台灣歌謠的論述實踐與大眾文化屬性，是不同的層次的。本文主張台灣歌謠的歷史，應從大眾文化的角度進行觀察；應該從文化意義，而非社會功能的角度進行理解。從大眾文化的屬性來看，「大眾」是一組變動的「效忠從屬」(allegiances)關係，「大眾」沒有固定的疆界，因此不能從固定的社會學範疇定義「大眾」，即此，作為大眾文化的台灣歌謠當中的「大眾」，與台灣歌謠論述中的「台灣人民」，並非同一個概念。本文藉由大眾文化的屬性檢討台灣歌謠的論述，其目的在於釐清台灣歌謠研究上的兩個重要問題。首先是台灣歌謠的詮釋方向的問題，本文主張從大眾文化的視角進行研究，取代以台灣主體為核心的詮釋模式。其次，關於查禁歌曲的問題，本文沿著大眾文化的視角，帶入「社會衛生學」的解釋模式，力圖指出查禁歌曲背後的清潔與汙穢代表的兩種權力的衝突。本文最終希望藉助這些研究，以奠定一個新的可能性，去重新面對台灣歌謠的研究。 Discourse practice of Taiwanese pop songs and the attribute of popular culture are in different gradations. This essay advocates that observation into the history of Taiwanese pop songs should be conducted from the perspectives popular culture, while the comprehension of this history should be practiced from the perspectives of cultural meaning, instead of social function. From the perspectives of attribute of popular culture, “populace” is the variable allegiances as it has no fixed boundary. In such context, “populace” cannot be defined by the fixed scope of sociology, while the “populace” in popular culture of Taiwanese pop songs and “Taiwanese people” in discourse of Taiwanese pop songs may not share the same concept. This essay examines and reviews the discourse of Taiwanese pop songs through the attribute of popular culture, aiming to clarify the two important issues of the studies on Taiwanese pop songs. The first issue is the direction for interpretation of Taiwanese pop songs, as this essay advocates conducting studies from the perspectives of popular culture, replacing the interpretative model centered on Taiwanese subjectivity as the core. Secondly, with regard to the issue of banned songs, this essay introduces the interpretative model of “Social Health” following the perspectives of popular culture in an attempt to indicate the conflicts of two powers represented
