| 英文摘要 |
The popularity of Taiwanese pop music in China has benefited from the entanglements of national identity between the two sides of the cross- Strait, as well as from the transformation of mediated experiences and learning processes brought about by emerging technologies. This paper is a theoretical rethinking of the previous empirical research, and hopes to develop an analytical framework of sociology of mediation, especially identifying ＂mediation of things＂ and ＂mediation of technology＂ as crucial and inescapable, and positioning music as a ＂social mediator＂ and ＂means of accomplishing things＂ to outline the relationship between music and the audience. It is a ＂non-media-centric media studies＂ strategy that anchors the mutual mediation of Taiwan-China, creating a long-term reception of communication and bearing the consequences of mediation. This study proposes that the actual existence of Taiwanese pop music on both sides of the cross-Strait can be used to develop a mediated sociology of ＂Taiwan-China＂ that cuts across emotions, materiality and identity. It is argued that a mediation process involving things, mediated experiences and the technology can better understand how the multiple forces of national conflict, political confrontation and commercial interests that exist on both sides of the cross-Strait, are enabled by an ambiguous national and political identity that either to benefit or undermine each other. It is a core area of cross-Strait studies that complements the missing cultural field aspect of the cross-strait issues and extends the scope of knowledge in media & communication studies. |
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