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家庭理髮與連鎖美髮店中的性別分工與演變1960-2007

摘要


台灣美髮業從早期專為男性服務的「男士理髮廳」,以及專為女性服務的「女子美容院」,到1970年間「髮廊」的興起,轉變為服務對象不分男女的形態,而美容美髮職業學校的成立,也為現今盛行的連鎖美髮店提供充足的美髮師。在這樣的脈絡下,美髮業長期以來是高度女性化的行業, 直到1990年後,男性美髮師才日益增多,「美」的行業不再是專屬於女性的工作。本研究聚焦於1960年代至今的家庭理髮與連鎖美髮店的演變,以訪談法與參與觀察為主,援用Joan Acker(1990)性別化的組織理論作為架構,分別從結構層面探討大型連鎖店的組織結構與性別分工,並與家庭理髮相互對照;再從文化層面探討美髮師的自我認同以及社會對美髮師的論述;最後從互動層面探討男、女性美髮師的情緒勞動、身體與勞動 。

並列摘要


The hairdressing industry in Taiwan developed from the ”barbershop”, which only serving male customers, and the ”beauty shop”, which only serving female customers, then it transformed to ”salon” in 1970s, both male and female could be the customers. Besides, the establishment of cosmetology department in high school also provides sufficient hair stylists for the prevailing chain solons nowadays. In this context, hairdressing industry has been highly involved by female hair stylists. Until 1990s, the number of male hair stylists start to increase, and the industry of ”beauty” is no longer exclusive to females.This research focuses on the transformation of house barbershop and chain solon from 1960s to 2007. The research method bases on the interviews and participate observations, adopting the theory of gendered organization from Joan Acker (1990) as the structures to discuss the gender division of labor from the aspect of structures and contrasting it with the house barbershop; then exploring the self-identity of the hair stylists and the social discourses about them from the aspect of culture. Finally, the research discusses the emotional labors, bodies and labors of both male and female hair stylists.

被引用紀錄


沈如雲(2013)。電視電影 《三朵花純理髮》創作論述〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://doi.org/10.6835/TNUA.2013.00038

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