
    Practice
    Girl`s Style
    Bitch-Style
    Transgender Performances
    Self-fashioning
    日期: 2013
    上傳時間: 2014-10-01 13:43:59 (UTC+8)
    摘要: 街舞圈中,有一群特別的男舞者,他們擅長各種在台灣偏女性意象的風格。妖、騷、婊,是大家最常用來形容他們舞蹈肢體的詞彙。這群Girl’s Style男舞者帶給觀眾對於性別的不安全感,是這份研究的出發點,並且提出兩個研究問題,第一,他們性別越界特質的舞蹈實踐為何,反映了什麼性╱別意涵;第二,他們如何從舞蹈實踐中形塑自我。

    為了解舞者的舞蹈實踐,本研究採取了參與觀察與深度訪談兩種資料收集方法,在校內熱舞社與校外街舞教室兩個田野點,集結近六個月的參與觀察筆記、近一年的相處經驗,以及四位受訪者的訪談內容,組成了可供分析的資料。研究者以舞蹈實踐、跨性別與舞蹈取向的自我,作為資料分析的三大概念,讓可見的舞蹈與舞者成為資料分析的對象。並且將舞者的自我等同於舞者的身體,其支持了舞者的吸收與抵抗,是舞者能動的基礎。

    研究發現,這群特別的男舞者在街舞圈中,透過服裝、話語、性別腳本等多重文本的實踐,構成Bitch-Style這個新的意義系統,並且在實踐中翻轉了妖、騷、婊等污名話語,亦形塑跨性別的自我。舞者亦會在不同的情境中會自動調校性化的位置,以自我保護、展演符合社會期待的性別角色。未來期望更舞蹈與性/別的相關研究,能和本文的婊子們彼此激盪、對話。
    There’s a group of male street dancers call themselves “bitches”. Started with the uncertain feeling toward their sex/gender dancing image, the study tried to figure out what are their transgender dance practices, what kinds of meaning it contains with sex/gender, and how they fashion themselves by dancing.

    To understand their dance practices, the researcher took " Participant Observation" and "In-Depth Interview" as the two ways of data-collecting. After gathering with them for one year, I take dance practice, transgender performances and dance orientation of self as three approaches to analyze data. Self in this study is treated as dancers’ dancing body.

    In conclusion, the researcher argue that Girl’s Style male street dancers should be named as Bitch-Style male dancers. They form themselves by multi-textual practices such as discourses, dressing and gender script. Those insulting phrases like 妖、騷、婊 are transformed into positive words to them by dance practicing. Also, researcher found that they change sexed position quickly and well whenever they change scenarios. In the future,I hope there could be more researches about dance and sexuality which can support and dialogize with Bitches in my study.
    參考文獻: 中文部分

    何春蕤主編(2003)。《跨性別》。桃園縣中壢市:中央大學性╱別研究室。

    林文源譯(2002)。《傅柯與酷兒理論》,台北:遠流。(原書Spargo, T.[1999]. Foucault and Queer Theory. UK: Icon Books.

    林宇玲(2003)。〈解讀台灣綜藝節目「反串模仿秀」的性別文化─以《台灣紅不讓》的〈變男變女變變變〉單元為例〉,何春蕤(編)《跨性別》,頁173-220。桃園縣中壢市:中央大學性╱別研究室。

    洛楓(2004)。〈安能辨我是雄雌──論任劍輝與張國榮的性別易裝〉,《香港性別論述:從屬、不公、差異、越界》(陳潔華、王惠玲編)。569-614,香港:牛津大學。

    洛楓(2005)。〈男身女相‧雌雄同體:張國榮的歌衫舞影與媒介論述〉,洛楓(主編),頁134-146,《媒介擬想—媒介與性/別》。台北:遠流。

    國立中央大學性/別研究室(1997)。〈國立中央大學性/別研究室簡介〉,《國立中央大學性/別研究室》。取自http://sex.ncu.edu.tw/history/index.html

    游素玲主編(2012)。《Judith Butler的性別操演理論導論》。台北市:五南。

    黃道明(2000)。〈召換同性戀主體─渾名、污名與臺灣談同性戀文化的表意,1970-1990〉,《性╱別政治與主體形構》,何春蕤(編),111-130。台北:麥田出版社。

    黃敬華(2007)。《男顏之癮:台灣時尚美型男的跨文化消費與跨性別認同》。國立政治大學新聞研究所。

    劉大基、傅志強、周發祥譯(1991)。《情感與形式》。台北:商鼎文化、千華。(原書Langer, S. K.[1953]. Feeling And Form. N. Y.: Charles Scribner’s Sons.)

    張可婷譯(2010)。《民族誌與觀察研究法》。台北:韋伯文化。(原書Angrosino, Michael[2007]. Doing Ethnographic and Observational Research.London: Sage Publications.)

    劉憶勳(2006)。《體現˙風格─初探青年街舞者的身體實踐》。國立東華大學族群關係與文化研究所。

    英文部分
    Couldry, N.(2004).Theorising Media as Practice.Social Semiotics, 14:2, 115-132.

    Sklar, D.(1991). On Dance Ethnography. Dance Research Journal, 23:1, 6-10.

    Foucault, M.(1977). ‘What is an Author?’ in Language, Counter-memory, Practice,pp.113-138.Ithaca,NY:Cornell U. Press.

    Farnell, B.(1996). Metaphors We Move by.Visual Anthropology, 8, p311-335.

    Fogarty, M. (2011). Waacking, (Punking), Recycling, Schooling: Disco Dance on the Move Retrieved from http://www.adad.org.uk/metadot/index.pl?iid=24399&isa=Category

    Geertz, C.(1973). ‘Thick Description: Toward an Interpretive Theory of Culture’. The Interpretation of Cultures. New York: Basic Books.

    Hanna, J. L.(1987). ‘Dance?’ in To Dance is Human: A Theory of Nonverbal Communication, pp.17-56. Chicago & London: University od Chicago press.

    Lin, Y. L.(1997)Reading the Theoretical Work of Judith Butler, 婦女與兩性學期刊,,8.239-263.

    Lindlof, T. & Taylor, B. C.(2002)”Observing, Learning and Reporting” in Qualitative Communication Research Methods,(2nded).Thousand Oaks, Calif.
    :Sage Publication .

    Leib, A. Y. &Bulman, R. C.(2007). The Choreography of Gender: Masculinity, Feminity, and the Complex Dance of Identity in the Ballroom.Men and Masculinities, 11,602-621.

    Mauss M. (1973). Techniques of Body.Economy And Society, 2,70-88.

    Markula, P.(2006). The Dancing Body without Organs: Deleuze, Femininity, and Performing Research. Qualitative Research, 12,3-27.

    Nagoshi, Jilie L. & Brzuzy, Stephan/ie(2010). Transgender Theory: Embodying Research and Practice. Affilia,25(4):431-43.

    Papoulias, C. (2006). Transgender. Theory, Culture & Society, 23,231-233

    Paulson, S.(2010). The Use of Ethnography and Narrative Interviews in a Study of “Cultures of Dance” .Journal of Health Psychology, 16,148-57.

    Plener, A.(2012). Dance DanceRevelution? Waltzing Around The Issue of Queer Visibility on TV. Bitch Magazine:Feminist Response to Pop Culture
    , 55, pp.67-69.

    Peterson G. T. and Anderson, E.(2012). The Performance of Softer Masculinities on the University Dance Floor.The Journal of Men’s Studies,l2(1), 3-15.

    Ronen S.( 2010). Grinding On the Dance Floor: Gendered Scripts and Sexualized Dancing at College Parties. Gender & Society, 24,355-377.

    Samudra, J. K.(2008). Memory in Our Body: Thick Description and the translation of kinesthetic experience. American Ethnologist,35(4), 665-81.

    Simpson, M. (1994). Here Come The Mirror Men: Why The Future Is Metrosexual Retrieved from http://www.marksimpson.com/?page_id=702

    Shapiro, E. (2007). Drag King and the Transformation of Gender Identities. Gender &Society, 21,250-271.

    Stanley-Niaah, S.(2004). Kingstons’s Dancehall: A Story of Space and Celebration. Space and Culture, 7,102-118.

    Swidler, A.(2001). What Anchors Cultural Practices? In T. R. Schatzki, K. K. Cetina& E. von Savigny(eds.), The Practice Turn in Contemporary Theory(pp.83-101). London and New York: Routledge.
    描述: 碩士
    國立政治大學
    新聞研究所
    97451020
    102
    資料來源: http://thesis.lib.nccu.edu.tw/record/#G0097451020
    資料類型: thesis
    顯示於類別:[新聞學系] 學位論文

    文件中的檔案:

    檔案 大小格式瀏覽次數
    102001.pdf10651KbAdobe PDF22902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