從「阿妹─阿密特」──張惠妹的轉型與自我頡頏

From A-mei to A-mit: Chang Hui-mei’s Transformation and Self-resistance

彭威皓(Wei-Hao Peng)

指導教授 ： 山內文登

國立臺灣大學/文學院/音樂學研究所/碩士(2015年)

https://doi.org/10.6342/NTU.2015.11007

摘要

華語流行音樂天后，張惠妹。於西元2009年，以新人之姿，古歷來•阿密特，重新出道。該副品牌的誕生被認為是張惠妹演藝史上的一大轉型，亦再創《也許明天》挫敗後的另一高峰。然而，本研究認為，阿密特不僅只是一次成功的轉型，更是一種「自我頡頏」。而所謂的自我頡頏，並不同於過往研究中底層反抗霸權式的頡頏行為，而是一種自我形象顛覆的手段。阿密特透過使用大量的符碼來對比張惠妹式形象並進行自我頡頏，達到「阿妹－阿密特」之二元形象，並使其音樂品牌的壽命，能夠從僵化的張惠妹式形象中得到救贖與延展。
本文借用社會學家霍連德與艾沃納(Hollander & Einwohner, 2004 )對於「頡頏行為」的討論框架，討論頡頏者張惠妹的「頡頏意圖(Intention)」與第三方觀察者的「識別(Recognition)」。研究發現，阿密特透過一種反定義與不斷挑戰自我的定位與意圖，達到頡頏過去的目的；此外，本研究透過粉絲眼觀或耳聽的識別陳述，加以確立本案例的自我頡頏行為是能夠被察覺與指認的。
「自我頡頏」為流行歌手品牌的重要元素，透過打破舊有的品牌價值關懷，使其能擴大與吸收新穎粉絲族群，張惠妹作為華語流行音樂的指標性人物，僅是自我頡頏中單一、且成功的案例，更期待本研究之初探，能提供未來學者後續討論的起點。

關鍵字：張惠妹、阿密特、轉型、頡頏、自我頡頏

關鍵字

張惠妹 ； 阿密特 ； 轉型 ； 頡頏 ； 自我頡頏

並列摘要

In 2009, mandarin popular music diva, Chang, Hui-mei(A-mei), was re-introduced to the world as a new artist, Kulilay Amit(A-mit). The birth of this new image/brand was considered to be one of the greatest transformations in Chang’s singing career, and it successfully brought her back to the top of the industry from the setback of Maybe Tomorrow in 2004. Although many of the opinions regarded her transformation as merely a marketing gimmick, the research tried to argue how it is not just a marketing strategy but more importantly, an act of “Self-resistance”. The self-resistance here is not in the traditional sense of being an action of lower class fighting against hegemony; rather it is a self-image-overturn kind of resistance. Chang tried to polarize her two images, A-mei－A-mit, by using numerous amount of metaphors. Her self-resistance has not only prolonged her career as a singer, but has set her free from the old and almost cliché image.

This research incorporates the theory and methodology of resistance brought up by sociologists, Hollander and Einwohner(2004), and tries to discuss Chang’s Intention as a actor and the Recognition of the third person observer(fans). The research finds that through repeatedly re-defined her brand A-mit and constantly challenging her position, orientation, and intention, Chang finally achieve her goal of resisting her past. In addition, via field work (interviewing her fans), it is assured that Chang’s self-resistance is highly and wildly recognized.

Self-resistance can be one of the most important elements of forming a brand of a popular singer, and it is also able to breaks the fixed image and attracts greater amount of new fans. Chang as an iconic figure in mandarin popular music industry, her case is by far the most significant and recognizable one. It is also can be followed by other artists and hopefully the research also inspires future scholars to discuss other cases.

Key words：Chang, Hui-mei(A-mei), Kulilay Amit(A-mit), transformation, resistance, self-resistance.

並列關鍵字

Chang, Hui-mei(A-mei) ； Kulilay Amit(A-mit) ； transformation ； resistance ； self-resistance

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