| dc.contributor | 新聞學研究 | |
| dc.creator (作者) | 林鴻亦 | |
| dc.creator (作者) | Lin, Hung-Yi | |
| dc.date (日期) | 2026-01 | |
| dc.date.accessioned | 19-三月-2026 09:50:08 (UTC+8) | - |
| dc.date.available | 19-三月-2026 09:50:08 (UTC+8) | - |
| dc.date.issued (上傳時間) | 19-三月-2026 09:50:08 (UTC+8) | - |
| dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/162063 | - |
| dc.description.abstract (摘要) | 本研究梳理1990到2010年間日本次文化論壇中幾位論客對反諷語境的討論，盼能為該時期的日本思想史提出反諷作為時代關鍵字的可能性。冷戰結束後，在自由主義作為意識形態主流的社會情境下，大型敘事不僅凋零，其價值、主張之間不必然對立的相對主義讓人們不知何去何從。另一方面，以生產小型敘事的次文化文本則在強勁的文化消費力道下，於日本社會發揮巨大的影響力，並逐漸成為人們理解世界、反思現實的參考。
但次文化作為消費的對象，也著實讓虛構成為理解或回應現實的素材。所以，過去的相對主義所呈現的反諷語境，也從容忍他者的價值相對主義，逐漸轉變為虛構與現實之間得以並存的虛實相對主義。而網路社群對話時代的來臨，不僅讓御宅族們能感動地沉浸在反諷語境，網路對話的積累更是形成以資料庫為基礎的反諷遊戲。這種藉由反諷而遠離反諷本質中具有的反省，不僅讓反諷劣化為嘲諷，也造就全民御宅族化、處處同溫層的現象。在人們沉浸反諷遊戲的過程中，也將逐漸形成以資料庫為基礎的後設認知。 | |
| dc.description.abstract (摘要) | When confronted with divergent values between self and others, individuals, in addition to engaging in political dialogue and negotiation in the public sphere, have historically employed irony in private conversation to relativize differences without jeopardizing social co-existence. On the basis of everyday life observations in Taiwan, this research notes that irony is rare in ordinary exchanges, whereas subcultural productions exhibit an increased prevalence of ironic contexts. The ironic contexts generated within subcultural consumption spaces often appear in online dialogues as satire or verbal attack, thereby failing to fulfill irony’s intended function of prompting conversational partners toward reflective deliberation. This paper further presents that both the disappearance of ironic contexts and the intensification of value polarization are associated with the collapse of grand narratives. People once relied on grand narratives to construct worldviews, yet under post-modern conditions, these narratives have become inadequate for interpreting reality. Within this context, subcultures that audiences have increasingly favored have served as resources through which individuals make sense of the world and reflect on social life.
On the basis of the aforementioned observations, this study explores how ironic contexts created by subcultural texts appear within Japanese subcultural forums between 1990 and 2010. The rationale is twofold. Taiwan’s subcultural field has been heavily influenced by Japan, and Japanese literary and artistic productions, including anime and manga, are suffused with Romanticist elements. Many Romantic works use irony to reflect on the contingency of individual existence and nature as well as on the pressures confronting modern individuals amid communal disintegration and life’s impermanence. The selection of 1990 as a starting point corresponds to the unraveling of Japan’s grand narratives following the collapse of its bubble economy - a period when people turned to emerging narratives, such as new religious movements and self-improvement courses, to interpret the meaning of life and achieve psychological stability. At that juncture, Japanese subcultural production not only reflected fin-de-siècle disorder, but also generated works that either extensively depicted protagonists’ interiority or anime and manga that relied heavily on kawaii motifs. The ironic contexts embodied in these works subsequently became the texts in which audiences, later labeled otaku, immersed themselves. | |
| dc.format.extent | 1711969 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 新聞學研究, 166, 41-92 | |
| dc.subject (關鍵詞) | 反諷; 自由主義; 次文化; 後設認知; 御宅族 | |
| dc.subject (關鍵詞) | irony; liberalism; subculture; meta-cognition; otaku | |
| dc.title (題名) | 從思想史視角探討1990至2010年間日本次文化論壇對反諷語境的論述 | |
| dc.title (題名) | Examining Discourses Concerning Irony in Japanese Subcultural Forums between the 1990s and 2000s from the Intellectual History Perspective | |
| dc.type (資料類型) | article | |
| dc.identifier.doi (DOI) | 10.30386/MCR.202601.0002 | |
| dc.doi.uri (DOI) | https://doi.org/10.30386/MCR.202601.0002 | |
