近年來漫畫改編偶像劇蔚為風尚,然而過去迷群研究主要關注迷群外在過度 的生產文本,關於漫畫迷的研究也僅關注於外在過度性明顯的強勢族群。然而, 導致外在行為過度性的原因,即內在的認同與區辨機制卻顯少討論。因此,本研 究將焦點放在迷群的內在過度性,希冀透過少女漫畫迷互文解讀漫畫改編偶像劇 的過程,了解少女漫畫迷內在的認同及區辨機制。 本研究透過媒介形式轉換之跨媒體互文性,依據John Fiske的互文性概念及 迷群內在認同及區辨之循環機制作為理論架構。透過質化取徑的深度訪談法,訪 談十二位少女漫畫迷,本研究發現少女漫畫迷在接觸漫畫改編偶像劇時,水平式 互文漫畫文本作為參考架構,其中以角色的關係連結最緊密。而垂直性互文的發 生基於區辨而非認同。由於少女漫畫迷對漫畫文本特別在乎而投入對此認同的區 辨與維護,與漫畫改編偶像劇之文本、角色、媒介與他人產生區辨,並藉由區辨 的過程建立自我認同。 / Previously, the researches focused on the external behaviors of fans but neglected the main cause of them: the internal excessiveness. Therefore, this research focuses on the internal process of identification and distinction of girl comic fans intertexting trendy drama adapted from original girl comics. Based on John Fiske’s intertextuality and fan theory, this research finds out the relationship between girl comic fans and comics was built by imagination, which gave the original text ‘aura’. While the horizontal intertexality linked two texts by genre, content, and character, the adapted drama bursted the imagination of girl comic fans. In order to protect their imagination, they became anti trendy drama fan and produced vertical intertextuality by distinguishing the text, character, and media between the two. Thus, the aura of the original comics was preserved and the identity of girl comic fans was constructed.