本論文以瓊瑤電視連績劇《梅花三弄》爲個案，研究文本結構 (製碼方式）和觀眾反枭（解碼方式）二者之間的關係。《梅花三 弄》的文本特色是描述愛情、親情、社會秩序、她者（愛情三角關 係中的第三者）之間的衝突矛盾，然後在結局時將矛盾加以統合， 建構出愛情優先、親情次之的論述階序。 電視觀眾在觀看過程中採取閱讀位置與社會位置兩種詮釋策略 。採取閑讀位置意味著與男女主角同盟，而採麥社會位置則爲根據 自己的母親身分來詮釋，不受限於男女主角的觀點。本研究發現觀 眾在三角關係的詮釋上使用閱讀位置，但是對於劇中的兩代關係則 由社會位置出發，暫時背離男女主角的觀點。觀眾對《梅花三弄》 經常進行局部的抗拒式解讀，但吊詭的是，這種抗拒式解讀往往也 與社會上的主流意識步態不謀而合。 本研究進而探封《梅花三弄》的意識形態如何作用於觀眾，並 從女性主義的立場思索愛情連續劇、女性意識啓蒙、與性別政治三 者間錯综複雜的關係。

Using a detailed case study of a romantic TV drama* this paper intends to explore the relationship between the textual structure of the drama-the way it is encoded-and audiences' responses-the way the TV serial is decoded. The show discribes conflicts and contradictions between love, the family, social order, and the other (the inturding third party posing a threat to the romantic dyad), and in the end these conflicts and contradictions reach a resolution in which the value of love is supreme, while the rest play a supportive or secondary role. Interviews with audiences show that in decoding the triangle romantic relationship, they tend to adopt the reading position required by the text, that is, a position in alliance with the hero and the heroine. In decoding the intergenerational relationship, they tend to use their social position as mother, thereby being sympathenic with the parents in the drama and critital of the hero and the heroine. Ironically, when audiences engage themselves in resisnat reading, it is precisely at this moment that they reaffirm the patriarchal iedology of parenthood. Finally, this paper examines the implications of the research findings to feminist cultural politics, in the hope of reaching a synthesis between feminist critical projects and the need for more empathy and mutual understanding among feminists, lay audiences, and the academic community.