⽴正稍息站不好：華語流⾏⾳樂「同志國歌」的⽂化⽣產、⽂學再現與美學政治

解嚴後，台灣的同志文化場域給了影音多元的舞台，「同志國歌」的討論也浮出，它主要是指能召喚同志集體情感的歌曲。本研究在後同婚時代重新回顧這份歌單的形成和建構，發現其在變化的社會政治環境中不斷被重新定義和深化。將「同志國歌」放置於華語流行音樂的在地性脈絡中，有其特殊性。首先，這些歌曲不一定是抗議歌曲，而往往是流行情歌。其次，這份歌單不僅收錄暢談「驕傲認同」的作品，也選入看似在抵抗論述之外的保守「浪漫愛」旋律。同志國歌一般令人聯想到西洋電音舞曲，但華語同志國歌卻發展出在地的抒情苦味路線。伴著性別運動的發展和性平實踐的成果，晚近流行歌和音樂錄影帶更直接地置入鮮明的性別元素。不過，工業邏輯下高度複製的、具有明確同志消費族群訴求的歌曲，不見得比1980年代以來累積的同志國歌更獲青睞。隨著市場和媒介的轉變，這些歌曲在牽動情感、抵抗主流文化的過程中發揮了不一的效果。本研究透過蒐羅報章雜誌、文學作品，一面進行文化生產的觀察，一面進行文本分析，並探討幾個要點：一、同志國歌一詞促成同志「國」的共同體想像，不僅呼應自《孽子》「黑暗王國」效應帶來的認同政治，也帶出同志流徙於T bar或Gay bar中游擊的空間性。二、這些史料來自主流新聞媒體對同志世界的好奇窺探，也有同志運動和雜誌自行票選調查的檔案。三、當代台灣作品，包含女、男同志的散文和小說，經常引用這些歌詞達成音樂性及互文性，並且實踐洪席耶（Jacques Rancière）的感性配享之美學政治：文學唱國歌不只是單向的傳達，而是成為與讀者相遇的場所。

關鍵字

性別政治；同志⽂學；同志⾳樂；華語流⾏⾳樂；國族認同；美學政治；苦海女神龍；林佑軒

並列摘要

In post-martial law Taiwan, LGBTQ cultural field has created a stage for various audiovisual works, and the discussion of "gay anthems"(同志國歌) has begun. This paper examines the emergence and formation of this playlist before same-sex marriage was legalized, and finds that it has been reframed, linked and deepened as the socio-political climate has changed. Placing "gay anthems" in the local context of Mandarin pop music shows its situated particularity. Firstly, these songs are not necessarily protest songs, but often love songs. Secondly, the playlist includes not only works that speak of progressive "proud identity," but also conservative "romantic love" tunes that seem to be outside the discourse of resistance. While gay anthems are generally associated with Western electro-dance music, Mandarin gay anthems have developed a local lyrical and bittersweet lineage. With the development of the gender movements and the fruits of gender-equality practices, certain LGBTQ-supportive elements and themes have been more directly incorporated into recent pop songs and videos. The industrial logic of highly reproduced songs with explicitly gay and lesbian consumer desires, however, has been no more favored than the gay anthems that have accumulated since the 1980s. In the changing market and media, these songs have played a different role in stirring emotions and resisting mainstream heteronormative culture. Through the collection of newspapers, magazines, and literary works, this paper traces the cultural production of gay anthems on the one hand and analyzes the texts on the other. Based on these data, this paper consists of three parts: First, the term "gay anthems" contributes to the imaginary community notion of a gay "nation" that not only reflects the identity politics evoked by the "dark kingdom" effect from Crystal Boys but also highlights the spatiality in the T-bar or gay bar. Second, These historical materials come from a grotesque seeking perspective of the gay world in mainstream press as well as gay movement archives and voting activities. This paper argues that, contemporary Taiwanese literary works, including homosexual essays and novels, frequently cite gay anthems to achieve a sense of rhyme and intertextuality, and to put Jacques Rancière's aesthetics and politics into practice.

並列關鍵字

gender politics ； homosexual literature ； gay music ； Mandarin popular music(Mandopop) ； national identity ； the politics of aesthetics ； Ku Hai Nu-Shen-Lung (A Female Dragon Deity in a Bitter Sea) ； Lin Yu-Hsuan

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