费斯克大众文化理论及其当下意义

发布时间：2018-04-21 08:33

本文选题：费斯克 + 大众文化　；参考：《辽宁大学》2014年硕士论文

【摘要】：约翰·费斯克是当代英美学术界著名的大众文化理论家，他批判和摒弃了法兰克福学派的大众文化研究方向，致力于探讨大众文化的积极层面，以乐观的态度努力为大众文化进行辩护。本文将笔触深入到大众文化的受众主体，深入挖掘费斯克笔下的大众身上生产、抵抗与狂欢的特征。费斯克大众文化理论主要受巴特的文本理论和巴赫金的狂欢理论、米歇尔·德赛都的“游击战”理论以及布尔迪厄的趣味及大众辨识力等理论的影响。首先，大众是有能力、有辨识力的群体，他们能够对大众文化创造性地进行了解读利用。大众的文本具有浅白、过度和互文性的特征，也正是由于这些特征将大众文化和精英文化区分开来，抒发大众的快感，彰显大众生产者的地位。判断大众文化的标准是看文本是否能与大众产生共鸣，，符合大众的利益。其次，大众的抵抗带有符号意义，他们能生产出代表自己的意义与快感的符号，并以此为工具来对抗统治阶级的意识形态的控制；抵抗也存在于日常生活之中，大众巧妙地采用“诡计”和“偷袭”的战术，与统治力量进行“游击战”。大众文化还没有强大到能够取得文化领域的领导权，他们只能尽情地享受着属于弱势者的意义并且尽可能地去丰富这种意义，最终达到与统治阶级的利益相制衡的结果。此外，大众在统治阶级的重压下竭力想逃脱规训的牢笼，在对规则的颠覆中享受狂欢的快感，书写着自己的意义。当下中国正处在一个全民娱乐、全民狂欢的时代，在这种语境下，戏仿作为一种艺术创作手法体现在大众文化文本中，试图颠覆经典和既成结构，彰显了大众的话语权与生产能力，隐藏着大众反抗的意识形态，弱化了文学的审美的高贵气质，逐渐消解主流文化的控制。费斯克肯定了大众的生产力和创造力，认为大众文化具有快感和抵制的功能，把大众文化和日常生活紧密相连，为分析中国当下语境下大众文化的文本提供了借鉴意义与指导意义。
[Abstract]:John Fiske is a famous popular culture theorist in contemporary British and American academic circles. He criticizes and abandons the research direction of Frankfurt school of mass culture and devotes himself to exploring the positive aspects of popular culture. Try to defend popular culture with optimism. In this paper, the author goes deep into the audience of popular culture and excavates the characteristics of mass production, resistance and carnival in Fiske's works. Fiske's mass culture theory is mainly influenced by Bart's text theory, Bakhtin's carnival theory, Michel Desedu's "guerrilla warfare" theory, Bourdieu's interest and popular identification theory. First of all, the masses are capable and discernible groups who can creatively interpret and utilize popular culture. The text of the masses has the characteristics of shallow, excessive and intertextuality. It is precisely because of these characteristics that the popular culture and the elite culture are distinguished, the pleasure of the masses is expressed, and the position of the mass producers is highlighted. The standard of judging popular culture is to see if the text resonates with the public and conforms to the interests of the masses. Secondly, the resistance of the masses has a symbolic meaning, and they can produce symbols that represent their own meaning and pleasure, and use it as a tool to counter the ideological control of the ruling class; resistance also exists in daily life. The masses skillfully employed "trick" and "sneak attack" tactics to engage in guerrilla warfare with the ruling forces. The mass culture is not strong enough to obtain the leadership in the cultural field. They can only enjoy the meaning of the disadvantaged and enrich the meaning as much as possible, and finally achieve the result of balance with the interests of the ruling class. In addition, under the weight of the ruling class, the masses tried their best to escape the cages of discipline, enjoy the joy of revelry and write their own meaning in the subversion of the rules. At present, China is in an era of popular entertainment and carnival. In this context, parody, as an artistic creation technique, is embodied in the popular cultural text, trying to subvert the classic and the existing structure. It shows the speech power and production capacity of the masses, conceals the ideology of public revolt, weakens the noble temperament of literary aesthetics, and gradually dispels the control of mainstream culture. Fiske affirmed the productivity and creativity of the masses, and believed that popular culture had the function of pleasure and resistance, and connected it closely with daily life. It provides reference and guidance for analyzing the text of mass culture in the present context of China.
【学位授予单位】：辽宁大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：G0

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