- 學位論文
多元且開放的女性群像—以《俗女養成記》為例
Portraits of Diverse and Open-Minded Women—The Case of "The Making of an Ordinary Woman"
摘要
近年台灣連續劇的產製，有別於過去沉浸於愛情為主題的偶像劇類型，轉而製作具有社會寫實議題的連續劇。而同時觀察到受到觀眾青睞的高收視率連續劇，其劇情趨向於「大女主」劇，又或是將敘事的重點放在女性角色身上，以多位女主角不同的成長故事所構成的「女性群像」連續劇。因此本論文聚焦於《俗女養成記》，目的是探討這類型文本中的「新女性形象」，並分析來自三個家庭的9位女性閱聽人對女性為主體的連續劇之詮釋。 根據文獻回顧，研究將《俗女養成記》所呈現的女性議題分為婚姻情感、家庭角色、工作、年齡四個面向來進行文本分析和閱聽人接收分析。而研究發現文本中的女性角色大多已具有自我覺察和跳脫框架的能力，不畏反抗社會加諸於她們身上的期待，進而發展出顛覆父權思維的策略、為自己而活的精神；而透過訪談9位女性觀眾發現對於文本的詮釋型態依據家庭經驗和家庭身分的不同分成四個類型： （一）認可型：所接收到的文本訊息與自身經驗相符，因此表示認同； （二）抗拒型：雖然所接收到的文本訊息與其經驗相仿，但表示不認同； （三）批評型：所接收到的文本訊息與其經驗不相符，因而表示不認同； （四）崇拜型：雖然所接收到的文本訊息與其經驗不相符，不過予以肯定。 另外發現女性觀眾雖然於家庭中皆不只一種身分，但在觀看文本時她們會從多重身分中自己主要習慣、認同的身分底下去進行文本的接收解讀；而正向的家庭經驗感受，讓女性觀眾選擇傳承延續家庭帶給她的女性價值，較為負面的家庭經驗則促使女性觀眾接受文本中的「新女性」特質、行為。
並列摘要
The style of Taiwanese drama last few years differs from the past which the theme was romance and idol, the theme is social realism now. The plot of the high ratings dramas are largely female-oriented, or focusing on the female characters in the form of using the growth stories of female leads to construct the ensemble cast. The content of this thesis is focusing on "The Making of an Ordinary Woman" for the purpose of discussing “New Female-Image” and analyzing the interpretations of nine female audiences from three families. Following the literature review, this thesis divides the issues in “The Making of an Ordinary Woman” into perspectives of marriage, family, work, and age to do textual analysis and audience reception analysis. It also finds that most female roles have the abilities of self-awareness and thinking outside the box, are not afraid of being against the social expectations. Therefore, they develop a strategy to defying patriarchy and a spirit of living for themselves. Through interviewing nine female audiences, the text interpretation type can be classified into four different types according to the family experience and the family role: 1. Recognized interpretation: The message of text matches their own experience, and agree with it. 2. Resistant interpretation: The message of text matches their own experience, but disagree with it. 3. Critical interpretation: The message of text differs from their own experience, and disagree with it. 4. Adoring interpretation: The message of text differs from their own experience, but agree with it. Additionally, although female audiences have not only one role in family, they tend to play the role they be used to playing and identify with to do textual reception and interpretations. Positive family experience makes female audiences be willing to pass down female value constructed by their family of orientation; by contrast, negative family experience prompts the acceptance of “New Female-Image” characteristic and behavior.