dc.contributor.advisor | 鍾蔚文 | zh_TW |
dc.contributor.author (Authors) | 潘瑞香 | zh_TW |
dc.creator (作者) | 潘瑞香 | zh_TW |
dc.date (日期) | 2002 | en_US |
dc.date.accessioned | 18-Sep-2009 10:43:21 (UTC+8) | - |
dc.date.available | 18-Sep-2009 10:43:21 (UTC+8) | - |
dc.date.issued (上傳時間) | 18-Sep-2009 10:43:21 (UTC+8) | - |
dc.identifier (Other Identifiers) | G0088254004 | en_US |
dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/34605 | - |
dc.description (描述) | 碩士 | zh_TW |
dc.description (描述) | 國立政治大學 | zh_TW |
dc.description (描述) | 社會學研究所 | zh_TW |
dc.description (描述) | 88254004 | zh_TW |
dc.description (描述) | 91 | zh_TW |
dc.description.abstract (摘要) | 消費社會的今日,歌迷俱樂部此社群認同意識的建立,以及流行音樂工業,尤其是唱片工業對於歌迷俱樂部有形與無形的影響。希望呈現歌迷俱樂部形成之後成員主動參與加上流行音樂工業的影響,歌迷俱樂部的認同所產生的愉悅,以及歌迷俱樂部對流行音樂工業的反抗。 本研究認為歌迷俱樂部的儀式成為儀式的原因即是其中有情感交流與意義的產生,都是經由歌迷俱樂部象徵物或行為來表示,並非直接說明或宣告。透過這些儀式,成員相互之間建立了言語所不能表達的情感,也透過這些儀式,歌迷俱樂部的社群認同可以更加鞏固。偶像歌手與這些儀式行為構成象徵物,最主要的目的在於歌迷俱樂部的成員想要獲得的象徵意義以及想要傳達的象徵意義。象徵性的意義經由社群的儀式行為,創造了可具體使歌迷結成俱樂部並生存的社會空間,俱樂部的成員分享對偶像歌手的共同信念,且對於歌手的標示與著迷,顯出其與主流文化即與其他不同歌手的歌迷俱樂部有所區別,此種群體認同的運作,使其建立此社群的次文化地位。 還有雖然歌迷俱樂部有選擇的自由,但歌迷俱樂部的社群認同形成,就是唱片工業劃定了選擇範圍,塑造出易於讓閱聽眾喜愛的歌手形象,運用媒體強化認同。歌迷俱樂部的社群為滿足成員的需求,也為了歌迷俱樂部的生存,不得不與唱片工業有所接觸,但又必須面對唱片工業營利為主的考量,常使歌迷俱樂部的幹部感到相當無奈。因為製造偶像歌手的流行音樂工業,乃依照閱聽眾喜愛的形象來塑造出來,基本上有許多相似之處。而當歌迷俱樂部選擇了某位歌手而成為其中一員之時,不只在意識型態上受到流行音樂工業所控制,也使得歌迷俱樂部的成員在行動上為了所喜愛的偶像歌手,必須與流行音樂工業配合與妥協,仍受制於流行音樂工業。 最後是歌手與歌迷俱樂部的會長或幹部的關係,以及歌手對待歌迷俱樂部成員的態度,會影響唱片公司對於歌迷俱樂部的方式。如果歌迷俱樂部的會長或幹部本身與歌手的私交很好,歌迷俱樂部的有些事務則無須透過唱片公司傳達,而是直接與歌手溝通,更有利於事務的推動。歌手如果較重視歌迷俱樂部的成員,也會使唱片公司比較重視歌迷俱樂部成員的需求,例如對歌迷俱樂部在活動上或經濟上的援助。歌迷俱樂部有足夠的組織性,使歌迷俱樂部可以更強大,應該就常常會有一些媒體報導此歌迷俱樂部。其實本研究發現大多數的歌迷俱樂部的組織性相當薄弱,有的空有組織之名卻無組織之實,有的甚至沒有組織性,因此難有產生任何力量抵抗流行音樂工業。當歌迷俱樂部具有組織性時,流行音樂工業較不敢忽視其影響力及傳播力。 | zh_TW |
dc.description.tableofcontents | 第一章 緒論 第一節 研究動機…………………………………………………1 第二節 研究目的、研究對象與研究架構………………………4 第三節 研究方法…………………………………………………8第二章 文獻回顧 第一節 相關研究的回顧與探討……………………………….18 壹、 流行音樂與歌迷…………………………………………18 貳、 流行音樂工業……………………………………………25 第二節 研究取向……………………………………………….28 壹、 研究議題……………………………………………….28 貳、 理論取向……………………………………………….30 第三節 研究問題與論文架構………………………………….40 壹、 研究問題……………………………………………….40 貳、 論文架構……………………………………………….41第三章 歌迷俱樂部之社群認同的建立 第一節 歌迷俱樂部的社群生活風格………………………….43 壹、「迷」與認同建構的關係…………………………….44 貳、 歌迷與偶像的關係………………………………………48 參、 歌迷俱樂部的符號消費…………………………………52 肆、 歌迷俱樂部的後現代消費………………………………58 伍、 透過消費建立認同與表達自我…………………………60 第二節 歌迷俱樂部的儀式意涵…………………………………63 壹、 儀式觀點看歌迷俱樂部…………………………………63 貳、 歌迷俱樂部中儀式性的行為與象徵意義………………65 參、 群體運作之儀式為歌迷俱樂部的次文化認同…………67第四章 流行音樂工業的明星生產與行銷 第一節 流行音樂工業組織內部的產製結構……………………72 壹、 流行音樂的產製過程……………………………………73 貳、 流行音樂工業依賴明星系統……………………………77 參、 音樂商品的行銷宣傳活動………………………………81 第二節 流行音樂工業的明星製造………………………………83 壹、 偶像歌手的形塑……………………………………….84 貳、 媒體內容的運作…………………………………………86 參、 偶像歌手為歌迷俱樂部認同意識的象徵物……………91 第三節 歌迷俱樂部的處境………………………………………94 壹、 唱片工業的現實考量……………………………………94 貳、 被支配階級的歌迷俱樂部…………………………….97 參、 歌手與歌迷俱樂部的互動……………………………..98第五章 歌迷俱樂部與流行音樂工業的角力 第一節 歌迷俱樂部、歌手與唱片公司的三角關係……………102 壹、 歌迷俱樂部與歌手的關係…………………………….103 貳、 歌手擁有的自主性…………………………………….104 參、 歌迷俱樂部與唱片公司的關係……………………….104 第二節 歌迷俱樂部的抗爭…………………………………….106 壹、 歌迷俱樂部對商品意見的表達……………………….106 貳、 歌迷俱樂部的文化抵抗……………………………….108 參、 歌迷俱樂部的主體性……………………………………110 第三節 歌迷俱樂部的類型與發展…………………………….113 壹、 歌迷俱樂部的類型…………………………………….113 貳、 歌迷俱樂部的存在與發展…………………………….115第六章 結論與建議 第一節 研究發現………………………………………………118 第二節 研究限制與建議………………………………………124參考書目………………………………………………………………126附錄一…………………………………………………………………135附錄二…………………………………………………………………137圖 表 目 次圖1-1 研究架構……………………………………………………….7圖3-1 商品的價值結構………………………………………………53圖4-1 唱片產製流程…………………………………………………75 | zh_TW |
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dc.language.iso | en_US | - |
dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G0088254004 | en_US |
dc.subject (關鍵詞) | 歌迷社群 | zh_TW |
dc.subject (關鍵詞) | 歌迷俱樂部 | zh_TW |
dc.subject (關鍵詞) | 認同 | zh_TW |
dc.subject (關鍵詞) | 儀式 | zh_TW |
dc.subject (關鍵詞) | 支配 | zh_TW |
dc.title (題名) | 歌迷社群的愉悅與反抗:以偶像歌手之歌迷俱樂部為例 | zh_TW |
dc.type (資料類型) | thesis | en |
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