「中國風」是近代台灣流行音樂相當重要的類型，起自70年代民歌時期，至今歷久不衰，並與台灣的後殖民情境有密不可分的關係。本文以荷米．巴巴（Homi Bhabha)的後殖民論述為分析架構，揭示台灣後殖民情境的權力軌跡，被殖民者幽微的抗爭策略以及殖民霸權的支配技術。殖民情境造就中國風的興衰，展現相對應的抵抗意涵，顛覆霸權的行動，在混雜文化交融下創生反動的本土力量，彰顯「中國意涵」的多義與權力的不穩定性。 The Chinese style has been an important genre in Taiwan’s popular music since 1970’s and grounded in postcolonial context. The study explains the unstable power of colonial and critical energy of mimicry strategy by invoking Homi Bhabha’s postcolonial discourse. This thesis re-structs the context of Chinese style music by critical discourse analysis and historical analysis that explore how the colonizer and the colonized used it to control or struggle. It divides in three dimensions: 1. The conexistence of Chinese colonial and local noise (1975~1985). 2. The rise of local power (1985~2000). 3. The deepnent local consciousness and the counterattack of colonized(2000~). The Chinese style music became lack or popular with the postcolonial context which was also used by colonizer’s culture control and mimicry strategy of anti-colonial power. By analysis of the Chinese style in Taiwan popular music is to sophisticatethe blurry colonial dominative skill and critical stuggling strategy of the colonized in the hybridity postcolonial society.
