台灣的國語流行歌壇自80年代新型態的音樂工業建立後，逐漸發展出以偶像歌手或團體之形象、個性、及生活風格為中心而形構的明星制度。明星制度將社會意義以人格化的方式投注至偶像的身體呈現上，從而撩撥出個人認同與社會關係的感知意義。本研究即以90年代新竄起的偶像女歌手王菲為探究重點，從本文及閱聽人兩個層面來解析性別主體的建構過程。 研究中對於歌手的文本分析兼含了歌手的專輯及媒體形象，而在歌迷的質化研究中則深入詮釋歌迷的生活、社會位置、與主體建構的關係。在歌手這部分的分析顯示出，王菲平頭短髮的酷異外型及她強烈的自我特質，揉塑出雌雄同體般的性別形象，並動搖了異性戀體制之性別差異的二分系統。關於王菲的報導論述，則以外剛vs.內柔之本質化敘述邏輯消解了專輯形象中的性別顛覆性。而在王菲的閱聽人研究部份，歌迷們在偶像崇拜中的狂熱投入則一再重構了性別主體的內涵。

　　　　　This paper provides an analysis of gender subjectivities of fans in popular music. Two parts are included: the first one is textual analysis of the star's images; the other explores the identification and desire process in fandom. From the post-structuralism feminist perspectives, gender subjects are not essential, but constructed. With the used of newspapers and musical data, the star's images of Fei Wang are paradoxical to patriarchy and heterosexuality matrix. With the use of interview material, I find the subject positions of fans are caught within and between the star's image, self-identity, and exchanged with other woman in each specific social context and everyday lives. The free-floating state of desire exceed the binary gender system of heterosexuality. Identifying with and desiring the same sex, gender subjects in fandom always resist patriarchal heterosexual hegemony.