摘要

社會中的人口結構以及傳統習俗，會建構出一套專屬於該社會的基礎價值觀，而性別，正是這套社會價值觀最廣泛且深刻的體現之一。這種價值觀將建構該社會期待的兩性形象，並影響每個人對於事件的評估標準，以及中心思想，當同一件事情由不同人來操作，就會因為性別的不同，而被不同的標準評判。
除了性別之外，每一個人也同時扮演著「你、我、他」三個不同立場的角色，面對不同層面及對象的期待，同時也在於自己對自己的評價與對他人的標準，在自己的生活中，可以是主角也可以是觀眾，當立場不同，看待事情的標準也有落差，呈現出來的形象也可以完全不同。此次創作論述則聚焦於性別議題，以符號學、性別、策戰謀略，作為研究與創作相輔相成的基底，透過日常生活的觀察與生活實踐，本創作論述以下列三點為目的：
一、 探討社會中普遍存在的性別價值觀
二、 提出日常生活中性別權力與社會認知的差異
三、 建構個人的性別認知與自我定位
本論文以台灣文化背景為發展基礎，創作探究與提及的「社會價值觀」皆為作者體認到，台灣社會反應出的價值觀對於性別角色期待現象，期透過本創作研究挑起某些有趣的台灣社會性別價值認定，並以討論性別刻板印象的─「性別神話系」系列三件、熟悉生存規則之後的反制─「剛柔寓言」系列四件、個人狀態─「自我展演」，系列十一件，三個系列皆與性別與力量緊扣，從冷硬的歷史定位中走出，並在理解社會定位意義後逆向思考，並發現其中反制規則的方式，最末將反制的方式以個人行為加以實踐，共計十八件作品並以雕塑及裝置藝術方式呈現。

Abstract
The demographic structure and traditional customs in society create a series of basic values that are unique to the society, and gender is the most extensive and profound embodiment of the social values. It constructs the social expectation of the gender images and influences one's evaluation and criteria for the event as well as the central idea. When an event is handled by different people, it will be judged by distinct standards according to different genders.
In addition to genders, each person also respectively plays the role of “you, me, and him” in three positions, facing one's along with others' expectations of different levels and subjects. In an individual's daily life, one can be either a protagonist or audience. As a result, when a person is in a particular position, gaps between the standards of issues and the images can also be presented completely variously. This creational discussion focuses on gender issues, based on the two main theories of semiotics and gender research. Through the observation and practice of daily life, this essay presents the following three points:
I. Exploring the prevailing gender values in society
II. Proposing differences in gender power and social cognition in daily life
III. Constructing Personal Gender Cognition and Self-positioning
This essay is based on Taiwan’s cultural background. The “social values” that have been explored and referred to by the author truly reflect the values of the expectation of gender roles in Taiwan's society. It has inspired some interesting researches through this creative study on the discussion of gender stereotypes and Taiwan's gender value recognition. With the following pieces of works, "Gender Mythology" series of three; “Hard And Soft Fables” series four- the countermeasures after familiarity with the survival rules ; "Self-play" series of eleven- personal status, the three topics are all closely related to genders and strength, which are separated from the cold historical position and pondered in reverse after the comprehension of the meaning of social orientation. By means of practicing these ideas and adding personal behaviors, a total of 18 works are presented in the sculptures and installation art.

圖次

圖1-1創作架構與流程圖 ………………………………………………………………. 8
圖2-1艾里斯‧范‧赫本 春裝─潑水裝（多件）……………………………………….. .34
圖2-2艾里斯‧范‧赫本 秋裝（多件）…………………………………………………. 34
圖2-3艾里斯‧范‧赫本 秋裝（多件）…………………………………………………..34
圖2-4艾倫與艾提埃克曼 莽原上的騎兵Ⅱ …………………………………………… 36
圖2-5艾倫與艾提埃克曼 雄鹿雙鬥 …………………………………………………. 36
圖2-6辛蒂雪曼 無題系列電影劇照＃92 ……………………………………………... 38
圖2-7辛蒂雪曼 無題系列電影劇照＃56 ……………………………………………... 38
圖4-1謝芝萱 男性原型 —多面向 …………………………………………………... 47
圖4-2謝芝萱 女性原型—多面向 ……………………………………………………. 47
圖4-3謝芝萱 結合原型—多面向 …………………………………………………… 48
圖4-4謝芝萱 懸空 裝置 …………………………………………………………… 49
圖4-5謝芝萱 滲透 裝置 …………………………………………………………… 50
圖4-6謝芝萱 靜默的吸引力 裝置 …………………………………………………. 50
圖4-7謝芝萱 地方媽媽 裝置 ……………………………………………………….. 51
圖4-8謝芝萱 shield ─1 ……………………………………………………………….. 52
圖4-9穿山甲鱗片層疊構造 …………………………………………………………… 53
圖4-10.謝芝萱 shield ─2……………………………………………………………… 53
圖4-11.謝芝萱 shield ─3……………………………………………………………… 54
圖4-12謝芝萱 獵人自傳─1…………………………………………………………... 56
圖4-13謝芝萱 獵人自傳─2 ………………………………………………………….. 57
圖4-14鸚鵡螺貝類內部構造 ………………………………………………………..57
圖4-15謝芝萱 獵人自傳─3 ………………………………………………………….. 58
圖4-16謝芝萱 獵人自傳─4………………………………………………………….. 59
圖4-17謝芝萱 獵人自傳─5………………………………………………………….. 60
圖4-18謝芝萱 獵人自傳─6………………………………………………………….. 61
圖4-19謝芝萱 獵人自傳─7………………………………………………………….. 62
圖4-20謝芝萱 獵人自傳─8………………………………………………………….. 62