隨著日本漫畫文化的進入，影響了台灣漫畫產業的結構與發展，另一個支脈隨之形 成，同人誌文化在台灣已有14年以上的發展，並成為台灣「次文化」的一環。由於「自 費出版」的低門檻方式，讓台灣的年輕一代能更輕易展示出豐富的創造，更讓同人誌文 化在文創產業之中開始佔有一席之地。根據2014年8月Comic World Taiwan在台大所 舉行的同人販售會CWT37報攤數據顯示，參與的社團比率與同期2013年8月的CWT34 相比，僅僅一年之間增加了19％的總社團數，這樣的成長顯示同人誌創作者的增加，將 成為台灣文化創意之發展的一大推力。另外，在同人誌文化中也生成出一群喜愛男性愛 的女性族群，本研究將藉由對這些喜愛耽美的女性閱聽人做深度訪談，探討同人誌中的 耽美現象，了解女性同人創作者對於男性的主客體轉換及女性意識，及個體的政治認同。台灣同人誌文化中的耽美想像：女性閱聽人的性別意識*

Ever since Japanese comics had been introduced to Taiwan, it has influenced aspects of development and the structure of Taiwanese comic industry. A subcategory, Doujinshi, has been developed in the meantime. Doujinshi has a long history of growth of more than 14 years in Taiwan, which makes it an important subculture. Since self-published works lower the threshold of publication, young people have more flexibility and opportunities to show their creativity. Thanks to that, Doujinshi has taken its place in the field of Cultural and Creative Industry. Compare the two Doujinshi sales CWT34 (2013) and CWT37 (2014), a 19% increase of participating Doujinshi clubs is recorded, which means that more and more young people are creating Doujinshi. A group of females who are fond of “boys’ love” (BL) also emerge along with the growth of Doujinshi. This research interviews these female Doujinshi fans, so as to investigate the BL phenomenon in Doujinshi culture, and to understand how the female Doujinshi creators view the switch of subjectivity and objectivity of gender, their female consciousness, and their identification as an individual.