國族、中介與情感結構：中國人如何感受台灣流行音樂

Nation, Mediation, and the Structure of Feeling: How Chinese People Perceive Taiwan’s Pop Music

台灣流行音樂在中國擁有多重影響，這是長久被忽略的研究方向。本研究問題化「中國人」與「台灣流行音樂」存在國族身分與情感動能，對聆聽接受既促進又能破壞。筆者在北京、廣州、深圳與台北對35位樂迷深度訪談與參與觀察，探究中國人如何將台灣流行音樂經驗聯結對「台灣」的想像與界定，呈現與中國流行音樂差異、「神聖—世俗」對立的情感結構。研究發現，他們調動了其他知識資源用於聆聽，國族身分尤其關鍵，被啟動並介入聆聽接受：音樂並不「自動」被「使用」，但提供交流形式，依賴樂迷識別、傳播、挪用以完成社會使用；如果音樂與國族身分牴觸，他們可能會產生抵抗，並提出多種消費主義的情感和協商策略。本文盼反思台灣流行音樂的「軟實力」，常繫於兩岸身分的交鋒區域，而非音樂本身；以一種「關係性」（relational）的社會學理解，來視兩政治實體如何既衝突又協作中國人的音樂接受，是「中國研究」也是「台灣研究」的範疇。

Taiwan’s pop music is enormously popular in China. This has been neglected in research. This study aims to examine the reasons why this success has taken place while hostile political relations remain. Based on 35 in-depth interviews with Chinese audience-members who live in Beijing, Guangzhou, Shenzhen, and Taipei, this article demonstrates how there exists a multi-mediated structure of feeling about ambiguous national and political identities towards Taiwan pop concerning its social use in China. On the one hand, Chinese people tend to idealise Taiwanese pop and produce reflexive resources to feed into their understanding when thinking about Taiwan and China; on the other hand, Chinese audiences may experience resistance to Taiwan’s pop when it contradicts their national identity: To engage, or to refuse to engage, in the process of listening, Chinese people, in particular, have shown various strategies, either to strengthen, reinvent and negotiate with or to undermine, certain existing forms of identity production. Since identity is always about“who we are”and“what we do”, the ambiguous, complex and still unresolved relations between China and Taiwan today have made some Chinese audience members ambivalent towards Taiwan and its products. This study aims to develop a‘relational’perspective of Taiwan-and-China to identify the connection and contradiction between the two in terms of national identity and identity vis-à-vis music, so that the music listening experience can be rendered into a political experience. This shows that Taiwan’s popular music in China is a co-production, intertwined with both sides’political practices. In that sense, music is powerful yet limited.