The Sino-British Intercultural Translation and Theatre Studies: a Case Study of the Bilingual Writer Hsiung Shih-I (1902-1991)’s Works

「耽美」（Boys’ Love）是自上世紀90年代由日本被引入中國的一種亞文化，意指以女性受眾為主體的、描寫男性同性之間浪漫關係或性關係的文本。在過去的三十年中，耽美文化扎根本土蓬勃發展，並隨著社交網絡的興起和商業資本的介入而逐漸主流化，為更多人所了解。與此同時，中國互聯網的網絡審查治理也經歷了從無到有的過程，在過去的十年中對耽美等內容的管理逐漸加強的同時，商業平台也走向對內容的審查化。身處兩個領域的交界處的中國網絡耽美群體的活動與分歧成為一種具有代表意義的縮影，引發了對網絡中舉報行為的思考。本研究提出了「參與式審查」的理論框架，在亨利·詹金斯的「參與式文化」（2006）的概念的基礎上，意在展示當審查制度與參與式文化相結合時，耽美粉絲在群體參與文本的生產與消費實踐的過程中採取的包括舉報和逃逸在內的行動策略及體現出的分歧。本研究首先以國家政策和平台規則對耽美的兩個爭議性主題「色情」與「代孕」所造成的舉報影響展開，用以體現參與式審查的基礎；其次以耽美改編劇《鎮魂》和耽美真人配對「巍瀾」為例，展現粉絲在與平台功能進行互動時，參與式審查去中心化的擴散過程；再次由「小粉紅」現象與耽美粉絲群體中國家擬人化的民族主義作為討論重點，探討粉絲通過參與式審查為自身賦予的正當性和能動性問題；最後引向對參與式審查的反思。參與式審查並不僅僅在耽美粉絲群體中愈發普遍，而是在整個當代網絡社交媒體上日益顯形。通過研究參與式審查，一方面能夠為耽美粉絲的行動提供一種與社會體系相連接的說明和解釋，另一方面這種並非耽美群體獨有的現象也希望能為理解更多網絡事件、行動乃至從規訓社會到控制社會人們生活和行動中的具體變化提供認知上的借鑒。Boys’ Love (BL) is a genre of female-oriented subculture introduced to China from Japan in the 1990s, meaning texts that focus on romantic or sexual relationships between men. Over the past three decades, BL culture has taken root and flourished in China. With the rise of social networks and the intervention of capital, BL has become more mainstream. At the same time, China’s internet censorship governance has been gradually strengthened. While the restrictions on content such as BL novels have increased step by step over the past decade, commercial platforms have also moved towards content moderation. The activities and divergences in Chinese internet BL groups, which are at the crossroads of the two fields, become a representative microcosm that provokes a reflection on the act of jubao (reporting) on the internet.This study proposes a theoretical framework of “Participatory Censorship” based on Henry Jenkins’ concept of “participatory culture” (2006), which aims to demonstrate the divergent action strategies, including reporting and flight, adopted by BL fans in the process of group participation in the production and consumption of texts under the circumstance that censorship is combined with participatory culture. This study begins with the impact of national policies and platform rules on the reporting of two controversial themes of BL, “pornography” and “surrogacy,” to exemplify the basis of participatory culture; secondly, it uses BL adaptation drama Guardian and the BL coupling “Weilan” as examples to demonstrate the diffusion of decentered participatory censorship; thirdly, it focuses on the Little Pink phenomenon and the nationalism of the Chinese anthropomorphism within BL fans to justify their activities and show their agency; and finally, it leads to reflections on participatory censorship.Participatory censorship is not only becoming more common in BL fandom, but is increasingly visible on global social media. By studying participatory censorship, I devote to, on the one hand, provide an explanation and interpretation of the actions of BL fans with the social system, and on the other hand, this phenomenon, which is not unique to the BL groups, will hopefully provide cognitive insights for understanding more online events, actions, and even specific changes in people’s daily life from the disciplinary societies to the societies of control.陳曉婷.Ph.D. Chinese University of Hong Kong 2021.Includes bibliographical references (leaves )Abstracts in English and ChineseTitle from PDF title page (viewed on …