台語流行歌曲中的母親形象：以洪榮宏和江蕙為研究對象

王奕儒

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台語流行歌曲中的母親形象：以洪榮宏和江蕙為研究對象

Mother figures in Taiwanese Popular Songs：a case study of Chris Hung and Jody Chiang

王奕儒 , Masters　　Advisor：王右君　　

繁體中文

性別；母職；親子關係；台語歌；故鄉；社會變遷；母親形象；遊子；洪榮宏；江蕙； hometown ； motherhood ； social changes ； Chris Hung ； gender ； wandering son ； Taiwanese songs ； parent-child relationship ； mother image ； Jody Chiang

Abstract │ Reference (48) │ Times Cited (3) │ Altmetrics

Abstract 〈TOP〉

本論文旨在經由分析洪榮宏、江蕙所演唱的台語歌曲探究大眾心中的母親形象，以及此一形象所涉及的母職內涵。兩人的歌曲跨越1970~2000年代；這三十年間的台灣社會歷經解嚴、經濟轉型、人口由鄉村往都市移動以及婦女運動興起等重大里程，藉由分析這兩位歌者的親情之歌，筆者試圖檢視台語流行歌曲如何回應社會變遷，而這些變遷如何影響台灣人們對於母親形象的想像，同時，亦觀察這兩位歌者如何以不同的性別位置吟唱母親、呈現著不同的親子關係，並反映出台灣社會賦予兩性在家庭中的位置。
    本研究視台語流行歌曲歌詞為一種敘事，並從「敘事觀點」、「敘事主題」兩面向來進行文本分析，並以父親相關歌曲加以比對。研究顯示，洪榮宏有關母親的歌曲多從兒子的觀點敘事，題旨大致均為離鄉遊子思鄉歌曲，其中又可分為三種類型。一為遊子思念故鄉的父母，在此一類型敘事情境中，母親時而與父親共同被離鄉遊子所思念，時而單獨出現，相較之下，單獨懷想父親的歌曲則無，而在這些歌曲中母親多呈現「等待者」的形象；第二類型為遊子思念故鄉的愛侶，女性做為出外打拼男性的伴侶也被賦予了「等待者」的形象。這兩類歌曲中的女性等待者形象在洪榮宏的歌曲中歷時不變，顯示女性身為母親必須在家等待子女、身為妻子則須在家等待丈夫的價值觀，並未隨女性都市勞動力逐年提升有所改變。第三類型的歌曲中則以「盡孝道」為名呼告離鄉遊子應努力打拼、切莫誤入歧途，賦予父母社會秩序守護者的角色，也反映台灣社會賦予出外男性光耀門楣使命的價值觀。在這些歌曲中母親普遍被描述為家庭中的犧牲奉獻者、易表達情感；而父親則為家中經濟上的支柱、孩子的靠山。母子間呈現較緊密的情感交流；而父子之間則看出父親對孩子未來成就有較大的期許，是兒子的認同對象與角色典範。
    江蕙的歌在1980年代中期多從母親敘事的觀點發聲，述說著怨婦感嘆遇人不淑、單親母親獨立扶養小孩困難的故事，女性在歌曲中將未來希望放在男性身上，呈現女性婚後「宿命觀」的心境。但在1990年代後，江蕙的母親之歌歌詞轉向未顯示特定性別的離鄉遊子思念在故鄉的母親。江蕙母親之歌敘事主題的改變似正反映著，隨女性經濟能力的自主、勞動力的提升，女性已不必然扮演消極等待男性的角色，1980年代歌詞中的苦情母親形象不再受到1990年代後女性聽眾的認同。然而女性仍未取代男性，挑起光耀門楣的使命，而母親形象則仍是為家庭悉心奉獻、溫情的身心照護者，相對地，父親形象則為堅強、不感傷。
    精神分析學者雀朵洛指出早期伊底帕斯時期，兒子對母親的愛被壓抑而將認同轉向父親，而女兒則未受到壓抑。但由洪榮宏、江蕙的歌曲看出兩性並未因性別位置不同而在歌曲中壓抑對母親的愛，兩性均利用歌曲抒懷；在歌者與聽者以歌抒懷中，傳統母親「犧牲奉獻」的形象一再被吟詠，而此般母職內涵亦在反覆的流行文本生產與接收中便不斷地世代相承。

Parallel Abstract 〈TOP〉

The purpose of this thesis is to explore the mother figures in Taiwanese popular songs via a case study of Chris Hung’s and Jody Chiang’s albums. In so doing the researcher looks into the images of the ideal mother and ideas of motherhood represented in the songs in relation to the social changes in the recent thirty years. The two singers emerged in the 1970s and have continued their singing career into the 2000s, during which timespan the Taiwanese society has witnessed some important historical events, such as the lifting of martial law, economic transformation, rural populations migrating to urban areas, and the rise of women’s movement. Through analyzing the two singers’ family songs, the author attempts to examine how Taiwanese popular songs have responded to social changes and how these changes have affected the ideas of motherhood. The author also examines how the songs of the two singers, one male and one female, present different parent-child relationships and reveal the family status of both genders that are molded by the Taiwanese society.
    This study sees Taiwanese pop songs as narratives, analyzing the texts from two aspects (narrative point of view and narrative motif) and compares them with father-related songs. The study shows that Chris Hung’s mother-related songs usually recount stories from a son’s point of view and the motifs are mostly about a wandering son missing his hometown. Such songs can be grouped into three categories. The first one is about the wandering son missing his parents in the hometown. In this narrative context, sometimes the wandering son misses the mother together with the father and sometimes just the mother only. On the other hand, songs about missing the father only do not exist. In these songs, the mother is usually depicted as someone who is always waiting. In the second category, the wandering son misses his lover in the hometown and the man’s lover is also portrayed as a woman pining for her man who left his hometown to earn a living. In the songs of the two categories, the image of a waiting woman remains consistent throughout Chris Hung’s songs. It reveals such values that a woman as a mother must await her children and as a wife must await her husband. These images have not changed with the increased women’s labor force participation in the urban areas. In the songs of the third category, it is advised that the wandering son must work hard to return home gloriously, never go astray and so on to fulfill a filial son’s duties. The parents are given the role of a protector of social order. The values that in the Taiwanese society a wandering man’s mission is to glorify his family are mirrored. In these songs, the mother is commonly depicted as the devoted sacrificer of the family who does not hesitate to express her feelings. On the contrary, the father is the breadwinner and provides spiritual support for his children. There is more intimate emotional communication between the mother and son, while the father has higher expectations for his children’s future achievements and is the role model for the son to identify with.  
    In the mid-1980s, Jody Chiang’s songs often spoke from the mother’s point of view, recounting stories of a discontented wife’s laments about marrying the wrong man or of a single mother raising her children by herself with much difficulty. In the songs, women built their hopes on men, which represented the fact that women tended to believe in destiny after they were married. However, after the 1990s, the motif of Jody Chiang’s mother songs shifted to that of a wandering child with unspecified gender who missed his/her mother in the hometown. The shift of motif in Jody Chiang’s mother songs seemed to reflect the fact that with increased economic independence and labor force participation, women were not necessarily in a passive position any more. The women audience of the 1990s no longer identified with the pathetic mother image presented in the songs of the 1980s. However, women still had not replaced men in the mission of glorifying the family. The mother was still a sacrificer and tender caregiver of the family while the image of father was a strong, tough man.
    Nancy J. Chodorow, a psychoanalyst, pointed out that in the pre-Oedipal period, the boy must repress his attachment to the mother and is induced to identify with the father, while the daughter does not feel the need to suppress hers. However, in Chris Hung’s and Jody Chiang’s songs it can be discerned that both genders do not suppress their love for the mother; instead, they both express their feelings via songs. Through singers’ and listeners’ expressing feelings through songs, the traditional image of a sacrificing and devoted mother is sung again and again, and such meanings of motherhood are bequeathed from generation to generation by way of repeated production and reception of popular texts.

Reference ( 48 ) 〈TOP〉

王振寰主編 (2002) 。台灣社會。台北：巨流。
連結：
張君玫譯 (2003) 。蘭西‧雀朵洛(Nancy J. Chodorow)原著。母職的再生產—心理分析與社會學(The reproduction of mothering : psychoanalysis and the sociology of gender : with a new preface)。台北：群學。
連結：
周倩漪 (1996) 。解讀流行音樂性別政治—以江蕙和陳淑樺為例。中外文學，25(2)，32-59。
連結：
蕭蘋、蘇振昇 (2001) 。揭開風花雪月的迷霧：解讀台灣流行音樂中的愛情世界(1989-1998)。新聞學研究，70，167-195。
連結：
張智雅 (1999) 。偶像崇拜與青少年認同—以台灣流行音樂歌迷為例。未出版之碩士論文。慈濟大學社會工作研究所，花蓮。
連結：

Times Cited (3) 〈TOP〉

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