| 摘要: | 「獸迷（Furry）」源自1980年代北美的科幻迷文化和動漫迷文化，指的是對擬人化動物角色著迷的粉絲，迄今已有四十年歷史。然而，獸迷長期以來一直未被理解，甚至受到汙名化，這引起了學術界對獸迷社群的研究興趣。過去，關於獸迷的研究主要集中在臨床心理學領域，將獸迷認同視為認同障礙或性癖好。本論文不滿足於這種臨床心理學的觀點，採用民族誌的方法，並以司黛蕊（Teri J. Silvio）提出的「人性投射／賦生（animation）」為切入點，探討臺灣獸迷如何與他們創造的社會他者（擬人化動物角色）進行知覺和互動的過程。
獸迷通過「獸設（Fursona）」建立擬人化動物角色的自身形象。大多數獸設的設計並非源自商業作品的二次創作，也非現實動物的再現。由於與商業作品的關係較疏離，獸迷擁有獸設後會持續地投入角色媒體內容的生產和消費，我將這個過程視為獸迷的賦生實踐（animating practice）。不同地域對獸設的想像也有所差異，相較於北美獸迷將「獸設」視為「另類自我」，日本獸迷則視其為「夥伴」或「家人」，而臺灣獸迷的認知介於這兩者之間。此外，獸迷在參與粉絲聚會時，通過獸裝扮演（fursuiting）及與其他獸迷互動，在現實世界中與角色進行互動，從而創造出獸迷的想像力環境，構築出他們的另類世界。
最後，我進一步討論獸迷的賦生與展演實踐如何建構獸迷的身份及其他可能性。本文通過御宅酷兒化（otaku-queerification）路線重新思考獸迷的性，指出獸迷超越人性戀中心主義（human-oriented sexualism）和性戀正典性（sexual normativity）的框架。本論文除了具體描繪了獸迷如何想像自己成為不存在於現實的獸人角色，並與這些角色共同活著外，也試圖將ACG研究納入本體論轉向的學術脈絡，視虛構角色視為行動者網絡的一部分。
;"Furries" originated from the science fiction and anime fandoms in North America during the 1980s, referring to fans fascinated by anthropomorphic animal characters. This subculture has a history of forty years. However, Furries have long been misunderstood or even stigmatized, prompting scholarly attention to the Furry community. Previous research on Furries has primarily focused on clinical psychology, viewing Furry identity as a form of identity disorder or sexual fetishism. However, this paper seeks to transcend the clinical psychology perspective. It adopts an ethnographic methodology and utilizes Teri J. Silvio′s concept of "animation" as an entry point to comprehend how Taiwanese Furries perceive and interact with the social others (anthropomorphic animal characters) they create.
Furries express their identities through anthropomorphized animal characters, referred to as “Fursonas.” Most Fursonas are not derived from commercial works or representations of real animals. Due to the distant relationship with commercial works, once Furries adopt a Fursona, they continually produce and consume media content related to their characters. I regard this process as an animating practice. The conceptualization of Fursonas varies across different regions. North American Furries tend to view their Fursonas as “alternative selves,” whereas Japanese Furries consider them as “companions” or “family members,” with Taiwanese Furries’ understanding situated between these two perspectives. Additionally, when Furries participate in fan conventions, they interact with other furries through fursuiting, creating an imaginative environment, and constructing an alternative world.
Finally, I discuss how furry′s animating and performative practices contribute to the construction of identity and other possibilities. This paper rethinks the sexuality of furries through the discourse of otaku-queerification, suggesting that furries transcend human-oriented sexualism and sexual normativity frameworks. This study aims to integrate ACG (anime, comic, and game) research into the academic context of the ontological turn, viewing fictional characters as part of the actor network and depicting how Furries imagine themselves becoming anthropomorphic characters and living alongside them. |
