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題名 《Mosh Pit & Solat：半島龐克音樂場景裡的馬來穆斯林》紀實書寫計畫創作論述
A Non-Fiction Writing Project: Mosh Pit & Solat: Malay Muslims in Peninsular Malaysia Punk Scene作者 馬紅綾
Ling, Beh Hoong貢獻者 鍾適芳
Chung, Shefong
馬紅綾
Beh Hoong Ling關鍵詞 伊斯蘭教
身份協商
紀實書寫
馬來穆斯林
族群身份
龐克次文化
Ethnic identity
Islam
Identity negotiation
Non-fiction writing
Malay-Muslim
Punk subculture日期 2022 上傳時間 2-Sep-2022 15:52:16 (UTC+8) 摘要 Mosh Pit是龐克音樂表演時，臺下群眾經常上演的一種肢體衝撞行為；而Solat則是穆斯林一日五拜的日常信仰實踐。「龐克」與「馬來穆斯林」，前者強調以反叛抵抗、不服從規範與權威體制作為其核心精神價值；後者則以服從、遵守宗教教義作為信仰與日常生活方式。是故，在一個將伊斯蘭宗教視為官方宗教的國度，「馬來穆斯林龐克」在馬來西亞社會看似是個悖論的存在。馬來穆斯林族群要如何在「抵抗、不服從」的龐克次文化價值觀中，又得同時面對自身需要「順從、遵循」的穆斯林身份？依循此一疑問出發，本研究書寫透過一名馬來西亞華人的視角，探詢與揭示「馬來穆斯林龐克」的複雜性現象。在這場音樂場景的探索旅途中，馬來西亞國家歷史、政治、社會、族群與宗教身份等，各種繁複交織著的背景脈絡得以一一被重新審視。本文以「紀實書寫」為創作形式，試圖勾勒出兩層動線：一、敘事主軸為探究「馬來穆斯林」與「龐克」兩種身份在國家社會脈絡下的衝突、實踐與協商；二、馬來西亞華人研究書寫者的向內凝視反思。透過這兩層相互交錯的動線，本文在前進探索、揭露馬來穆斯林龐克場景與當代國家社會的關係之餘，亦回顧、反思一名研究書寫者的族群身份，與他/她所身處的國家社會之間的關係。研究書寫者與其研究對象群之間的斷裂生活經驗，映照出這國度長久以來複雜、敏感而緊張的族群關係。因新冠狀病毒肆虐全球致使邊境封閉、無法跨越國界線進行實體田野，本文取徑深度訪談、網路田野觀察與歷史資料蒐集之方法，並將研究結果書寫成五個章節的創作作品。作品中每章節各有獨立的主題，透過研究者的親身參與、歷史事件的挖掘與整理、城鄉空間的生活狀態與活動、龐克誌出版刊物敘事與研究者交換田野經驗心得，拼湊出鮮明的馬來穆斯林龐克場景紀實。研究書寫成果呈現出少數被主流學術研究與社會所探討的馬來穆斯林龐克場景文化，並因此映照出在國家與社會的主流敘事之外，少數被看見的馬來穆斯林之生命經驗與其觀點想法。
Mosh Pit is a style of physical movement whereby audience members at punk rock concerts bump and push each other violently, while Solat refers to the daily prayers performed by Muslims five times a day. A Punk and a Malay Muslim are generally seen to represent identities on two extreme poles; the former emphasizes disobedience and non-compliance against social norms and an authoritative system as the core belief, while the latter abides by a way of life based on the religion’s doctrine. Therefore, the term “Malay Muslim Punk” seems a paradox in Malaysia society, in which Islam is granted the “religion of the Federation” under the constitution and is the most professed religion.How do Malay Muslims conform themselves with religious obedience while still attempting to maintain a self-identity that strengthens the spirit of non-compliance? This research endeavors to reveal the complex phenomenon of the “Malay Muslim Punk” scene from the perspectives of a Malaysian Chinese. Throughout an exploration of the music scene, the complex and intertwined contexts of the Malaysia political and social history as well as the ethnic and religious identities are reinspected.By means of non-fiction writing, the text indicates two narratives against the political and social backdrops of Malaysia. The first explores the practice and the negotiation between the two identities “Malay Muslims” and “Punk”, and the second is a self-reflection of a Malaysian Chinese researcher/writer on ethnic issues and tension. Through the two different story lines, besides exploring the conflict and social phenomenon on one hand, the text also reveal the relationships between a Malaysian Chinese writer and the contemporary social contexts in which he/she is embedded.Due to the border closures caused by the global COVID-19 pandemic, the research is conducted by using the methodology of in-depth interviews, online field research, and archival data collection. 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國立政治大學
傳播學院傳播碩士學位學程
107464075資料來源 http://thesis.lib.nccu.edu.tw/record/#G0107464075 資料類型 thesis dc.contributor.advisor 鍾適芳 zh_TW dc.contributor.advisor Chung, Shefong en_US dc.contributor.author (Authors) 馬紅綾 zh_TW dc.contributor.author (Authors) Beh Hoong Ling en_US dc.creator (作者) 馬紅綾 zh_TW dc.creator (作者) Ling, Beh Hoong en_US dc.date (日期) 2022 en_US dc.date.accessioned 2-Sep-2022 15:52:16 (UTC+8) - dc.date.available 2-Sep-2022 15:52:16 (UTC+8) - dc.date.issued (上傳時間) 2-Sep-2022 15:52:16 (UTC+8) - dc.identifier (Other Identifiers) G0107464075 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/141865 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院傳播碩士學位學程 zh_TW dc.description (描述) 107464075 zh_TW dc.description.abstract (摘要) Mosh Pit是龐克音樂表演時，臺下群眾經常上演的一種肢體衝撞行為；而Solat則是穆斯林一日五拜的日常信仰實踐。「龐克」與「馬來穆斯林」，前者強調以反叛抵抗、不服從規範與權威體制作為其核心精神價值；後者則以服從、遵守宗教教義作為信仰與日常生活方式。是故，在一個將伊斯蘭宗教視為官方宗教的國度，「馬來穆斯林龐克」在馬來西亞社會看似是個悖論的存在。馬來穆斯林族群要如何在「抵抗、不服從」的龐克次文化價值觀中，又得同時面對自身需要「順從、遵循」的穆斯林身份？依循此一疑問出發，本研究書寫透過一名馬來西亞華人的視角，探詢與揭示「馬來穆斯林龐克」的複雜性現象。在這場音樂場景的探索旅途中，馬來西亞國家歷史、政治、社會、族群與宗教身份等，各種繁複交織著的背景脈絡得以一一被重新審視。本文以「紀實書寫」為創作形式，試圖勾勒出兩層動線：一、敘事主軸為探究「馬來穆斯林」與「龐克」兩種身份在國家社會脈絡下的衝突、實踐與協商；二、馬來西亞華人研究書寫者的向內凝視反思。透過這兩層相互交錯的動線，本文在前進探索、揭露馬來穆斯林龐克場景與當代國家社會的關係之餘，亦回顧、反思一名研究書寫者的族群身份，與他/她所身處的國家社會之間的關係。研究書寫者與其研究對象群之間的斷裂生活經驗，映照出這國度長久以來複雜、敏感而緊張的族群關係。因新冠狀病毒肆虐全球致使邊境封閉、無法跨越國界線進行實體田野，本文取徑深度訪談、網路田野觀察與歷史資料蒐集之方法，並將研究結果書寫成五個章節的創作作品。作品中每章節各有獨立的主題，透過研究者的親身參與、歷史事件的挖掘與整理、城鄉空間的生活狀態與活動、龐克誌出版刊物敘事與研究者交換田野經驗心得，拼湊出鮮明的馬來穆斯林龐克場景紀實。研究書寫成果呈現出少數被主流學術研究與社會所探討的馬來穆斯林龐克場景文化，並因此映照出在國家與社會的主流敘事之外，少數被看見的馬來穆斯林之生命經驗與其觀點想法。 zh_TW dc.description.abstract (摘要) Mosh Pit is a style of physical movement whereby audience members at punk rock concerts bump and push each other violently, while Solat refers to the daily prayers performed by Muslims five times a day. A Punk and a Malay Muslim are generally seen to represent identities on two extreme poles; the former emphasizes disobedience and non-compliance against social norms and an authoritative system as the core belief, while the latter abides by a way of life based on the religion’s doctrine. Therefore, the term “Malay Muslim Punk” seems a paradox in Malaysia society, in which Islam is granted the “religion of the Federation” under the constitution and is the most professed religion.How do Malay Muslims conform themselves with religious obedience while still attempting to maintain a self-identity that strengthens the spirit of non-compliance? This research endeavors to reveal the complex phenomenon of the “Malay Muslim Punk” scene from the perspectives of a Malaysian Chinese. Throughout an exploration of the music scene, the complex and intertwined contexts of the Malaysia political and social history as well as the ethnic and religious identities are reinspected.By means of non-fiction writing, the text indicates two narratives against the political and social backdrops of Malaysia. The first explores the practice and the negotiation between the two identities “Malay Muslims” and “Punk”, and the second is a self-reflection of a Malaysian Chinese researcher/writer on ethnic issues and tension. Through the two different story lines, besides exploring the conflict and social phenomenon on one hand, the text also reveal the relationships between a Malaysian Chinese writer and the contemporary social contexts in which he/she is embedded.Due to the border closures caused by the global COVID-19 pandemic, the research is conducted by using the methodology of in-depth interviews, online field research, and archival data collection. The text is divided into five chapters, and each chapter features an independent theme. It can be regarded as a documentary account of the “Malay Muslim punk scene”, which comprises narrations and documentation of the chronicles, events, spaces, activities, fanzine publications, and the writer’s ethnographic research. As a result, the researcher/writer ventures onto a journey unveiling the distinctive punk culture nurtured in the Malay Muslim punk scene, which is rarely seen in academic research. en_US dc.description.tableofcontents 目錄第壹章：馬來西亞國境裡的「Kami」與「Kita」 1第一節 緣起：遠方回望，隱藏的族群邊界線 2第二節 動機：透過龐克音樂次文化，重新認識「馬來西亞」 7第三節 目的：「我」，作為書寫者的橋樑角色 10第貳章：探索馬來穆斯林與龐克音樂次文化 12第一節 「馬來穆斯林」身份的混雜性、衝突性、世俗性與排他性 14一、誰是馬來人？馬來人是誰？ 14二、伊斯蘭教與傳統馬來民間文化的混雜現象 21三、馬來西亞，世俗國家還是伊斯蘭國家？ 27第二節 龐克音樂次文化的基進反叛與賦權創造 34一、「龐克」，是什麼？ 34二、理解龐克次文化群體的異質性 40三、龐克的反叛本質與媒體上的形象 42四、龐克的政治意識與社會的相互關係 46第三節 從馬來西亞地下音樂場景，探尋馬來穆斯林龐克 51一、當龐克次文化脫離西方社會，進入馬來西亞地下音樂場景 51二、馬來穆斯林與龐克，兩種身份的交織 59三、馬來西亞社會對音樂次文化的「道德恐慌」 65第參章：從田野研究到敘事書寫 72第一節 田野研究途徑 74一、兩階段式訪談 74二、網絡田野觀察 77三、歷史資料蒐集、查證與分析 80第二節 敘事架構設計 80第三節 傾聽、凝視與書寫後的反思 85參考書目 88創作正文 102序幕 那夜天公誕，馬來龐克的轟鳴巨響 103第一章 一耳之隔的世界 110第二章 傳統馬來社會裡的噪音騷動 127第三章 遊走、遷徙城鄉間 145第四章 看不見的龐克們 161第五章 我們，KAMI和KITA 174 zh_TW dc.format.extent 5526817 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0107464075 en_US dc.subject (關鍵詞) 伊斯蘭教 zh_TW dc.subject (關鍵詞) 身份協商 zh_TW dc.subject (關鍵詞) 紀實書寫 zh_TW dc.subject (關鍵詞) 馬來穆斯林 zh_TW dc.subject (關鍵詞) 族群身份 zh_TW dc.subject (關鍵詞) 龐克次文化 zh_TW dc.subject (關鍵詞) Ethnic identity en_US dc.subject (關鍵詞) Islam en_US dc.subject (關鍵詞) Identity negotiation en_US dc.subject (關鍵詞) Non-fiction writing en_US dc.subject (關鍵詞) Malay-Muslim en_US dc.subject (關鍵詞) Punk subculture en_US dc.title (題名) 《Mosh Pit & Solat：半島龐克音樂場景裡的馬來穆斯林》紀實書寫計畫創作論述 zh_TW dc.title (題名) A Non-Fiction Writing Project: Mosh Pit & Solat: Malay Muslims in Peninsular Malaysia Punk Scene en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 一、中文文獻：方永泉（2005）。〈從次文化研究到後次文化研究一談西方次文化研究的演變及其在教育上的啟示〉，《中等教育》，56(5): 24-47。世界憲法大全（無日期）。《馬來西亞憲法》。取自https://www.lawlove.org/Top8/discovery.php?act=one&b=MYS.001何則文（2019年8月16日）。〈花12年規劃「清真」產業！得到馬來西亞清真標章=拿到伊斯蘭世界產品通行證〉，《商週》。取自https://www.businessweekly.com.tw/business/blog/26627何穎怡譯（2006）。《搖滾神話學：性、神祇、搖滾樂》。臺北市：商周。（原書Padel, R. 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