從來「美貌」即是女性最為關注的課題之一，而傳播媒體的推波助瀾，更助長了美貌意識的盛行，尤以標榜女性為「唯一閱聽人」的女性雜誌為最。本研究即以女性主義精神為本，試圖以兩種不同的理論觀點來解讀女性雜誌：一是以批判理論觀點來分析女性雜誌建構的「美貌」，一是用後現代理論觀點來解析女性讀者使用女性雜誌所得到的愉悅。本研究採取質性研究方法，分別採用符號學分析法來分析女性雜誌文本，以及深度訪談法對十位讀者進行讀者研究。 根據文本分析的結果，研究者將女性雜誌所象徵的美貌意涵歸類為三大項，即（一）高級出眾的時尚品味（二）完美無瑕的身體髮膚和（三）撩動人心的性感風情。女性雜誌成功地運用各種符號，交織出一個面貌單一且為男性所喜的美貌形象，並強說這一切是女性之所欲，用以召喚女性讀者。而從讀者訪談的結果發現，女性雜誌確實在其生活中扮演重要角色，帶給她們許多愉悅，是她們理想自我和生活的投射；她們也多認同女性雜誌披露的美貌論述，並身體力行，為美貌付出諸多心力。然而，她們不免落入了某些美貌迷思，而這些迷思似乎正和女性雜誌的論調如出一轍。 在後現代的氛圍中，愉悅的享受被正當化了，女人的愉悅更不再受到壓抑，擁抱愉悅，展現自我，正是時下女性致力追求的。本研究願以開放的態度來看待女性愛美的心理，也樂見女性享受閱讀女性雜誌的種種樂趣，只是在資本主義和父權體制的層層重圍之下，女性如何能活得更自在快樂，或許還有很長的一段路要走。 / "Beauty" is always one of the topics that women are most concerned with. Mass media, especially women's magazines focussing on a "women-only" audience, adds to the push for beauty consciousness. The thesis is based on the spirit of feminism, and attempts to decode women's maganizes with two different theories: first, to analyse the construction of "beauty" in women's magazines by critical theory; second, to interpret female readers' pleasure from using women's magazines by applying postmodem theory. Qualitative research methods are applied in this study by using Semiology to analyze text language in women's maganizes, and the "in-depth interview" method to research 10 readers. According to the results of text analysis, the researcher classifies the meaning of beauty in women's magazines into three categories. They are: (1) haute coutre and upscale fashion (2) perfect body (3) sensual pleasure and exquisite taste. Various signs are well exercised in women's magazines. They attract women readers by portraying a simple yet beautiful image that men prefer and advocate that this is the image that women have long pursued. From the interviews by the 10 readers, we found that female magazines play a key role and gives women pleasure in their daily lives. These magazines put up an ideal image that they can strive for. The readers are able to identify with the images created by the women's magazines and are devoted to working towards it. However, they are also inevitably sucker into a beauty myth that magazines try to paint. Amid post-modern context, pursuing pleasure is justified. Women are no more being suppressed in pursuing pleasure and engaging in self-development, which are what modern female have long endeavoured. The thesis attempts to look at the psychological aspect of what women expect from their beauty consciousness and the pleasure they derive from female magazines. However, under pressure from capitalism and patriarchy, there might be still a long way to go before women can live a free and happy life.

在以性別作為主要分眾依據的時尚雜誌中，男性與女性時尚雜誌對於不同性別的人物報導呈現方式有何差異？本研究引用角色理論、刻板印象概念相關之論述，對時尚雜誌中的封面，以及人物報導文章中的標題、圖片與文字描述等作量化式的內容分析，以探究時尚雜誌中性別角色描繪的區隔方式。 結果顯示男性雜誌中的男性人物通常被賦予嚴謹、理性印象，並且透過與女性化關聯意涵的隔離，刻畫一具「絕對的男子氣概」角色形象；男性雜誌中的女性角色則以表面化、簡單化、帶性意涵的方式呈現，職業角色極微，以符合刻板化典範的策略呈現之。 女性雜誌中的男性性別角色呈現，能允許部分非慣俗刻板印象，但僅限於外顯行為，大部分內容仍為刻板印象的複製；女性雜誌中的女性角色則相對能夠包容最多非刻板印象的角色呈現，內在部分刻畫具嚴謹性，職業形象鮮明，然外在描述則仍著重服裝、外貌身材部分，強調女性氣質，兩造形象的結合實為回應時尚雜誌商業訴求下的女性角色呈現模式。 研究建議後續相關的研究方向應可納入雜誌編輯的意見，以利更加明確的瞭解時尚雜誌行文編輯中運用以描繪性別角色之策略；另外，對閱聽人解讀效果的研究也利綜覽整個時尚雜誌性別角色呈現的傳播過程及其影響。 / To realize the differences of sex roles displayed between men's and women's fashion magazine, this study analyzed the headlines, pictures and contents in the interview articles of famous persons in both men's and women's magazines by quantitative content analysis. Based on the role theory, concepts of stereotype, and theories of communication, the study investigated how fashion magazines try to make distinction between male and female characters. The results of this study suggest 4 conclusions. 1) In men's magazines, male character is often described as serious and rational. Besides, by segregating from any feminine inference, men's magazines portray male character as "absolute masculinity". 2) In men's magazines, female character is simplified, and implied with sexual meaning. Moreover, female's occupational role is rarely mentioned, which is a strategy following stereotyped paradigm. 3) In women's magazines, male character is allowed to show part of unaccustomed image, but only limited to outward behaviors. Most contents still reproduce stereotyped sex roles. 4) Compared with men's magazines, women's magazines tend to grant the female character most non-stereotyped images in their displays. Internally, the female character is often described as staid and professional, while the external focus still centers on dressing, appearances and body shape. In effect, combining these two dimensions above is the strategy adopted by women's fashion magazines in order to fulfill commercial requests. This study also points out some potential issues for following researches. For example, the opinions of magazine editors could be involved to deepen the understanding of the sex-role displaying strategies. Moreover, exploring the effects of audience's interpretation also helps to overview the whole communicating process of sex-role concepts between readers and fashion magazines, and its upcoming influence.

女性雜誌之出現，標舉將女性視為一特定閱聽眾。長期以來，女性受到父權意識型態的限制，權利義務被忽略，依附男性而生活，然而這種不平等的現象，隨著社會環境的變遷，而有緩和趨勢。而女性雜誌既為一「女性空間」，是否強化傳統的性別秩序，或呈現無刻板印象的性別角色，值得探討。 　　歷來探討大眾媒介和社會變遷關係的研究者，把其關係區分為三大類，包括反映者、強化者和促動者。但由於大眾媒介內容和社會環境變遷的時間，很難做清楚的劃分，對二者間的關係，至今仍莫衷一是。 　　本研究以創刊達二十五年的「婦女雜誌」為對象，企圖找出女性雜誌和女性價值變遷間的相關性。在相關研究中，可以發現，女性雜誌中所呈現的女性，基本仍偏向傳統形象，強調外貌、家庭比工作重要，研究焦點多半著重在人物描繪上。本研究則關切女性雜誌中的報導主題，及傳達的兩性價值和形象，是否因時間推移而有所改變。 　　研究結果發現，「婦女雜誌」中，以生活資訊報導量最多，但其所占比例逐年減少，同時安排位置也多半在整本雜誌的後半部，而偏向硬性的法律政治和社會議題，則呈逐年增加的情形，顯示「婦女雜誌」逐漸脫出傳統的窠臼，不再只把女性的關心焦點限囿在流行上，原屬男性領域的議題也日受重視。 　　「婦女雜誌」對兩性形象的呈現方式，仍以傳統角色占居主流，而代表較自由開放的形象，在女性方面，呈逐年增加的情形，而男性方面則呈逐年減少趨勢，顯示「婦女雜誌」在描繪女性時，鼓勵朝自由開放方向發展，而描繪男性時，則著重傳統性別秩序，但也鼓勵自由發展。 　　在兩性價值方面，「婦女雜誌」中所傳達的女性價值，朝向自由多元的方向發展，鼓勵女性做個有主見的人，但在男性價值方面，仍偏向傳統的價值，和根深柢固的男性形象相符合。 　　從社會背景變遷和「婦女雜誌」的報導內容來看，在民國59年以前，「婦女雜誌」偏向扮演社會變遷的促動者，到了民國60年開始，和社會變遷的時間差距拉近，反映者和強化者的角色開始突顯出來，但因時間不易明確劃分，促動者的角色也不能率爾去除。 　　從「婦女雜誌」的報導內容來看，在民國59年以前，父權意識型態色彩濃厚，但自民國60年開始，女性角色日益多元化，兩性關係也朝平等方向發展，顯示父權意識型態的威力已逐年減低。

《臺灣婦人界》（1934-1939）為日治時期最具規模的女性雜誌，也是1930年代刊載最大量通俗小說的刊物。本論文以殖民現代性與女性經驗的交織為主軸，提出《臺灣婦人界》小說的後殖民閱讀。日治時期台灣女性最初的現代體驗，奠基於殖民現代性所帶來的教育機會與物質文明，一方面秉持啟蒙開化的信念給予女性前所未有的自由與選擇，另一方面則訴諸文明優劣程度築起一道文化同化的門檻。「世界」指新女性走出家屋展望世界的文本效應。女性透過教養、知識提升成為公領域典範的可能，以及不同族裔、背景的女性基於文明信念而想像出的共同體，是《臺灣婦人界》一再宣揚的普遍價值。「民俗」是與上述普遍性對照之下的差異性，信仰漢人宗教的女性成為奇觀的拼貼素材，也化身被排除的迷信舊慣。這些文化差異性復又受到「帝國」殖民同化計畫的整編與改造，其透過女性之於家庭與社會的角色，以日本現代文明與大和民族的優越位階，對不同出身、階級與族裔的差異主體實行精神統馭。 　　筆者從《臺灣婦人界》觀察到上述三個大方向，並參照史碧娃克（Gayatri Chakravorty Spivak）、霍米巴巴（Homi Bhabha）的後殖民觀點，進一步解析殖民現代性排除與整編的策略如何在小說中一一受到挑戰。被體制重重壓迫的底層女性身影解構了以自由主義理念為根基、中產階級身份為前提的文明女性想像。被現代理性準繩貶抑的民俗迷信拯救了台灣女性的主體分裂危機，證明原生文化始終是殖民現代性無法割除斬斷的一部份。混血的女性身體隱喻著台灣多層歷史與地緣脈絡的軌跡，那難以馴化的混雜性揭發了殖民改造計畫的破綻。本論文探討的包括黃寶桃、西川滿等已受學界所知的作家，以及陳華培、別所夏子等未曾受到討論的台日創作者，期能為這份議題性與份量兼具、卻幾乎未受到注意的史料梳理一個輪廓，揭示《臺灣婦人界》之於日治時期文學研究、女性史研究以及後殖民研究的價值。 / Taiwan Fujinkai (1934-1939) was the most influential women’s magazine in colonial Taiwan, on which women’s experience were closely interweaved with colonial modernity. For women in colonial Taiwan, the first experience of modernization was founded on the modern education and material environment by Japanese power, and thus contained double sides. One was the sense of liberation brought by the belief of enlightenment, another was the awareness of discrimination between the superior and the inferior. “The cosmopolitan” refers to an imagined community where women from all backgrounds can be canonized if they followed the universal route of modernization. Being a contrast of this universality, images of women in “the folklore” was represented as the backwardness eliminated from the modern society. In the civilizing mission of “the empire,” these eliminated cultures were assimilated into the imperial project again, which seek to rule and reform the colonized through the hand of civilized wives and mothers. With Gayatri Chakravorty Spivak and Homi Bhabha’s postcolonial concepts, this paper examines how Japan’s strategy of elimination and assimilation was challenged in the fictions in Taiwan Fujinkai. The subaltern women in the bottom of social system broke the liberalist imagination of women’s civilizing route. A ghost haunted in Taiwan women’s mind implied that the native folklore can be oppressed but never divisible. The mixed-blood woman’s body disclosed the invalidity of Japan’s attempt to discipline the hybridity of it colony. My discussion includes Huang Pao-tao, Nishikawa Mitsuru and other undiscovered texts. Probing into this important but rarely investigated magazine, I seek to uncover its value for the literature study, women’s study and postcolonial study in the field of Taiwan literature.