陳渝苓Chen Yu-ling2017-02-272025-07-302017-02-272017-02-27https://ir.ntus.edu.tw/handle/987654321/71398學位類別：碩士校院名稱：國立臺灣體育運動大學系所名稱：休閒運動管理研究所學號：10102011畢業學年度：103年論文頁數：137頁現代社會中，街舞顯然已成為一種不可或缺的文化活動，不但是呈現文化的載體，在特定的時空背景下更成為文化中的核心符號，甚至隨著時間累積文化能量，進而擴大進化成為一種當代的流行文化形式，街舞又是以怎麼樣的樣貌與形式存在於現今社會中？本研究的目的乃是以文化的意涵為論述的基礎，了解街舞在文化層次中所扮演的角色，並透過文獻分析法，探討街舞的概念如何透過不同的文化層次在當今社會中如何被執行，被利用，與被定義，另外，透過參與觀察與深入訪談法，老師7位，學生4位，讓我們一窺文化內部最真實的聲音，透過他們的內心世界與文獻分析結果再作比對，剖析出問題根源，盼給予文化推廣上一點的助力，最後將街舞重新定位，找到其在社會大眾心中的文化層次。 經由資料分析過程，本研究結果如下： 一、在多層次的文化討論中，街舞的概念以本質，載體，風格，區別與抵抗，潮，以及消費工具的方式，與不同的文化層次緊密結合，反映出文化即休閒，休閒即文化的觀點。 二、街舞的不受限、成就感是吸引年輕人為之瘋狂的關鍵，而台灣街舞無明顯的在地性，卻保有日本風格。 三、在歷經幾十年的演變，不設限成為其不變的特色，更是參與者不斷追求的目標，即舞出個人風格。 四、教學者與參與者對街舞認知有明顯認知差異，前者將其定位在藝術層面與生活，後者皆以運動與休閒居多。 五、街舞成為社會消費的工具，僅是藝術作品，僅少數推廣者秉持原創精神，因此將其定位大眾文化層次。In modern society, street dance is obviously an indispensable cultural activity. It’s not only media that presents culture but also the core of culture at certain points in history. As time passes by, street dance gradually evolves into a modern form of popular culture. The question worth of studying is in what form dose street dance exists in our society. The purpose of this research aims at understanding through the basis of cultural role which street dance plays in the cultural aspect. With the employment of qualitative research, the study discussed how the concepts of street dance are implemented, employed and defined in different cultural aspects of the modern society. In addition, the research, through observation and in-depth interview with seven teachers and four students, provides insight into the truthful voice in cultures. The source of problems is analyzed by comparing and contrasting the result of the interviewees’ opinions analysis, in the hope of assisting in popularization of culture and in reorientation of street dance in people’s heart. The following are the results summarized after data analysis: 1. Discussed in multiple cultural aspects, the concept of street dance is combined tightly with different cultural aspects with its essence, style, and distinctive and trendy features, which indicates that culture is equal to leisure, and vice versa. 2. Unlimitedness and the sense of achievement are the keys why street dance appeals to young people. The street dance in Taiwan doesn’t have its localized characteristics but preserve the Japanese style in it. 3. During a few decades of evolution, unlimitedness, becomes the consistent feature of street dance. In other words, unlimited refers to dancers’ personal styles, the goal participants constantly peruse. 4. There is an cognitive difference of street dance between the instructors and the participants, the former oriented toward the aspects of art and career while the latter often toward exercise and leisure. 5. Street dance has become a tool in marketing as an artwork. Only few people stick to the principle of originality, and hence street dance is viewed as popular culture.封面.....................................I 中文摘要............................II 英文摘要............................III 謝誌............................VI 目錄............................VIII 表目錄............................IX 圖目錄............................IX 第壹章　緒論............................1 　　第一節　燃燒的街舞靈魂............................1 　　第二節　文獻回顧............................4 　　第三節　研究目的與問題............................28 　　第四節　理論框架............................31 第貳章　研究方法............................32 　　第一節　研究方法之選擇............................32 　　第二節　質性研究的信度與效度............................35 　　第三節　資料蒐集............................37 　　第四節　資料整理與分析............................42 　　第五節　研究流程............................44 第參章　次文化的生存之道－街舞............................46 　　第一節　環境的造就－精神、符號與規範............................47 　　第二節　變向的發展－被消費的工具............................60 　　第三節　熱愛與盲從的一線之隔............................69 第肆章　參與者自身認知與體驗............................79 第一節　具層次的認知............................80 第二節　舞者背後的阻礙............................89 第三節　內部的文化疆域............................98 第伍章　撥雲見日............................108 第一節　研究結果............................108 第二節　研究者反思............................114 第三節　研究的貢獻與建議............................116 參考文獻............................1212675124 bytesapplication/pdf次文化;載體;嘻哈文化;大眾文化;流行文化subculture;medium;hip-hop;popular culturethesis