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姓名 毛雅芬(Ya-feng Mon)  查詢紙本館藏   畢業系所 英美語文學系
論文名稱 重檢濁水溪公社之音樂實踐
(L.T.K. Commune in Context: A Critical Re-evaluation)
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摘要(中) 組成於一九九○年的濁水溪公社,於台灣地下音樂圈一直被視為既獨特又具爭議性的樂團。其作品嘲弄權威、再現底層生活,現場表演充滿與性禁忌相關的各樣指涉,語言風格亦極盡尖酸、鄙俗,於樂評間評價相當兩極。
摘要(英) When New Taiwanese Songs first appeared in the late 1980s and were regarded as the pioneer of Taiwan underground music, the progressive politics of Taiwan underground music were basically limited to the resistance to the authoritarian KMT regime. And in the 1990s, while representative democracy was established and political liberation was relatively attained, the growing commercialism replaced the authoritarian government to become the new dominant power. A new generation of pop music critics redefined the significance of underground music by the artists’ autonomy in relation to the hegemony of mainstream music industry. The reason for resisting the mechanism of mainstream industry, they claimed, was to ensure underground music’s enlightening effects. Their elaboration of the enlightening effects at issue basically followed the model set up by critics of the preceding generation. If New Taiwanese Songs were celebrated for declaring opposition to political authorities and revealing social realities, Taiwan underground music of the 90s was expected to wage war against mainstream music industry and to represent social realities with relation to the dominance of economic power.
Appearing in 1990, L.T.K. Commune (Loh Tsui Kweh Commune, Cho Shui Hsi Kung She, 濁水溪公社) has been considered unique but controversial. On the one hand, the band’s works show rebellious disdain for authorities and represent lower-class life as “social realities.” On the other hand, the rhetoric the band adopts is so acerbic and parodic that it seems to make fun of people of the lower class. Besides, the band’s live performances are full with offensive actions. The vulgar language it uses to address sex-related subjects worries many critics, for they find some of the band’s performances quite chauvinistic. These polemic characters polarize the criticism of the band’s works. Some critics consider the band’s practices subversive while others regard the band’s works as apolitical postmodernist play of discursive codes without real intention to defy dominant powers.
In this thesis, I would argue L.T.K. Commune’s music practices are political and even subversive for they pose challenges to three discursive forces that shaped local life in the 90s—-consumerism, the ethnic-oriented post-martial-law nationalism and the anti-sex campaigns. By responding to these social changes, L.T.K. Commune also poses challenges to some ideological assumptions adopted by Taiwan underground music critics, who unconsciously internalize influences from the three discursive powers mentioned above. However, since L.T.K. Commune’s practices do suffer from gender insensitivity, the band’s gender ideology would also be identified, problematized and criticized.
關鍵字(中) ★ 台灣地下音樂
★ 濁水溪公社
★ 台灣消費社會
關鍵字(英) ★ Taiwan underground music
★ L.T.K. Commune
★ Taiwan's Consumer Society
論文目次 Introduction…………………………………………………………..1
Chapter One ‧ The Rise of Taiwan Underground Music …………..7
Chapter Two ‧ Subversively Playful: The Music Practices of L.T.K.
Commune………………………………………… 32
Chapter Three ‧ L.T.K. Commune’s Music Practices As Progressive
Social and Cultural Revolt against Taiwan’s Consumer
Society of the 90s…………………………………..46
Works Cited……………………………………………………….....65
Appendix: History of L.T.K. Commune……………………………..70
Appendix: L.T.K. Commune Lyrics…………………………………79
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指導教授 林文淇(Wenchi Lin) 審核日期 2007-7-25
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