歌手江蕙一向被視為臺灣女性心聲的代言人。她於八〇年代出道,正是臺灣女性文學繁盛開展的時代。當女性文學——特別是小說,堅決地宣示了「自己的天空」,而不少研究也指出女性主義在流行歌曲中愛情意識的消長,有趣的是,本文以江蕙所演唱的歌詞為例,探討女人在情感關係中的接受、回應,並非呈單一方向的進化結構,自然也不是女性主義所能完全解釋。 本文分析江蕙的演唱歌詞,討論其多種女性角色性格與形貌的描繪,並指出其中雖然也不乏女性堅強的形象,但大部分卻是以歌詠孤弱女子的處境為主。誠然,江蕙的大受歡迎,是文化工業打造的結果,但消費者的熱烈回應,或許也可以說是他們在她的歌裡,找到自己的社會形象、價值意識與情感投射。本文致力於說明此一現象是如何達成的,它所代表的,又是何種意義,相信可以補寫臺灣女性文化被忽略的一片空白,即女性歌手的聲音、歌調與演唱的歌詞內容所塑造出孤弱的女性形象,與女性主義之菁英文學之間極其不同的表現。
The female singer Jiang-hui has been speaking for Taiwanese women. She built up her reputation in the eighties when the feminist writing was booming. However, when the feminist writing fight for the woman's right, claimed for the Sky for one's own, the songs sung by Jiang-hui's earned a huge popularity have presented traditional woman images. The fact showed us women's existent status could be very diversified, could not be discussed by the one single approach. This study analyzes the woman images given by the songs sung by Jiang-hui. The woman images partly is strong, but mostly of them is weak, sentimental, helpless. Why the audience would identify themselves with the weak women in the time of the women were supposed to be thought as strong is quite an interesting phenomenon. In this study, I would like to explore how the phenomenon was formed, and what kind of meaning expressed from this phenomenon.