政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/70331

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/70331

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政大機構典藏 > 傳播學院 > 新聞學系 > 學位論文 > Item 140.119/70331

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题名:	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
贡献者:	蔡如音林青儀
关键词:	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
上传时间:	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
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