從浪漫愛的概念出發，本研究聚焦於青少女觀賞《暮光之城》系列文本的詮釋歷程，以理解《暮光之城》作為一種文學、影視文本類型，如何藉由吸血鬼愛德華與浪漫愛概念之呈現，促使青少女在與文本互動的過程中，對浪漫愛進行反思與想像。 　　「校園生活環境」是青少女接觸《暮光之城》的主要脈絡，透過對12位「暮光迷」進行深度訪談，研究者觀察到青少女主動「選擇」《暮光之城》文本，藉由文本的「使用」滿足個人心理與情感上的需求，此過程具有兩項意義：一來突顯「閱讀」是一主動行為，在青少女的生活中占有重要地位；二來帶出《暮光之城》具有之「補救性青少年次文化」概念，使青少女在幻想與想像層次彌補了現實中的缺憾。 　　由接觸《暮光之城》到以「暮光迷」自居，展現的是青少女和《暮光之城》文本在一個時間向度上的互動過程：青少女由找尋《暮光之城》與自身生活脈絡、情感相契合處，演變為對《暮光之城》文本進行解讀與詮釋。以「浪漫愛」框架探究青少女作為「暮光迷」的真實樣貌，研究者嘗試描繪當代青少女浪漫愛想像之藍圖，並以之與「現代浪漫愛概念」、「《暮光之城》再現之浪漫愛概念」進行比較，發現其中呈現出的差異，不僅是青少女自主思考性的展現，更是對於現代男性、對於風險社會下的愛情所進行的反思與批判：吸血鬼愛德華保守的性，象徵著女性在幻想層次對男性的道德呼求；在風險社會的時空脈絡下看「永恆愛情」，部分青少女將「找到自己生命中的愛德華」作為一種神話的行動典型，部分青少女則將「永恆愛情」的意義，由永生相守扭轉為「片刻勝永恆」的概念；現代青少女強調自我「主體意識」，要求自我主體性，不希望被戀人當做保護「客體」而是希望在「被愛」的同時更主動「去愛」。 　　每一個時代都擁抱一種他們所需要的吸血鬼，而吸血鬼愛德華的出現，或許正象徵著這個時代的人們對於愛情、對於尋求真愛不可得的焦慮與恐慌。透過「浪漫愛」框架觀看「暮光迷」，可發現她們之所以擁抱「浪漫愛」，之所以擁抱吸血鬼愛德華，背後皆具特殊意義；而青少女對於浪漫愛所進行的想像與反思，足以打破他人對「暮光迷」的刻板印象，具體展現身為「暮光迷」豐富而多層次的樣貌：「暮光迷」不僅是對愛情懷抱憧憬的女孩，更是一群對於現代愛情觀及其背後彰顯之價值具有挑戰、顛覆能力的女孩們。 / Based on the concepts of romantic love, the research focuses on teenage girls’ inner interpretation experiences when they read the Twilight series so that better understand how do the vampire images of Edward Cullen and the concepts of romantic love represented by The Twilight Saga stimulate young girls’ introspection and imagination of romantic love within the process of interactions with texts. “The school life” is the main context for teenage girls to have contact with the Twilight series. In this study, the outcome of in-depth interviews with 12 “Twilighters” shows that teenage girls proactively “choose” and “use” The Twilight Saga to satisfy their mental and emotional demands. It reveals two crucial concepts: on the one hand, as far as teenage girls are concerned, “reading” is a voluntary action that plays an important role in their daily lives. On the other hand, The Twilight Saga symbolizes a “remedial subculture” that allows young girls to redeem their actual imperfection by means of daydream and imagination. From just reading the Twilight series to naming themselves as “Twilighters”, this process indicates a timeline-interaction between teenage girls and The Twilight Saga. To begin with, young girls try to find out if there is overlap amid their life context, emotion demands and the Twilight’s love romance; however, as time gone by, they start to interpret and make comments on the text. Using romantic love as a frame to explore “Twilighters”, this research tries to portray contemporary teenage girls’ imagination of romantic love and then compares it with the concepts of contemporary romantic love and that represented in The Twilight Saga. The differences not only display the independent deliberation of young girls, but also reveal their introspection and criticism on men of nowadays and notions of love in this risky society. On the first place, Vampire Edward Cullen’s conservative notion of sex symbolizes women’s moral appeals to men at the imaginative level. Secondly, judging “eternal love” under the context of risky society, some young girls regard “finding their own Edward” as an action paragon of fantasy, while some of them try to reverse the meaning of eternal love from “happy ever after” to “the precious one is the eternity for a moment”. Last but not least, young girls try to strengthen their demands for subjectivity, so that they would rather be the one who is loved and love others at the same time. Each era embraces one kind of vampire it lacks, and the appearance of Vampire Edward perhaps symbolizes the anxiety of modern people on their way of seeking true love. Through the frame of romantic love to observe the teenage “Twilighters”, the research finds out the reasons that young girls who embrace romantic love or Vampire Edward truly have some special meanings. Their imagination and introspection of romantic love, as well as their abundant images as “Twilighters”, both give them powers to reverse others’ stereotypes on “Twilighters”. “Twilighters” are not only the girls who long for love, but also the ones who have the ability to challenge and overthrow modern concepts of love and the value it manifests.

本研究以讀者研究為研究取徑，藉由國中女學生讀者的發聲，來探討國中女學生閱讀羅曼史小說的動機、閱讀行為，與閱讀影響。並希望經由此項研究，能夠對學校行政單位針對兩性平權教育，與性教育等相關教育內容與活動的規劃上，提出研究發現與建議；並提供給教師在教學設計上的參考。 本研究以深度訪談為蒐集研究資料的主要方法。在隨機選擇一所台北縣的國民中學後，就對其國中三年級的女學生進行羅曼史小說閱讀行為的問卷調查。並依調查的結果，篩選出本次研究的四位受訪者參與研究。本研究獲致的主要結論如下： 一、受訪者閱讀羅曼史小說的動機，與個人特質有很大的相關性；主要可分為六項：對愛情的渴望、情慾好奇的滿足、現實戀情的指導書、休閒娛樂與壓力紓緩、充實自我的課外書，與創作的需求。隨著生活經歷的不同，受訪者的閱讀動機亦隨之改變。 二、在問卷調查中發現，高達78.7％的國中女學生，有閱讀羅曼史小說的經驗。影響其閱讀頻率的主要因素在於，考試及課業的壓力。而受訪者本身的自制力，是閱讀行為能否影響學校課業的主要原因。 三、受訪者開始閱讀羅曼史小說的年齡，多在剛步入青春期之時。而同儕多為其閱讀羅曼史小說的首位介紹者。 四、受訪者父母對其閱讀行為並無特別的要求，而老師的管理方式則沒有相應的成效。 五、受訪者閱讀討論的對象除了女性的好朋友外，也會與自己的男朋友，或氣質較接近女性的男同學討論。 六、受訪者在羅曼史小說的閱讀喜好選擇上，與自己個人的特質和背景，有相當密切的關係。而其中情慾的部分，則得到四位受訪者最多的喜愛。 七、因個人特質與社會背景的不同，受訪者在閱讀選擇與影響上，亦有不同的相應內涵。對羅曼史小說的內容也產生傾向式解讀、協商式解讀與對抗式解讀的不同解讀方式。但受訪者都認同羅曼史小說中刻板的性別角色安排。 八、受訪者都認同羅曼史小說中的有關性愛情節與性暴力的描寫。小說中有關性愛描寫的部分，成為受訪者本身性幻想，與異性間性嬉戲的媒介。 九、四位受訪者都反對利用羅曼史小說成為兩性教育的輔助教材，以及反對羅曼史小說實施圖書分級制。而受訪者的其他休閒閱讀，仍以愛情故事為主要的選擇因素。 最後，根據本研究之結論，對少女的父母、學校教育、政府有關當局，以及未來的相關研究等方面，提出建議。

本篇論文試圖闡釋美國通俗羅曼史中男性主角的角色特質，及其自一九七二年至二○○○年間所產生的變化。 對通俗羅曼史中的女主角而言，男主角同時扮演著救贖者和迫害者的雙重角色。故事中，男主角自困境中拯救女主角，也是造成女主角各種不安的元兇。男主角的雙重性一方面增加通俗羅曼史的故事性，一方面也反映女性讀者在日常生活中所遭遇的類同困惑。論文由凱瑟林•渥迪威斯的《意外的情人》及露絲瑪麗•羅傑斯的《狂野的愛》兩部一九七○年代的重要作品開始進行討論，試圖勾勒出本文類中男性主角所擁有的概略角色形象。 男主角的陽剛特質通常藉由各種力量的展示表現；這些力量包括經濟、社會及身體等各種層面，並對女主角形成強大的吸引力。陽剛男主角代表著故事最後女主角終將獲得的獎賞，而透過對於陽剛特質的著墨，通俗羅曼史中關於女性力量至上的幻想方能得以達成。然而當男性身體的力量過度被著墨，對於陽剛特質的描述則將陷入暴力或力量的混淆，通俗羅曼史中的強暴情節也則因此產生。 隨著通俗羅曼史的演進，故事中男主角的社會地位不再高不可攀，和女主角的互動也顯得較不強勢。在一九九○年代之後出版的故事中，男主角較少扮演指導者或權威的角色。拯救者和被拯救者角色地位的互換，讓兩名主角取得更加平衡的關係。通俗羅曼史的故事焦點由女主角身上擴展為男女主角雙方的故事，男性主角的角色塑造更加受到重視，而其陽剛特質的詮釋方式也更為多樣化。 / This thesis aims to articulate the role of the masculine hero in American popular romances and the change of their roles throughout the three decades from1972 to 2000. The hero performs as the savior and the villain for the heroine in popular romances. He is the savior to rescue her from the troubles and his villainy can be threatening to her in the story. The duality of the hero dramatizes the romantic narrative and reflects certain everyday situations that trouble female audience. The discussion begins with two important works of the 1970s, Kathleen E. Woodiwiss’s The Flame and the Flower and Rosemary Rosemary Rogers’s Sweet, Savage Love to demonstrate a general picture of the hero’s role in the narrative. The masculinity of the hero usually expressed in the form of display of strength. The strength can be economic, social and physical, and appears all but desirable for the heroine to obtain. The masculine hero is the final prize for the heroine so that the empowerment to women as the fantasy provided by popular romances is then achieved through the elaboration on masculinity. However, when the strength displayed in the physical form is overemphasized, the descriptions on masculinity fall into the confusions between violence and strength. The rape incident in popular romances is a product of such confusions. When popular romances evolve, the social position of the hero declines in the story and he becomes less predominant in the interaction with the heroine. He becomes less an instructor or an authoritative figure in the novels of the 1990s. The reverse roles between the rescuer and the rescued lead to a more balanced relationship between two protagonists. The story of popular romances changes its focus from the concentration on the heroine to a story of the heroine and the hero. The characterization of the hero is then more emphasized, and the expression of the masculinity of the hero becomes more variable.

基於生理、心理與社會因素，女性愉悅較男性複雜。本論文試圖藉由美國當代暢銷作家尼克拉斯‧史派克的愛情小說為文本，結合許多性別相關的理論去探討女性愉悅。史派克的羅曼史是當代文本，唯美的純愛是其特色，然而，這些帶來美好感受的愛情故事，是否是讀者們真心嚮往的美好愛情? 讀者在享受閱讀文本的當下，或許也默默地被一種僵化的愛情公式所限制，所謂的快樂，也許只是一種暫時的麻痺。 本篇論文從幾個不同角度切入去分析女性愉悅和羅曼史的關聯，第一章以丁尼斯坦的理論為切入點，就心理與社會層面探究為何女性在選擇伴侶上比男性有著更多限制，其理論也連結到嬰兒期由母親養育對於不同性別成年後伴侶關係有影響 ; 第二章以史派克這三本羅曼史<<手札情緣>><<瓶中信>><<分手信>>文本為主，並結合性別理論去分析羅曼史，探討其女性在羅曼史中的真相為何，文本裡也有許多部份展現出女性的許多壓抑；第三章以讀者回應為主要分析，藉由社群網站臉書的讀者真實回應，並結合過去其他做過相關讀者回應的理論與實際田野調查，分析不同時候讀者都藉由羅曼史得到快樂，不同的讀者群有共同與相異的讀者回應；第四章從這三本羅曼史的書信體形式，研究他者的缺席如何帶來快樂與痛苦，遠距離的愛情造就書信的存在，這其中的等待與期待，盼望與失望，主體不斷找尋失落客體的過程，都不斷創造失落與愉悅；第五章結論綜合前四章論點，提出女性要真正愉悅的努力方向。 / Due to biological, psychological and social reasons, female pleasure is seen as much more complicated than male pleasure. In this thesis, I try to analyse female pleasure by applying gender theories to the romances of Nicholas Sparks. Sparks is a contemporary writer mainly producing pure love stories. Are these love stories the ideal that readers pursue? When readers get pleasure from reading romance, they may be brainwashed unconsciously and limited by a fixed pattern of love. So-called happiness might be a temporary escape. This thesis attempts to analyse the relationship between female pleasure and romance from several perspectives. Chapter 1 assesses Dorothy Dinnerstenin’s viewpoint that women face more psychological and societal constraints when choosing a partner. The mother takes care of children when they are infants, leading to differentiation of the opposite sex as they grow up. Chapter 2 examines three of Sparks’ romances – The Notebook, Message in a Bottle and Dear John – in the context of various theories to analyse the truth in romance and how repression is reflected in these texts. In Chapter 3, readers’ responses are the main focus. I have used readers’ responses gathered from Facebook and have made a connection with other romance reader responses. I have also attempted to combine both the similar and different viewpoints in Radwan’s Reading Romance and Linda K. Christian-Smith’s Becoming a Woman through Romance with my own analysis. In Chapter 4, I have used the epistolary form of these three romances to research how the lack of the other brings pleasure and pain. The epistolary form stems from long distance relationships, and during the process of waiting letters, the subject keeps finding the lost object and acquires pleasure and pain again and again. Chapter 5 is my conclusion and proposes a way for women to find real pleasure.