社會科學院: 新聞研究所指導教授: 蔡如音楊念穎Yang, Nien-YingNien-YingYang2017-03-032018-06-282017-03-032018-06-282016http://ntur.lib.ntu.edu.tw//handle/246246/275091筆者從媒體報導與身邊的網路使用者觀察到，瓊瑤主打的唯美浪漫愛情敘事，正逐漸被眾人以一種諧擬的姿態所顛覆。本研究為有效觀察瓊瑤與其作品、二次創作者、網友三方的話語權之爭，欲以諧擬瓊瑤的二次文本──胥渡吧為研究對象，藉由解構原文本中的象徵符號與意識形態，試圖呈現當代社會對「瓊瑤式愛情」的審美趣味。研究發現，諧擬作為胥渡吧與主流相抗衡的一種策略，可分為四大類加以分析，分別是：顛覆正邪，解構正統，延異自我，狂歡奪權。Observing news reports and internet users around me, I found that Qiong Yao’s romantic narrative has been transformed by parodies. I am therefore interested in understanding the trilateral relationship among Qiong Yao’s original texts, derivative works and internet users. This study not only deconstructs the symbols, codes and ideologies embedded in Qiong Yao’s original texts but also demonstrates the modern society’s aesthetic of “Qiong Yao’s love” by examining Xu Du Ba. To Xu Du Ba users, parody is adopted as a strategy to fight against mainstream ideologies. It is contested that parody as a strategy can be further categorized as: “subverting good and bad”, “deconstructing orthodoxy”, “differentiating selves”, and “carnival take-over”.3778279 bytesapplication/pdf論文公開時間: 2016/8/24論文使用權限: 同意無償授權瓊瑤諧擬胥渡吧還珠格格Qiong YaoparodyHsu Du BaThe Return of The Pearl Princessthesis10.6342/NTU201601772http://ntur.lib.ntu.edu.tw/bitstream/246246/275091/1/ntu-105-R99342014-1.pdf