本研究根據關聯原則來探討豬頭皮的饒舌歌中歌者與聽者之間的關係.研究中發現,豬頭皮為了凸顯性,政治, 與社會問題等極富爭議性的議題,運用了包括語言選用(code selection),語音(phonetic),句法(syntactic),語用(pragmatic),和全面性 (global) 等五種彰顯的策略.這五種策略不但能從語言的各個層面上吸引聽者,而且還可在製造出豬頭皮所謂的"笑魁" 效果外,暗含他自己對上述三種議題所持有的看法.在聽者部份,研究分析發現聽者本身的特質(如:精神狀態,情緒,價值觀,目標等), 聽者所處的外部情境(如: 溝通過程中的時空背景),聽者形成各種概念的因素(如知覺系統perception, 解析語言的能力 linguistic decoding, 各方面的知識 encyclopaedic knowledge, 推論的過程 deductive process 等), 以及其他個體或文化間所產生的特定概念(idiosyncratically- shared/ culturally-shared beliefs)等,都深深影響著聽者本身是否能運用上下文,以及是否能取得,運用相關情境中的訊息來得出作者的本意.如果聽者的精神狀態沒有辦法提供獲得及處理相關情境訊息的適當能力,則豬頭皮急欲彰顯的個人意見即使透過各種溝通策略來表達,聽者也無法運用關聯原則加以得出.結論來說,饒舌歌的溝通模式中歌者和聽者之間的關係是相當雙向互動的.因為,歌者可以透過各種溝通策略來吸引聽者,抒發己見,但是聽者絕非只是一相情願地,單方透過外顯表達行為中的最大關聯性來得出歌者的本意.聽者也必須主動地運 用歌者所提供各種外顯或內隱式的訊息,再與本身已知的訊息(此及深受上述各種 因素的影響) 加以處理,才能得出結果.

The Speaker-Audience Relationship in Ostensive Communication: Jutoupi's Rap Songs Human communication has been a widely-discussed issue. Sperber and Wilson(1986), from the cognitive point of view, claimed that there is an asymmetrical relationship between the speaker and the audience: the speakerwill achieve the goals of attracting the audience and expressing his ideasthrough all kinds of strategies, while the audience, with reasonable confidencein the speaker, can recover the intended meaning by finding the first interpretation consistent to the principle of relevance due to the guaranteeof the optimal relevance in the speaker's ostensive stimuli. However, Tanaka(1994), in her study of the audience's role in advertisements, and Jaszcolt(1996), in his sutdy of the audience's role in communication, found that the ostensive strategies made manifest by the speaker may not be neceessarilyfound manifest to the audience. That is, intended meanings can only be obtainedwhen the audience, with the aid of the relevance theory, actively processesthe speech context, and takes advantabe of the related specific knowledge.Active participation of the audience is not rooted in the guarantee of the speaker's ostensive behaviors. Instead, it is deeply influenced by the externalcontextual factors (like the immediate time and place of communication), the sources of assumptions (like perception, linguistic decoding, encyclopaedic knowledge and deductive processes) and personal characteristics o9f the audience (like psychological states, emotions, goals, value systems). Therefore,recovery of the intended meaning is not the only responsibility of the audience.Cases where meanings are created or where no assumptions are derived do exist. This sutdy examines the relationship between the rap artist (Jutoupi) andthe audience based on Sperber and Wilson's principle of relevance (1986). Itis found that, to make manifest controversial issues such as sex, politics andsocial problems, Jutoupi exploits five ostensive strategies: code selection,phonetic strategies, syntactic strategies, pragmatic strategies and globalstrategies. These five strategies not only attract the audience, express fun,but also help reveal Jutoupi's own views toward the controversial issues. Itis also found that the personal characteristics of the audience (such as thepsychological states, emotions, goals, value systems and so on) significantlyinfluence how the audience will stick to the prior text, approach and makeuse of teh specific information and the encyclopaedic knowledge in the speechcontext. In conclusion, the relationship between the rap artist and the audienceis rather doubly dynamic.