我們都似臺灣人

We Are All Like Taiwanese

「台客現象」乃晚近台灣社會文化場域中最熱門的話題之一，本文的切入點，乃在企圖改變現有「台客」論述的提問方式：從「台客是誰」的提問，轉換成「台客似誰」的提問，以「似不像」的理論概念出發，探討全球流行文化「再地引述」過程中所產生的「意象撞疊」與「繞道借徑」。全文將分成四個部份，第一部份處理「台客」與「嘻哈客」的「似不像」，探討「嘻哈台」在服飾打扮上的俗艷、混搭、復古風格，如何「再地引述」風靡全球的嘻哈文化。第二部份處理「嘻哈台」對台灣國族論述的潛在顛覆力量，同時分析九○年代「假台灣人」論述與當前「真台客」論述彼此之間的異同。第三部份處理「台妹」與「辣妹」的「似不像」，一方面凸顯「台客」論述中的男性中心與陽剛想像，一方面爬梳「台妹」形象建構中穿歷史、穿國族、穿文化的時尚路徑。第四部份則將討論的焦點，從視覺意象的撞疊與跨國路徑，轉換到聽覺意象的斷裂與歷史創傷的壓抑回返，探討「似不像」在空間轉換過程中所引發的（歷史）時間延滯與地理政治落差，如何讓「入境隨俗」的「再地引述」，同時跌落為文化邊陲性「四不像」的表徵。

The “Taike phenonmenon” has been in recent years one of the hottest and most controversial cultural issues in Taiwan. This essay attempts to shift the focus of the question, “Who are the Taike?” in current discussions by posing a slightly different question: “What are the Taike like?” The argument will be developed from and elaborated upon the theorization of “simularity” as both the image crash and the route detour created by constant re-cite/re-site of global popular culture in local con-texts. The argument is divided into four parts. Part I deals with the “simularity” between Taike and Hip-Hopper by focusing on the tacky, mix & match, retro dress style of the “Hip-Hop Tai” as the glocalization of Hip-Hop culture in Taiwan. Part II explores the hybrid image of the “Hip-Hop Tai” as a subversive potential in the discoursive formation of national identity in Taiwan by comparing the current “authentic Taike” discourse with the “fake Taiwanese” discourse developed in the early 90s. Part III tries to foreground the androcentric and masculinist tendency in current Taike discourses by examining the involved gender politics in the newly created term “Taimei” as the female counterpart of Taike. The “simularity” between Taimei and the “Spice Girl” will also be mapped out as the transhistorical, transnational and transcultural routing of glocal fashion. Part IV would shift the focus of discussion back to the possible disruption between visual and aural images of Taikei and Taimei to reveal how the “Taiwanese Mandarin” accent could return as the repressed historical trauma. This revelation will further lead to the final problematization of “simularity” as the cultural crash between the postmodern and the postcolonial: the former’s carnivalesque overturning of inside/outside, local/global, copy/original seems to collapse constantly into the latter’s traumatic lagging behind as the inescapable symptom of cultural marginality.