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題名 現場獨立搖滾樂迷新部落：音樂、身體與情感的集體性
Live Indie Rock Fans as Neotribes: Collectivity of Music, the Body and Affect作者 林益睿
Lin, Yi-Rui貢獻者 高國魁
林益睿
Lin, Yi-Rui關鍵詞 獨立搖滾
音樂場景
樂迷
新部落
集體性
另類陽剛性
Indie rock
Music scene
Fans
Neo-tribes
Collectivity
Alternative masculinity日期 2023 上傳時間 6-Apr-2023 18:05:00 (UTC+8) 摘要 本文旨在構築一幅獨立搖滾樂迷的集體面貌，不透過預先分類法的定義來確立獨立搖滾樂迷的屬性，而是藉由「此時此地」的場景參與及互動，刻畫獨立搖滾樂迷的特殊文化定位。分析與討論上，本文圍繞在個人／集體、差異／同一的二元框架，然而研究目標不在於確立獨立搖滾樂迷究竟傾向何者，而是呈現樂迷在場景中既有意識地表達個體意識，也受到集體共鳴的吸引，尋求社群連帶的歸屬感。本文納入多元性別的探討視角，透過非二元性別的群體認同來理解獨立搖滾文化如何在差異與同一之間產生衝突政治，甚至發展出獨特的性別詮釋。本文將音樂、身體、情感納入分析要素，指出獨立搖滾樂迷的集體性有賴於難以控制的場景體驗品質。這些感受時而增強集體認同，時而限縮對於不同場景、群體的偏好。研究者進一步應用新部落理論佐證獨立搖滾樂迷的特殊集體性，並且反過來從該社群現象對新部落概念提出問題。最後，本文與其說是在「獨立搖滾樂迷是什麼」上作出回答，不如說研究者力圖解釋「是什麼形成了獨立搖滾樂迷的認同」。
This research aims to build a collective profile of indie rock fans. Instead of assigning a categorical definition to the attributes of indie rock fans, the research focuses on the musical scene of “here-and-now” to portray a participatory and interactive culture of indie rock fans.The thesis revolves around a framework of two binary structures, that is, “individual/collective” and “difference/identity” to analyze empirical phenomana. We seek to argue that indie rock fans consciously express their individuality while looking for a sense of belonging to communal solidarity at the same time as they are attracted to collective resonance. Therefore, we found that indie rock fans do not fall into any side in the binary structure. Besides, the thesis incorporates a perspective of gender diversity into the analysis. By observing the practices of music fans bending the binary gender culture, we could better understand how a politics of conflicts results from the dynamic of difference and identity within the subculture of indie rock. Furthermore, we might even develop a novel conception of gender diversity from these conflicts.By bringing elements of music, the body and affect into the analysis, this research proposes that the collective nature of indie rock fans is manifested in the experiential quality of music scenes. The effects of live music listening experiences may sometimes enhance collective identification, and sometimes restrict choices of preference for specific events and groups. Moreover, the research applies the notion of neo-tribalism to examine the unique collectivity of indie rock fans, and then reflexively poses questions to the received notion. In short, rather than asking “what are indie rock fans?”, the research attempts to answer “the elemental conditions that constitute the identity formation of indie rock fans”.參考文獻 王秀雲，2019，〈「不男不女」，台灣「長髮」男性的治理及其性別政治，1960s-1970s〉。《台灣社會研究季刊》112：99-146。王怡晴，2012，《台灣搖滾樂迷的認同與展演：以2000年後的英搖、金屬樂迷為例》。嘉義：國立中正大學心理學系碩士論文。何東洪，2013，〈獨立音樂認同的所在：「地下社會」的生與死〉。《思想》24：123-137。孫杰，2021，《向音樂場景的聖地朝拜：從儀式觀點檢視獨立音樂祭的集體認同》。新竹：陽明交通大學。陳之昊，2014，《社群網站時代的次文化社群：台灣獨立音樂圈的社會與文化資本》。新竹：國立交通大學傳播研究所碩士論文。陳向明，2002，《社會科學質的研究》。台北：五南出版。陳蘭蘭，2015，〈文化工業批判理論及其歷史局限性〉。《淮北職業技術學院學報》14(1)：63-64。黃俊銘，2019，〈音樂如何社會？從阿多諾（Adorno）到德諾拉（DeNora）：閱讀《音樂社會學導論》、《日常生活中的音樂》〉。《中華傳播學刊》36：275-288。黃瑞祺，1997，〈現代或後現代－紀登斯論現代性〉。《東吳社會學報》6：287-311。楊久穎，2001，《女搖滾》。台北：果實出版。葉靜宜，2011，〈誰在學男人？：陽剛女性的陽剛展演與生存策略〉。《文化研究月報》123：3-24。劉暢之，2020，〈與父權「遊戲」：大陸女性「金屬黨」的聆聽與認同〉。《傳播與社會學刊》51：107-139。鄭凱同，2005，〈主流與獨立的再思考：文化價值、音樂產業與文化政策的思辨與探討〉。台北：淡江大學大眾傳播學系傳播碩士論文。盧文超，2018，〈從藝術社會學到新藝術社會學──提亞・德諾拉音樂思想的轉變〉。《文藝研究》12：91-101。戴尹宣，2021，《共聽的情感實作：臺灣當代女同志獨立音樂聆聽經驗》。台北：國立台灣大學音樂學研究所碩士論文。謝光萍，2006，《誰在那裡聽自己的歌──台北live house樂迷與音樂場景》。台北：國立台灣大學新聞研究所碩士論文。Adorno, Theodor W., 2002, “On Popular Music.” Pp. 437-469 in Essays on Music. Berkeley, California: University of California Press.Ahmed, Sara, 2004, The Cultural Politics of Emotion. Edinburgh: Edinburgh University Press.Bannister, Matthew, 2006, White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. USA: Ashgate Publishing Company.Barnes, Ash and White, Rob, 2019, “Violence in the mosh pit: assault within the Australian punk scene.” Current Issues in Criminal Justice 31(1): 40-59.Butler, Judith著，宋素鳳譯， 2009，《性別麻煩：女性主義與身份的顛覆》（Gender Trouble: Feminism and the Subversion of Identity）。上海：上海三聯書店。Bloustien, Gerry, 2004, “Buffy Night at the Seven Stars: A ‘Subcultural’ Happening at the ‘Global’ Level.” Pp. 148-161 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.Davies, Kathleen, 2006, Indie Rock Subculture: Hamilton as Microcosm. Unpublished doctoral dissertation, Department of Master of Arts, McMaster University, Hamilton, Ontario.DeNora, Tia, 2004, Musical in Everyday Life. Cambridge: Cambridge University Press.Driver, Christopher, 2011, “Embodying hardcore: rethinking ‘subcultural’ authenticities.” Journal of Youth Studies 14: 975-990.Durkheim, Emile and Karen E. Fields, trans., 1995, The Elementary Forms of Religious Life. NY: The Free Press.Featherstone, Mike著，趙偉妏譯，2009，《消費文化與後現代主義》（Consumer Culture and Postmodernism）。國立編譯館、韋伯文化。Frith, Simon, 1993, Sound and Vision: The Music Video Reader. London: Routledge.Frith, Simon and Angela McRobbie, 2005, “Rock and Sexuality.” Pp. 317-332 in On Record, edited by Simon Frith and Andrew Goodwin. London: Routledge.Giddens, Anthony, 1991, Modernity and Self-Identity: Self and Society in the Late Age. UK: Polity Press.Hardt, Michael, 2007, The Affective Turn: Theorizing the Social. Durham and London, NC: Duke University Press.Hibbett, Ryan, 2005, “What Is Indie Rock?” Popular Music and Society 28: 55-77.Hofman, Ana, 2015, “The Affective Turn in Ethnomusicology.” Musicology 18: 35-55.Houston, Taylor M., 2012, “The Homosocial Construction of Alternative Masculinities: Men in Indie Rock Bands.” The Journal of Men’s Studies 20(2): 158-175.Keith Kahn-Harris, 2004, “Unspectacular Subculture? Transgression and Mundanity in the Global Extreme Metal Scene.” Pp. 107-118 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.Kolb, Jaffer, 2017, “Working Queer.” Log 41: 63-66.Kruse, Holly, 1993, “Subcultural Identity in Alternative Music Culture.” Popular Music 12(1): 33-41.Lau, Tori J., 2005, “Jump!”: Aggression, dance and gender roles – a reading of mosh pit culture. Unpublished doctoral dissertation, Department of Musicology, University of Oslo, Norway: Oslo.Lefebvre, Henri, 1971, Everyday Life in the Modern World. London: Allen Lane.Martin, Peter J., 2004, “Culture, Subculture, and Social Organization.” Pp. 21-35 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.Maffesoli, Michel, 1996, The Time of the Tribes: The Decline of Individualism in Mass Society. London: SAGE.Massumi, Brian, 2002, “Parables for the Virtual: Movement, Affects, Sensation.” Durham, NC: Duke University Press.McCann, Hannah, 2016, “Epistemology of the Subject: Queer Theory’s Challenge to Feminist Sociology.” Women’s Studies Quarterly 44(3): 224-243.Mulvey, Laure, 1989, Visual and Other Pleasures. NY: PALGRAVE MACMILLAN.Ramirez, Michael, 2007, Music, Gender, and Coming of Age in The Lives of Indie Rock Performers. Ph.D, Georgia University, Athens.Riches, Gabrielle, Brett Lashua and Karl Spracklen, 2014, “Female, Mosher, Transgressor: A ‘Moshography’ of Transgressive Practices within the Leeds Extreme Metal Scene.” Journal of the International Association for the Study of Popular Music 4(1): 87-100.Overell, Rosemary, 2011, “[I] hate girls and emo[tion]s: Negotiating masculinity in grindcore music.” Popular Music History 6(1): 198-223.Sweetman, Paul, 2004, “Tourists and Travellers? ‘Subcultures’, Reflexive Identities and Neo-Tribal Sociality.” Pp. 79-93 in After Subculture: Critical Studies in Contemporary Youth Culture, edited by Andy Bennett and Keith Kahn-Harris. NY: PALGRAVE MACMILLAN.Weinreich, Peter, 2003, Analysing Identity: Cross-Cultural, Societal and Clinical Contexts. London: Routledge.Walton, Kendall L., 2015, In Other Shoes: Music, Metaphor, Empathy, Existence. NY: Oxford University Press.Young, Iris, 2011, Justice and the Politics of Difference. New Jersey: Princeton University Press. 描述 碩士
國立政治大學
社會學系
108254014資料來源 http://thesis.lib.nccu.edu.tw/record/#G0108254014 資料類型 thesis dc.contributor.advisor 高國魁 zh_TW dc.contributor.author (Authors) 林益睿 zh_TW dc.contributor.author (Authors) Lin, Yi-Rui en_US dc.creator (作者) 林益睿 zh_TW dc.creator (作者) Lin, Yi-Rui en_US dc.date (日期) 2023 en_US dc.date.accessioned 6-Apr-2023 18:05:00 (UTC+8) - dc.date.available 6-Apr-2023 18:05:00 (UTC+8) - dc.date.issued (上傳時間) 6-Apr-2023 18:05:00 (UTC+8) - dc.identifier (Other Identifiers) G0108254014 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/144061 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 社會學系 zh_TW dc.description (描述) 108254014 zh_TW dc.description.abstract (摘要) 本文旨在構築一幅獨立搖滾樂迷的集體面貌，不透過預先分類法的定義來確立獨立搖滾樂迷的屬性，而是藉由「此時此地」的場景參與及互動，刻畫獨立搖滾樂迷的特殊文化定位。分析與討論上，本文圍繞在個人／集體、差異／同一的二元框架，然而研究目標不在於確立獨立搖滾樂迷究竟傾向何者，而是呈現樂迷在場景中既有意識地表達個體意識，也受到集體共鳴的吸引，尋求社群連帶的歸屬感。本文納入多元性別的探討視角，透過非二元性別的群體認同來理解獨立搖滾文化如何在差異與同一之間產生衝突政治，甚至發展出獨特的性別詮釋。本文將音樂、身體、情感納入分析要素，指出獨立搖滾樂迷的集體性有賴於難以控制的場景體驗品質。這些感受時而增強集體認同，時而限縮對於不同場景、群體的偏好。研究者進一步應用新部落理論佐證獨立搖滾樂迷的特殊集體性，並且反過來從該社群現象對新部落概念提出問題。最後，本文與其說是在「獨立搖滾樂迷是什麼」上作出回答，不如說研究者力圖解釋「是什麼形成了獨立搖滾樂迷的認同」。 zh_TW dc.description.abstract (摘要) This research aims to build a collective profile of indie rock fans. Instead of assigning a categorical definition to the attributes of indie rock fans, the research focuses on the musical scene of “here-and-now” to portray a participatory and interactive culture of indie rock fans.The thesis revolves around a framework of two binary structures, that is, “individual/collective” and “difference/identity” to analyze empirical phenomana. We seek to argue that indie rock fans consciously express their individuality while looking for a sense of belonging to communal solidarity at the same time as they are attracted to collective resonance. Therefore, we found that indie rock fans do not fall into any side in the binary structure. Besides, the thesis incorporates a perspective of gender diversity into the analysis. By observing the practices of music fans bending the binary gender culture, we could better understand how a politics of conflicts results from the dynamic of difference and identity within the subculture of indie rock. Furthermore, we might even develop a novel conception of gender diversity from these conflicts.By bringing elements of music, the body and affect into the analysis, this research proposes that the collective nature of indie rock fans is manifested in the experiential quality of music scenes. The effects of live music listening experiences may sometimes enhance collective identification, and sometimes restrict choices of preference for specific events and groups. Moreover, the research applies the notion of neo-tribalism to examine the unique collectivity of indie rock fans, and then reflexively poses questions to the received notion. In short, rather than asking “what are indie rock fans?”, the research attempts to answer “the elemental conditions that constitute the identity formation of indie rock fans”. en_US dc.description.tableofcontents 壹、導論 1貳、研究問題 5一、流行文化下的音樂消費者：從 Adorno 到 DeNora 5二、當代獨立搖滾的日常生活美學 9三、探查獨立搖滾性別研究的可能：一種酷兒觀點 12四、情感的圖像：個人殊異與集體共感的交匯 20五、小結 24參、研究設計 26一、研究方法 26二、研究對象 27三、訪談大綱 30四、章節安排 33肆、差異的音樂召喚：進入獨立搖滾現場 34一、非主流的歸屬感：差異的接納 35二、擺脫日常束縛：行為的轉換 37三、差異空間的性別嘗試：裝扮的解禁 42四、非主流的公共衝突：差異間的政治 47五、小結 53伍、獨立搖滾的身體性：樂迷的音樂同步 55一、要聽也要動：獨立搖滾的身體力行 55二、「我們的」搖滾身體：音樂同步的集體歡騰 60三、另類陽剛性的生成：衝撞下的樂迷身體政治 68四、小結 81陸、情感的文化認同：獨立搖滾樂迷的同調與歸屬 84一、「浸」入現場：樂迷的情感同調 86二、我們都（不）孤獨：殊異與共在的情感異托邦 93三、小結 101柒、結論與省思 103參考書目 108 zh_TW dc.format.extent 2534106 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0108254014 en_US dc.subject (關鍵詞) 獨立搖滾 zh_TW dc.subject (關鍵詞) 音樂場景 zh_TW dc.subject (關鍵詞) 樂迷 zh_TW dc.subject (關鍵詞) 新部落 zh_TW dc.subject (關鍵詞) 集體性 zh_TW dc.subject (關鍵詞) 另類陽剛性 zh_TW dc.subject (關鍵詞) Indie rock en_US dc.subject (關鍵詞) Music scene en_US dc.subject (關鍵詞) Fans en_US dc.subject (關鍵詞) Neo-tribes en_US dc.subject (關鍵詞) Collectivity en_US dc.subject (關鍵詞) Alternative masculinity en_US dc.title (題名) 現場獨立搖滾樂迷新部落：音樂、身體與情感的集體性 zh_TW dc.title (題名) Live Indie Rock Fans as Neotribes: Collectivity of Music, the Body and Affect en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 王秀雲，2019，〈「不男不女」，台灣「長髮」男性的治理及其性別政治，1960s-1970s〉。《台灣社會研究季刊》112：99-146。王怡晴，2012，《台灣搖滾樂迷的認同與展演：以2000年後的英搖、金屬樂迷為例》。嘉義：國立中正大學心理學系碩士論文。何東洪，2013，〈獨立音樂認同的所在：「地下社會」的生與死〉。《思想》24：123-137。孫杰，2021，《向音樂場景的聖地朝拜：從儀式觀點檢視獨立音樂祭的集體認同》。新竹：陽明交通大學。陳之昊，2014，《社群網站時代的次文化社群：台灣獨立音樂圈的社會與文化資本》。新竹：國立交通大學傳播研究所碩士論文。陳向明，2002，《社會科學質的研究》。台北：五南出版。陳蘭蘭，2015，〈文化工業批判理論及其歷史局限性〉。《淮北職業技術學院學報》14(1)：63-64。黃俊銘，2019，〈音樂如何社會？從阿多諾（Adorno）到德諾拉（DeNora）：閱讀《音樂社會學導論》、《日常生活中的音樂》〉。《中華傳播學刊》36：275-288。黃瑞祺，1997，〈現代或後現代－紀登斯論現代性〉。《東吳社會學報》6：287-311。楊久穎，2001，《女搖滾》。台北：果實出版。葉靜宜，2011，〈誰在學男人？：陽剛女性的陽剛展演與生存策略〉。《文化研究月報》123：3-24。劉暢之，2020，〈與父權「遊戲」：大陸女性「金屬黨」的聆聽與認同〉。《傳播與社會學刊》51：107-139。鄭凱同，2005，〈主流與獨立的再思考：文化價值、音樂產業與文化政策的思辨與探討〉。台北：淡江大學大眾傳播學系傳播碩士論文。盧文超，2018，〈從藝術社會學到新藝術社會學──提亞・德諾拉音樂思想的轉變〉。《文藝研究》12：91-101。戴尹宣，2021，《共聽的情感實作：臺灣當代女同志獨立音樂聆聽經驗》。台北：國立台灣大學音樂學研究所碩士論文。謝光萍，2006，《誰在那裡聽自己的歌──台北live house樂迷與音樂場景》。台北：國立台灣大學新聞研究所碩士論文。Adorno, Theodor W., 2002, “On Popular Music.” Pp. 437-469 in Essays on Music. 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