嘻哈（Hip-Hop）文化自發展以來，往往被視為大男人的、男性氣概濃厚的，而此形成原因不可勝舉，從美國黑人的文化中可發現，社會因素造成的弱勢，整體社會財富分配不公，殖民壓迫經驗的積累，都可看為黑人婦女在其群體中社會地位低落的原因。研究者認為嘻哈文化在初期發展階段，大部分為美國黑人文化的縮影投射。本文欲以女性主義為框架，以嘻哈音樂歌詞進行文本分析，探討嘻哈音樂中的女性意識及嘻哈音樂中不同表現手法的女性主義。本研究藉由碧昂絲的嘻哈音樂歌詞發現，在碧昂絲的專輯中，富含大量的女性意識，透過嘻哈音樂呈現的女性主義，可以歸納出關於情慾的描寫、對性的自主權是碧昂絲最常使用的表現手法，普遍的讚揚做女人及對自我的肯定，則是貫穿碧昂絲嘻哈音樂歌曲的中心思想，並且透過男女角色位置的互換，翻轉父權思想下的刻板印象，表達男性與女性之間並沒有差異，男性可以做到的女性也做得到，強調這一切都是女性與生俱來的權利。

Since the development of Hip-Hop culture, it has always been regarded as macho and masculine, and the reasons for this formation are indispensable. From the culture of African Americans, the weakness caused by social factors and the distribution of overall social wealth can be found. Unfairness, the accumulation of colonial oppression experience can be seen as the reason why black women have low social status in their groups. Researcher believe that most of the hip-hop culture in the initial stage of development is the epitome of American black culture. This thesis intends to use feminism as the framework to analyze the text of hip-hop music lyrics, and to explore the feminist consciousness in hip-hop music and the feminism of different expression techniques in hip-hop music. This study, by Beyoncé 's hip-hop lyrics, found that Beyoncé 's album is rich in female consciousness. Through the feminism of hip-hop music, we can sum up the description of lust and the autonomy of sex is Beyoncé e's most commonly used expression technique, universal praise for being a woman and affirming herself is the central idea that runs through Beyoncé hip-hop music songs, and through the interchange of male and female character positions, flips the stereotype of Patriarchy thinking. There is no difference between men and women, and women who can do it by men can also do it, emphasizing that all of this is the right of women to be born.

中文文獻：
王瑞香（1996）。女性主義理論與流派。台北市：女書文化。
王瑞香（2000）。基進女性主義。載於顧燕翎（主編），女性主義理論與流派（121-158頁）。台北市：女書出版。
何穎怡（譯）（2002）。嘻哈美國（原作者：G. Nelson）。台北市：商周
何穎怡（譯）（2007）。嘻哈星球筆記（原作者：P. Neate）。台北市：商周
李靜怡（2005）。《台灣青少年嘻哈文化的認同與實踐》。成功大學藝術研究所學術論文。
林浩立（2005）。流行化，地方化與想像：台灣嘻哈文化的形成。人類與文化，37，7-28。
陳明凱（2004）。《當代台灣嘻哈音樂錄影帶之視覺意涵研究: 以西元 2000-2004 年為例》。元智大學資訊傳播學系學位論文。
蘇金輝（2014）。音樂發展中女性主義隱含之研究。國立臺灣科技大學人文社會學報，10：2，157-174。

英文文獻：
Durham, A. (2012). “CHECK ON IT” Beyonce, Southern booty, and Black femininities in music video. Feminist media studies, 12(1), 35-49
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Watkins, S. C. (2005). Hip hop matters: Politics, pop culture, and the struggle for the soul of a movement. Boston: Beacon Press.
Whiteley, S., Bennett, A., Hawkins, S.(eds)(2004). Music, Space and Place : Popular Music and Cultural Identity. Aldershot, Hants, England ; Burlington, VT : Ashgat

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