觀看當代台灣的性別政治以敘事批評剖析台灣偶像劇中的「暖男」形象
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2022
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自2011年《我可能不會愛你》開播以來，「暖男」已經不知不覺融入我們的生活之中。從網絡上的網友留言、新聞媒體的標題到我們在日常生活中的語彙，皆可以不斷地聽見或看見，大眾將暖男視為一種褒獎的、理想的詞彙，用來形容真實世界中具備某種理想特質的男性。此舉，筆者認為彷彿是將偶像劇再現的暖男形象做為現實生活中理想男性的依據，呼籲男性學習與效仿。 據此，本文為探討暖男形象如何透過偶像劇再現進行與當代台灣性別政治的對話。筆者援引語藝批評觀點中的敘事批評，分析自2011年到2022年中，台灣社會大眾普遍認定具備暖男形象的代表性偶像劇《我可能不會愛你》（2011）、《親愛的，我愛上別人了》（2013）、《想見你》（2019）、《未來媽媽》（2020）所再現的暖男樣貌為何。同時筆者也在反思梳理四部偶像劇的暖男敘事策略後，進行敘事忠實性的評估，探討偶像劇中的暖男敘事及台灣性別政治的新風貌。
Since In Time With You came on the air in 2011, the concept of nice guy has crept into our daily lives. Internet comments, news headlines and daily conversation all reflect how nice guy has become an ideal masculine type in Taiwan’s popular media and mass culture. Although the term originated as a male character type in idol dramas, it increasingly became used in daily life to describe men with particularly ideal qualities; a shift which likewise prompts ordinary men to model their social persona on the nice guy type.In order to investigate the work of nice guy in both idol dramas and popular culture, the theories and methods of narrative rhetorical criticism are used to analyze four idol dramas (2011—2022) most associated with the creation of the nice guy phenomenon: In Time With You (2011), A Good Wife (2013), Some Day or One Day (2019), Mother to Be (2020). In doing so, this thesis attempts to answer the following questions: what is behind the nuannan tropes in each drama? What narrative strategies are used to construct nice guy? Next, a comparative analysis of the four dramas’ nice guy narrative strategies and an evaluation of their narrative fidelity is undertaken in order to explore the relationship between the nice guy narratives in idol dramas and ongoing debates regarding masculinity in contemporary Taiwanese gender politics. Ultimately, this thesis argues that the spread of the nice guy trope from idol dramas into mainstream culture marks a reconfiguration of Taiwan’s gender politics. Through a systematic rhetorical analysis of nice guy narratives it hopes to contribute to current literature on gender and masculinity in contemporary Taiwan.
Since In Time With You came on the air in 2011, the concept of nice guy has crept into our daily lives. Internet comments, news headlines and daily conversation all reflect how nice guy has become an ideal masculine type in Taiwan’s popular media and mass culture. Although the term originated as a male character type in idol dramas, it increasingly became used in daily life to describe men with particularly ideal qualities; a shift which likewise prompts ordinary men to model their social persona on the nice guy type.In order to investigate the work of nice guy in both idol dramas and popular culture, the theories and methods of narrative rhetorical criticism are used to analyze four idol dramas (2011—2022) most associated with the creation of the nice guy phenomenon: In Time With You (2011), A Good Wife (2013), Some Day or One Day (2019), Mother to Be (2020). In doing so, this thesis attempts to answer the following questions: what is behind the nuannan tropes in each drama? What narrative strategies are used to construct nice guy? Next, a comparative analysis of the four dramas’ nice guy narrative strategies and an evaluation of their narrative fidelity is undertaken in order to explore the relationship between the nice guy narratives in idol dramas and ongoing debates regarding masculinity in contemporary Taiwanese gender politics. Ultimately, this thesis argues that the spread of the nice guy trope from idol dramas into mainstream culture marks a reconfiguration of Taiwan’s gender politics. Through a systematic rhetorical analysis of nice guy narratives it hopes to contribute to current literature on gender and masculinity in contemporary Taiwan.
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暖男, 語藝批評, 敘事批評, 台灣偶像劇, 性別政治, nice guy, rhetorical criticism, narrative criticism, Taiwan idol dramas, gender politics