本文係以接受美學觀點探討臺灣客家歌謠傳統與創新的接受情形，並且探究 客家歌謠的女性形象再現為主題，主要援引英美女性主義理論作為探討的概念依 據。接著，研究過程採用文本分析法，首先，針對一九八一年至二Ｏ一三年客家 流行專輯中，有汲取傳統歌謠文本的曲目共有六十三首，以作為本文研究範疇， 主要汲取姚斯的「期待視域」看「傳統」與「創新」歌謠文本中的女性形象，以 及運用英美女性主義學派看臺灣客家歌謠中的女性形象。研究發現，當代客家歌 手對傳統歌謠的接受各有其創新過程，以及從英美女性主義視角詮釋客家歌謠中 的女性形象，在不同類別歌謠所呈現的女性再現過程皆有不同，將在本論文深入 剖析之。 ;Based on the subject of Hakka female image reproduction, the paper explores the reception situation of Taiwan Hakka ballad tradition and innovation from the perspective of aesthetics of reception referring to British and American feminism theory as the concept basis. The study process applies text analytic method. Firstly,the study takes 63 pieces of traditional ballad texts from the pop Hakka albums from 1981 to 2013 as the text research range. It mainly takes the female image from Jauss’s Expectation Vision on Tradition and Innovation ballad text and applies British and American Feminism School to regard the female image of Taiwan Hakka ballads. The research finds that modern Hakka singers have their different innovation process to traditional ballad reception. Besides, the female images in the Hakka ballads explained from the perspective of British and American feminism are different in the female reproduction processes in different ballads which will be further explored in this study.
