粉丝文化现象中的审美问题研究

发布时间：2018-05-26 21:24

本文选题：粉丝文化 + 审美静观　；参考：《山东师范大学》2017年硕士论文

【摘要】：从上个世纪90年代以来,随着大众文化在我国的快速发展,以及互联网、移动媒介和数字媒体等在大众生活中的普及,粉丝群体也空前壮大起来。由于粉丝具有群体性、组织性和参与性等特性,他们的文化影响力也越来越大,成为当今文化领域中不可忽视的现象。由于粉丝文化主要地以文化艺术产品为活动内容,从审美角度进行研究就不仅可能,而且很有必要了。论文绪论部分探讨了粉丝群体在我国空前壮大的原因以及所发挥的巨大文化影响力,并在概述国内外关于粉丝文化相关研究的基础上,指出了对粉丝文化进行审美研究的可能性和必要性。第一章论述了粉丝在审美观照方式上的复魅化特征。与传统审美所强调的审美静观、与对象保持心理距离不同,粉丝由于对偶像的崇拜,他们的审美是一种带有感性迷狂色彩的无距离审美。这种审美不仅表现为高情感的投入,还表现为肢体的全面投入,同时也表现为审美个体之间的相互感召和激发,而所有的这些都使得粉丝的审美成为一种解放感性的集体狂欢。第二章论述了粉丝的日常生活比普通大众带有更为鲜明的审美化特征。这一特征不仅表现为粉丝日常生活空间的偶像化,而且表现在粉丝与生活商品之间关系的情感化,同时还表现为粉丝对偶像行为的高仿化。粉丝正是通过强烈的践行精神使自己的生活成为具有审美意味的艺术品。第三章论述了在粉丝文化活动中形成的审美趣味共同体。由于粉丝的审美活动不仅注重与作品之间的纵向交流,而且也很注重粉丝之间的横向互动,这就很容易形成具有大致相同审美偏向的审美趣味共同体。审美趣味共同体不仅遵循着来去自由的组合原则,而且追求内部成员之间的互动与对话,而以自由和平等为基础形成的审美趣味共同体则为粉丝提供着伸张个性、寻求归属的多重情感满足。第四章论述了粉丝作为审美文化创作者的能动身份。在“颂神”和寻求社群认同等心理需求的驱动下,他们不仅通过发表评论、提出建议左右着文艺生产的方向,而且还亲自动手创造审美文化文本。这些由粉丝个人或者群体创作的文本不仅形式多样,而且塑造着一种粉丝与偶像之间的“伙伴关系”,体现出鲜明的时代特色。第五章则对粉丝文化现象中所可能隐含的审美危机进行了分析。由于粉丝身上所蕴含的盲目性以及商业价值,粉丝审美很容易受到商业和技术的控制,并因此使审美陷入攀比模式和偏执心态之中。同时,文化市场上流行的小鲜肉文化以及那些四不像的艺术类型也与粉丝审美中的盲目性和偏执性存在直接的联系。结语部分主要指出了在我国大力发展文化产业的背景下,在移动数字媒体全面普及的当今社会,粉丝还需要进一步增强在偶像面前的独立性,同时也需要在审美中多一份理性和批判意识,才能促进自我审美以及大众文化的健康持续。
[Abstract]:Since the 1990s, with the rapid development of mass culture in China, and the popularity of the Internet, mobile media and digital media in public life, the fan community has expanded unprecedented. Because fans have the characteristics of group, organization and participation, their cultural influence is becoming more and more great, which can not be ignored in the field of culture nowadays. Because fan culture mainly takes the cultural and artistic products as the activity content, it is not only possible, but also necessary to study from the aesthetic point of view. In the introduction part, the author discusses the reasons for the unprecedented growth of the fan community in China and the great cultural influence it exerts, and on the basis of summarizing the domestic and foreign research on fan culture, It points out the possibility and necessity of aesthetic research on fan culture. The first chapter discusses the reenchantment characteristics of fans in aesthetic photography. Different from the traditional aesthetic meditation and the psychological distance between the object and the object, the fans' aesthetic is a kind of distance-free aesthetic because of their idolatry. This kind of aesthetic is not only the input of high emotion, but also the total input of the body, but also the mutual inspiration and stimulation between the aesthetic individuals, and all these make the aesthetic of the fans become a collective carnival of emancipation and sensibility. The second chapter discusses the fans' daily life with more distinctive aesthetic characteristics than the general public. This feature is not only the idolization of the fans' daily life space, but also the emotion of the relationship between the fans and the products of life, but also the high imitating of the idols behavior of the fans. Fans make their life an aesthetic work of art through a strong spirit of practice. The third chapter discusses the community of aesthetic taste formed in the activities of fan culture. Because the fans' aesthetic activities not only pay attention to the vertical communication with the works, but also pay attention to the horizontal interaction between the fans, it is easy to form a community of aesthetic taste with roughly the same aesthetic bias. The community of aesthetic taste not only follows the principle of free combination, but also pursues the interaction and dialogue among the members, while the community of aesthetic taste, which is formed on the basis of freedom and equality, provides the fans with individuality. The multiple emotional satisfaction that seeks to belong. Chapter four discusses the dynamic identity of fans as creators of aesthetic culture. Driven by their psychological needs, such as "praise God" and seek community identity, they not only make comments and put forward suggestions to control the direction of literary and artistic production, but also create aesthetic cultural texts themselves. These texts created by individual fans or groups not only have various forms, but also shape a kind of "partnership" between fans and idols, which embodies the distinctive characteristics of the times. The fifth chapter analyzes the potential aesthetic crisis in fan culture. Because of the blindness and commercial value of fans, fan aesthetics is easily controlled by business and technology, which makes it fall into the mode of comparison and paranoia. At the same time, the popular culture of fresh meat in the cultural market and the artistic types of the four dissimilar also have a direct relationship with the blindness and bigotry in the fans' aesthetics. The conclusion mainly points out that in the context of vigorously developing the cultural industry in our country, in today's society where mobile digital media is widely available, fans still need to further enhance their independence in front of idols. At the same time, we also need a rational and critical consciousness in the aesthetic, in order to promote the healthy sustainability of self-aesthetics and popular culture.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：B834

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