腐女，以二元同在成雙結構解構、書寫二元對立的性別結構與文本結構的女性。在以二元同在成雙結構進行書寫時，腐女操弄著擬像男性的性別特質進行兩位擬像男性的書寫，並在此過程中，將二元對立的性別結構與文本結構，轉化為己所用，成為二元對立結構中的主宰者。 本研究以焦點團體訪談法與二手資料分析法蒐集腐女實踐「萌」的過程；研究發現腐女的「萌」有三個層次意涵，第一個層次是將結構轉化為擬像男性，第二個層次是在兩個擬像男性的互動中，發現書寫的契機，第三個層次是透過這個契機以擬像男性對性別結構與文本結構進行書寫，以此顛覆二元對立結構；這整個過程所產生的歡愉，腐女皆以「萌」來稱呼之。 腐女透過二元同在成雙結構，運用想像力與創造力將二元對立結構按照自己的意圖、喜好、傾向來編造、扭曲、轉化性別／文本結構，在其對性別／文本結構的媒介消費實踐中，其將轉變為性別／文本結構二元對立結構的主宰者；而這樣的過程，也正是文化研究者所樂見的閱聽人主體性之展現。 Fujoshi, often defined as a fan for BL and BL fan fictions, manipulate the simulate males in the chosen texts to deconstruct binary opposite structure of sexuality. By searching the openings of the text meaning, the female audience distorts, appropriates, fabricates, and transforms texts to fit in their fantasies of love between males. The study used second-handed data analysis and focus group interview to understand Fujoshi’s practice of “Moe”. It was found to be a strictly rule-governed and intensively subjective symbolic manipulation and media consumption. By indicating “Moe”, “Moe contexts”, and “compensatory writing (in mind)”, they undermine the strategies of the binary gender structure imposed by the dominant, heterosexual society, and piece up the debris of the original texts to make their own preferable stories as “tactics”. The study displayed a unique form of performance of audience agency.
