| Summary: | 本文對台灣2010-2015.6期間的女性內衣電視廣告進行符號學研究，探討其中的符號與敘事規則，女性及其身體的符號意義、以及符號結構如何建構內衣的消費迷思。研究認為，廣告多元地講述了女性在男女關係、公共關係、朋友關係和個人關係中所體驗的情緒和情感，呈現較為豐富的女性角色和個性，很多文本亦表現出對傳統陰柔特質和男性權威的挑戰，藉由女性個人風格和獨立意識的展現，內衣廣告積極透過文本的搭建闡釋女性自主。研究文本將身體謀劃運作為自我認同的過程，女性因為身體資本而獲得肯定和賦權， 但同時也不斷重複著女體標準的階級化霸權，符號擇用透露了新舊結構的拉扯中，父權體制、資本主義商業邏輯與女性消費者進行著女性主體性的協商。內衣之為符號，被塑造成與外界發生關連的媒介（medium），同時是許多正面積極意義的載體（vehicle），內衣電視廣告繼續深化內衣的性感迷思、美麗迷思，還敘述了自信自主的迷思、自我意識的迷思，個性化迷思，滿足女性對主體性的想像，對生活夢想的期望。 === This is a semiological study of lingerie TV commercials in Taiwan from 2010 to June 2015, which explores the symbolic structure and narrative rules, symbolic significance of women and their bodies, and how lingerie myth constructs. Research suggests that ads show the various emotions and feelings females experiencing in different relationship, including male-female relationship, friendship, public relations and self-relation, while females appearing in relatively rich characters and personalities. Many ads present the challenge to traditional femininity and masculine authority. Though demonstrating the personal style and sense of independence, lingerie ads attempt to bulid a positive interpretation of female autonomy. Self-identity is shaped during practising one`s body plan, as a result, women get recognition and empowerment because of the physical capital in these ads. However, we can see the repetition of the body standard, which constructs hegemony of body. Overall, the research finds the wrestling between the old and the new social and cultural structure, in other words, a negotiation of expressing subjectivity among patriarchy, capitalist business and women customers in lingerie TVC. In terms of its symbolic value, lingerie is portrayed as a medium to connect females with the external world, and a vehicle carrying lots of positive implication. Furthermore, these ads deepen sexuality myth and beauty myth of lingerie, at the same time, add the myth of self confidence, independency and personality to it, meeting women's imagination of subjectivity and expectations for life.
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