「葛格�底迪」是一種分類男同志的社會化標籤,也是男同志情感關係裡的角色或位置,更是一種愛戀對象的原型描繪。「葛格�底迪」類型像是一套分類男同志情感關係與互動的說明書,提供了某種男生如何愛男生的方法學。我的問題在於:為什麼會有「葛格�底迪」這種分類方式?它是在什麼樣的歷史、社會與文化脈絡下出現的?「葛格�底迪」的分界與實質內涵是什麼?我將問題放置在「性�別研究」與「男性研究」脈絡裡來展開、追問:哥弟分類是否「複製異性戀」?哥弟分類的論述對男同志產生什麼影響?男同志的「陽剛性」是什麼?它與葛格所要具備的「照顧特質」之間的矛盾與衝突又如何?什麼是「男性特質的照顧」? 在第二章,我透過爬梳男同志在台灣社會實踐同志情慾、追尋身份認同、形成獨特交友文化與開展同志運動的歷史脈絡,討論哥弟類型出現的四項社會文化因素(一、性角色的形象化:活動空間裡的辨識需求;二、性別角色的多元化:同志�性別運動的影響;三、虛擬身份的標籤化:網路交友的隱身性;四、性別氣質的陽剛化:健身房風潮下的身體改造);並以哥弟類型切入白先勇的小說角色,分析「菜」(type)做為慾望投射的心理形程過程。在第三章,我嘗試以「性別操演」來解釋為什麼「葛格�底迪≠男人�女人」,反駁哥弟關係乃是複製異性戀的說法,但此概念無法完全解釋在男同志交友尋伴文化裡,葛格經常佔據某種優越地位,底迪多半位處卑下的階序邏輯;透過採用「罔兩問景」的提問方式,我於是進一步批判性地檢視底迪作為卑賤的(非)主體的再現結構:「底迪=O號=卑賤」與「底迪�妹妹=娘子氣概=低下」這二環運轉哥弟階序邏輯的機制。 而我在台灣男同志的哥弟關係實踐中觀察到一種逐漸發展成形的男性特質,於是在第四章,我討論三種有別於傳統異性戀男性、具有照顧性質、揉合女性特質與同性戀特質的男性特質典範(達文西的氣質、摩梭舅舅的位置、希臘神話的曼陀與哲家學蘇格拉底的形象),藉此詮釋對於傳統男性特質建構過程「顛覆性的溢出」的書寫�論述,以摹寫一種新型態的「柔性葛格風格」。最後,我指出在當下的文化語言和論述結構裡,哥弟類型代表一種正典同性戀規範施作,使得許多邊緣同志的「生存情境與苦難」被漠視與沒世、被遺忘,並提出「成為弱勢怹者的“同志”」做為倫理方案。
「Ge-Di」 in Chinese means an older-brother and younger-brother relation. But now Ge-Di becomes a kind of social label for classifying some gay men in Taiwan. It is not only sex roles or positions in an intimate relationship, but also archetypes for love-object. Ge-Di as a kind of sexual style is just like a handbook or manual for some gay men’s behaviors, that is, how to seek for relations and interaction with others. My questions are:What is Ge-Di sexual style? Why did it arise in Taiwan? What are the historical, social and cultural elements? Further, I would like to bring up the problematique in gender studies and men’s studies, which are: Is Ge-Di as chimerical representations of original heterosexual identities? How does the Ge-Di discourse affect gay men? What does gay macho style and gay masculinity mean to Ge-Di? What does GeGe’s caring mean for men’s studies? In Chapter 2, I discuss four social and cultural elements of Ge-Di’s emergence in the historical context of gay culture in Taiwan: 1. the images of sex roles, 2. the social movement of gender and sexuality, 3. the labels on the internet, and 4. the gay macho style of the gym trend. I also analyze the characters in Pai Hsien-yung’s Crystal Boys by taking Ge-Di as “types”, which are a kind of projection and introjection of desires. In Chapter 3, I use “gender performativity” to interpret why Ge-Di is not a copy of heterosexual man-woman relation as original. Further, I use “penumbrae query shadow” to criticize DiDi as a abject object of GeGe, which is formed through the Ge-Di hierarchies: 「DiDi = bottom = abjection」 and 「DiDi/MeMe(a girl) = sissy = servile」. In Chapter 4, I mention that the main stream gay culture anticipate GeGe to be more like a heterosexual man. So, I propose “a feminist style of GeGe” to criticize this kind of heterosexual masculinity as hegemonic masculinity by discussing three models of masculinities (inspired by Ge-Di relationship): 1.Leonard da Vinci with nurturing masculinity, 2. the Mouso uncle’s family position and caring in matriarchal society and 3. Mentor in The Odyssey and Socrates in Symposium as a friend and role model for younger boys. In conclusion, I indicate Ge-Di becomes “homonormativity” and makes minority queers invisible in contemporary gay culture in Taiwan. Finally, I propose “becoming minority others” as a ethical project.