自由与控制—电子传媒时代的审美文化研究
发布时间：2018-07-23 07:50
【摘要】： 自20世纪以来，电子传媒开始在人类的生活中占据越来越重要的地位，人类的文明进程已经由口传时代、印刷时代而进入到了电子传媒时代。论文试图分析的是在这样一个时代，审美文化所发生的重要变化及其运作机制。论文主要分成七个部分。 绪论。本部分主要对电子传媒时代审美文化的研究意义、当代学者在这方面的研究状况以及论文的写作思路和研究方法等问题作出了说明。电子传媒时代的到来给人们的生活带来巨大的变化，也深深地影响到审美文化的存在形态。深入考察、分析电子传媒时代审美文化发生的重要变化，揭橥其背后潜隐的运作机制，从而对当前人的生存现实作出回应，促进我国审美文化的发展，必然有其重要的意义和价值。在介绍当代学者对这一论题的研究状况时，文章把他们的观点从宏观角度分成了四种。其一是把审美文化视为理想型的文化；其二是批判性的审美文化观；其三，大众实践批评的审美文化理论；其四是历史主义的审美文化研究视角。这些学者的研究显然为美学提供了丰富的思想财富。不同的理论视角只有在交锋、对话中才有可能更趋近现象的本相。本部分的最后，主要提出了本文的研究方法，即借鉴葛兰西的文化霸权理论对电子传媒时代的审美文化做出解读。论文认为，电子传媒时代的审美文化存在着自由与控制的双重逻辑，自由的让渡和控制的图谋的交织构成了这一审美文化形态的典型的霸权式的运作方式。 第一章论述了电子传媒时代审美文化发生的变化。这一章分两节：第一节梳理了审美文化这一概念的历史。在这一节中，论文着重论述了席勒、阿诺德、斯宾塞、利维斯等人的审美文化观。通过这一纵向的梳理，可以看出，审美文化自作为一个概念出现一直到20世纪中期的大部分时间，都含有极其浓烈的理想成分。人们希望以审美文化来弥合人性的分裂，抗拒机械文明对人性的侵袭，维持人性的完美。审美文化作为对抗现实的否定性力量，笼罩着理想的、神话般的光晕。但是，随着电子传媒时代的到来，审美文化发生了重大的变化。本章的第二节分析指出，在电子传媒时代，技术因素的高度介入和消费、享乐的意识形态的渗透，使得传统审美文化精英式的自律性和崇高的美学光环逐渐萎缩，审美文化走向了世俗化。这种世俗化的审美文化在电子传媒时代已经成为主导文化。 第二章探讨了电子传媒时代审美文化的自由性。在第一节中论述的是，作为一种世俗化的审美文化，电子传媒时代的审美文化必然走向大众，走向琐碎的但却真实的日常生活。同时，那些曾经受到传统审美文化排挤的快乐欲求也浮出了水面，大量隐私性的话题开始走向了公共空间。这样，电子传媒时代的审美文化就形成了对传统审美文化在内容上的僭越。本章第二节论述的是电子传媒时代审美文化的传播方式给人们带来的巨大的自由。首先，，在电子传媒时代，审美文化不再高高在上，不再只属于特权阶层。电子传媒的大规模复制技术使得普通民众可以广泛而自由地接触到审美文化。同时，由于电子传媒时代的审美文化采用的是图像符号，这较之传统审美文化的文字符号无疑要平易得多，这是其走向普通民众的另一原因。其次，电子传媒时代的审美文化使人们突破了本地生活的限制，而走向了一种全球性的融合。传统社会存在的地域性限制使人们很难或无法接触到本地生活以外的“他域”的审美文化，而在电子传媒时代，地域性的超越使人们获得了空前的自由。一个无限敞开的空间使无论何处的人们都能平等、即时地享有审美文化。本章第三节主要探讨了电子传媒时代审美文化的参与性所表现出的自由。在电子传媒时代，人们在审美文化活动中日益改变了过去那种被动的存在状态，而讲求互动、参与，这主要展现为两种形态：虚拟的交往与自由的书写。 第三章探讨的是电子传媒时代审美文化的控制性。本章指出，电子传媒时代审美文化的自由并不是无条件的自由，在自由性向人们开启的同时，审美文化的控制的逻辑也在强有力地展开着。首先，电子传媒时代的审美文化受到技术的统治。在电子传媒时代，审美文化中技术的比重越来越大，技术本身的独立性也越来越强。技术不再仅仅是一种促进审美文化发展的手段，在相当大的程度上技术成了目的本身，成为了一种本体性的存在。这使得技术最终凌越了审美文化的表现理性和人的主体性。同时，电子传媒技术作为一种图像性的技术，一种虚拟性的技术，其虚拟的逻辑已经凌驾于真实的逻辑之上，虚拟的形象成为了衡量现实的尺度。这种对真实的凌越、遮蔽和篡居，必然影响和改变着人们的思维方式。其次，审美文化受到商业因素的渗透。在电子传媒时代，审美文化生产与商业利益前所未有地交织在一起，审美文化的生产成为了对利润的追逐，审美文化产品越来越成为彻头彻尾的商品。甚至人本身在看电影、电视时，也不知不觉中被当作商品“卖”给了广告商、赞助商。从总体上看，这种以追求商业利润为目的的审美文化大致呈现为两种运作方式。其一是模式化运作；其二是询唤。前者是按照固定的模式进行文化产品的生产，以赚取利润。而后者则是直接带动工业产品的制作、销售，其典型的文化样式即是通过将大众询唤为消费的主体来实现自己的商业意图的广告审美文化。最后，电子传媒时代的审美文化受到权力体系的操控。在电子传媒时代，审美文化的运作，始终体现着既定的权力体系的意图，这种权力体系往往隐而不显，然而却又是强有力地发挥着操控作用。这一方面表现在电影、电视等媒介塑构的文化经验实际上受到多重权力关系的切割、制约。另一方面，文化领域同样存在着大国的殖民主义，他们输出本国的文化、价值观，并肆意扭曲着他国尤其是东方民族的形象。 第四章着重探讨了电子传媒时代人的生存境况。电子传媒时代审美文化的种种表现，归根结底是与人的现实生存境况联系在一起的。它生成于人的具体的生存境况，同时又表征甚至塑构着人在这一生存境况下的生存方式及其体验。这一章分为两节。第一节论述的是在这样一个高速运转的社会里人们的生存境况。首先，信息的爆炸使得人们与社会的联结空前地紧密，它满足着人们对这个社会具有的知情权，甚至是无所不包、无微不至的知情权。然而，如此“海量”的信息也不可避免地淹没了人们渺小的身躯，从而对人的心理和行为产生重要的影响。其次，在电子传媒时代，随着生活节奏的加快，人们越来越处于时间的逼促中，人们的生活充满了忙碌。这种一味的忙碌使人们失去了同自己的内心世界的联系，并产生出深深的疲劳——不仅仅是身体的疲劳，更是一种心理的疲劳、精神的疲劳。再次，电子传媒时代社会的高速运转使当代人的生存出现了时间的断裂，人们来不及回忆过去，也无法思索未来，于是一切都变成了一种当下的存在、现时的存在。第二节探讨的是在当今这样一个大众社会里人们的生存境况。在电子传媒时代，人们所置身于其中的社会就其人类类型、社会关系、社会形态等等来说，都已与传统社会极为不同，人们正生活在一个大众社会中。首先，在大众社会里，个人越来越受到“他人导向”的支配，其结果就是人们个性的丧失。显然，在今天这个大众社会里，电子媒介作为最高效的“大众”媒介，无可争辩地发挥着“他人”的强大的导向作用。第二，大众社会同时是一个关系松散的、人们彼此之间缺乏了解、缺乏交往的社会。这种交往的淡漠不仅表现在交往数量越来越少，更表现在交往深度的缺失。这种状况使人们越来越感到一种深切的孤独，整日与电视为伴似乎就成为了难以摆脱的命运。第三，在大众社会里，人们虽然可以自由地从事自己的各种活动，但实际上，人们并未获得“自由之身”。电子媒介技术的发展使人们置身于一个更加严密并且执行起来更加容易的监视体系之下。人们的自由越来越被马克·波斯特所说的“超级全景监狱”剥夺。 第五章是对电子传媒时代审美文化的自由与控制之间的关系进行的思考，并在此基础上探索审美文化的可能发展方向。在这一章里，论文运用葛兰西的文化霸权理论对电子传媒时代审美文化的自由与控制的相互关系作出了详细的论述。论文认为，电子传媒时代的审美文化既不是一种单纯的自由，也不是一种绝对的控制，而是在这两者之间展开的一种持续不断的斗争、妥协。但是，这种妥协有一定的限度，它最终是以实现审美文化的生产者的意图为目的。这正体现了审美文化的霸权式的运作方式。那么，如何抵抗这一霸权，走出控制?伯明翰学派学者费斯克等人对这一问题提出的民众的抵抗显然是有启发意义的。民众的力量一旦真正形成，由游击战转为葛兰西所说的运动战，就必然会夺取到审美文化的领导权(霸权)。同时，由于审美文化的霸权式运作也包含着技术的控制性因素，因此论文对如何走出技术的控制也作出了相应的探讨。本章的最后，对审美文化的未来发展走向提出了自己的看法。在分析了审美文化的本来属性和当前的种种迹象后，论文认为，审美文化的未来必然是走向自由。 结语部分对电子传媒时代的审美文化现象进行了总结，强调指出，电子传媒时代的审美文化是一种技术文化、世俗文化。
[Abstract]:Since the twentieth Century, electronic media has begun to occupy a more and more important position in human life. The process of human civilization has come into the era of electronic media from the age of oral and printed times. The paper tries to analyze the important changes and operating mechanism of the aesthetic culture in such an era. The thesis is divided into seven main parts. Part.
This part is mainly about the significance of the research on the aesthetic culture of the era of electronic media, the research status of the contemporary scholars in this respect, the writing ideas and research methods of the paper. The arrival of the era of electronic media has brought great changes to the people's life and deeply influenced the existence of aesthetic culture. To investigate and analyze the important changes in the aesthetic culture in the era of electronic media, to uncover the underlying mechanism behind it, to respond to the current human existence and to promote the development of our aesthetic culture, must have its important significance and value. In the introduction of the research status of contemporary scholars on this topic, the article puts their views on the point of view. It is divided into four kinds from the macro perspective, one is that the aesthetic culture is regarded as an ideal culture, the second is the critical aesthetic culture view, and the third is the aesthetic culture theory of the popular practice criticism, and the fourth is the perspective of the historical aesthetic culture. At the end of this part, the main point of this part is to put forward the research method of this article, which is to use the cultural hegemony theory of Gramsci to interpret the aesthetic culture in the era of electronic media. The thesis holds that there is a double logic of freedom and control in the aesthetic culture of the electronic media age. The interweaving of free transfer and control schemes constitutes a typical hegemonic operation mode of this aesthetic culture.
The first chapter discusses the changes of aesthetic culture in the era of electronic media. This chapter is divided into two sections: the first section combs the history of the concept of aesthetic culture. In this section, the thesis focuses on the aesthetic culture view of Schiller, Arnold, Spencer and Lei Weiss. Through this longitudinal combing, we can see that the aesthetic culture is taken as a self For most of the time of the middle of the twentieth Century, the concept of a concept has an extremely strong ideal component. People hope to heal the split of human nature by aesthetic culture, resist the invasion of human nature by mechanical civilization and maintain the perfection of human nature. As a negative force against reality, aesthetic culture covers an ideal, mythical halo. With the arrival of the era of electronic media, the aesthetic culture has undergone great changes. The second section of this chapter points out that in the era of electronic media, the high intervention and consumption of technical factors and the permeation of the ideology of enjoyment make the aesthetic culture of the elite of the traditional aesthetic culture atrophy gradually and the aesthetic culture has gone. Secularization. This secularization of aesthetic culture has become the leading culture in the era of electronic media.
The second chapter discusses the freedom of aesthetic culture in the era of electronic media. In the first section, it is discussed that as a secularization of the aesthetic culture, the aesthetic culture of the era of electronic media is bound to go to the masses, to trivial but true daily life. At the same time, those happy desires which have been excluded from the traditional aesthetic culture have also emerged. Water surface, a large number of private topics began to go to the public space. In this way, the aesthetic culture in the era of electronic media has formed the overstepping of the traditional aesthetic culture in the content. The second section of this chapter discusses the great freedom brought by the mode of communication of aesthetic culture in the era of electronic media. First, in the era of electronic media, aesthetic literature. The large-scale copying technology of electronic media makes the ordinary people contact the aesthetic culture widely and freely. At the same time, because the aesthetic culture of the era of electronic media uses the image symbols, this is more than the traditional aesthetic culture. Another reason for the common people. Secondly, the aesthetic culture in the era of electronic media has made people break through the limitations of local life, and to a global integration. The regional limitations of the traditional society make it difficult or impossible for people to contact the aesthetic culture of "his domain" outside the local life, but in the era of electronic media, the region is in the era of electronic media. The third section of this chapter mainly discusses the freedom of the participation of the aesthetic culture in the era of electronic media. In the era of electronic media, people have changed more and more in the aesthetic cultural activities. The passive state of existence in the past, and interaction and participation, mainly appeared in two forms: virtual communication and free writing.
The third chapter discusses the control of aesthetic culture in the era of electronic media. This chapter points out that the freedom of aesthetic culture in the era of electronic media is not unconditional freedom. While freedom is opened to people, the logic of the control of aesthetic culture is also vigorously developed. First, the aesthetic culture in the era of electronic media is subject to technical integration. In the era of electronic media, the proportion of technology in the aesthetic culture is increasing, and the independence of technology itself is becoming stronger and stronger. Technology is no longer only a means to promote the development of aesthetic culture. In a considerable degree, technology has become a purpose itself, and it has become a kind of ontological existence. This makes the technology eventually surpass the aesthetic culture. At the same time, the electronic media technology as a kind of image technology, a virtual technology, its virtual logic has been overriding the real logic, the virtual image has become the measure of the reality. Secondly, the aesthetic culture is permeated by commercial factors. In the era of electronic media, the production of aesthetic culture and commercial interests intertwined unprecedentedly. The production of aesthetic culture has become the pursuit of profit. The products of aesthetic culture become more and more goods. Even people themselves are unwittingly in watching movies and TV. As a commodity, it is "sold" to advertisers and sponsors. In general, the aesthetic culture for the purpose of pursuing commercial profits is roughly two modes of operation. One is mode operation, and the second is to call. The former is the production of cultural products in a fixed mode to make profit. The latter is the direct drive of industry. The production, sale, and the typical cultural style of the product is the advertisement aesthetic culture that realizes its commercial intention by calling the public to be the main body of consumption. Finally, the aesthetic culture of the electronic media era is manipulated by the power system. In the era of electronic media, the operation of aesthetic culture always embodies the meaning of the established power system. This power system is often implicit, but it is powerful and manipulative. It is shown that cultural experiences, such as films, television and other media, are actually cut and restricted by multiple power relations. On the other hand, there is also a big country's Colonialism in the cultural field. They export their own culture and price. Value and distort the image of other countries, especially the Eastern peoples.
The fourth chapter focuses on the survival situation of the people in the era of electronic media. The various manifestations of the aesthetic culture in the era of electronic media, in the final analysis, are linked to the reality of human existence. It is generated in the specific living conditions of human beings, and represents even the way of living and experience under this living condition. Chapter one is divided into two sections. The first section deals with the living conditions of people in such a fast running society. First, the information explosion makes people's connection with the society unparalleled, and it satisfies people's right to know, even all the right to know. It also inevitably inundated the small body of people, which has an important influence on human psychology and behavior. Secondly, in the era of electronic media, with the acceleration of life rhythm, people are more and more in the force of time, people's life is full of busy. This kind of busy makes people lose the union with their own inner world. There is a deep fatigue - not only the fatigue of the body, but also the psychological fatigue and the mental fatigue. Again, the rapid operation of the social media era makes the existence of the contemporary people break the time, people can not recall the past, and can not think about the future, so everything becomes a present existence, The present existence. The second section discusses the living conditions of people in a mass society today. In the era of electronic media, the society in which people are placed in it has been very different from the traditional society in terms of human types, social relations, and social forms. People are living in a mass society. First, in the public. In society, the individual is more and more dominated by the "others", and the result is the loss of people's personality. Obviously, in today's mass society, the electronic media, as the most efficient "mass" medium, indisputably plays the powerful guiding role of "others". Second, mass society is also a loose relationship. There is a lack of understanding and lack of communication between each other. The indifference of this kind of communication is not only manifested in the less and less the number of contacts, but also the lack of the depth of communication. This situation makes people feel a deep loneliness, and it seems to be a difficult fate to get rid of. Third, in the mass society, people are in spite of them. It is free to engage in a variety of activities, but in fact, people do not have "freedom". The development of electronic media technology puts people under a more rigorous and easier surveillance system. People's freedom is increasingly deprived of the "super panoramic prison" called by Mark.
The fifth chapter is to think about the relationship between the freedom and control of aesthetic culture in the era of electronic media, and to explore the possible direction of the development of aesthetic culture on this basis. In this chapter, the thesis makes a detailed discussion on the relationship between the self from and control of the aesthetic culture in the era of electronic media, using the theory of cultural hegemony of Gramsci. The thesis holds that the aesthetic culture in the era of electronic media is neither a simple freedom nor an absolute control, but a continuous struggle and compromise between the two. However, this compromise has a certain limit, and it is finally aimed at the purpose of realizing the producer of the aesthetic culture of the United States. The hegemonic mode of operation of the aesthetic culture. Then, how to resist this hegemony and go out of control? The resistance of the Bermingham school scholar fusk and others to the public's resistance is obviously enlightening. Once the power of the people is truly formed, the movement war from guerrilla warfare to glenxi is bound to seize the aesthetic language. At the same time, because the hegemonic operation of the aesthetic culture also contains the control factors of the technology, the paper makes a corresponding discussion on how to get out of the control of the technology. At the end of this chapter, it puts forward his own views on the future development of aesthetic culture. After all the signs, the paper believes that the future of aesthetic culture is bound to be free.
The conclusion summarizes the aesthetic culture phenomenon in the era of electronic media, and points out that the aesthetic text in the age of electronic media is very important.
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I01
本文编号：2138707
[Abstract]:Since the twentieth Century, electronic media has begun to occupy a more and more important position in human life. The process of human civilization has come into the era of electronic media from the age of oral and printed times. The paper tries to analyze the important changes and operating mechanism of the aesthetic culture in such an era. The thesis is divided into seven main parts. Part.
This part is mainly about the significance of the research on the aesthetic culture of the era of electronic media, the research status of the contemporary scholars in this respect, the writing ideas and research methods of the paper. The arrival of the era of electronic media has brought great changes to the people's life and deeply influenced the existence of aesthetic culture. To investigate and analyze the important changes in the aesthetic culture in the era of electronic media, to uncover the underlying mechanism behind it, to respond to the current human existence and to promote the development of our aesthetic culture, must have its important significance and value. In the introduction of the research status of contemporary scholars on this topic, the article puts their views on the point of view. It is divided into four kinds from the macro perspective, one is that the aesthetic culture is regarded as an ideal culture, the second is the critical aesthetic culture view, and the third is the aesthetic culture theory of the popular practice criticism, and the fourth is the perspective of the historical aesthetic culture. At the end of this part, the main point of this part is to put forward the research method of this article, which is to use the cultural hegemony theory of Gramsci to interpret the aesthetic culture in the era of electronic media. The thesis holds that there is a double logic of freedom and control in the aesthetic culture of the electronic media age. The interweaving of free transfer and control schemes constitutes a typical hegemonic operation mode of this aesthetic culture.
The first chapter discusses the changes of aesthetic culture in the era of electronic media. This chapter is divided into two sections: the first section combs the history of the concept of aesthetic culture. In this section, the thesis focuses on the aesthetic culture view of Schiller, Arnold, Spencer and Lei Weiss. Through this longitudinal combing, we can see that the aesthetic culture is taken as a self For most of the time of the middle of the twentieth Century, the concept of a concept has an extremely strong ideal component. People hope to heal the split of human nature by aesthetic culture, resist the invasion of human nature by mechanical civilization and maintain the perfection of human nature. As a negative force against reality, aesthetic culture covers an ideal, mythical halo. With the arrival of the era of electronic media, the aesthetic culture has undergone great changes. The second section of this chapter points out that in the era of electronic media, the high intervention and consumption of technical factors and the permeation of the ideology of enjoyment make the aesthetic culture of the elite of the traditional aesthetic culture atrophy gradually and the aesthetic culture has gone. Secularization. This secularization of aesthetic culture has become the leading culture in the era of electronic media.
The second chapter discusses the freedom of aesthetic culture in the era of electronic media. In the first section, it is discussed that as a secularization of the aesthetic culture, the aesthetic culture of the era of electronic media is bound to go to the masses, to trivial but true daily life. At the same time, those happy desires which have been excluded from the traditional aesthetic culture have also emerged. Water surface, a large number of private topics began to go to the public space. In this way, the aesthetic culture in the era of electronic media has formed the overstepping of the traditional aesthetic culture in the content. The second section of this chapter discusses the great freedom brought by the mode of communication of aesthetic culture in the era of electronic media. First, in the era of electronic media, aesthetic literature. The large-scale copying technology of electronic media makes the ordinary people contact the aesthetic culture widely and freely. At the same time, because the aesthetic culture of the era of electronic media uses the image symbols, this is more than the traditional aesthetic culture. Another reason for the common people. Secondly, the aesthetic culture in the era of electronic media has made people break through the limitations of local life, and to a global integration. The regional limitations of the traditional society make it difficult or impossible for people to contact the aesthetic culture of "his domain" outside the local life, but in the era of electronic media, the region is in the era of electronic media. The third section of this chapter mainly discusses the freedom of the participation of the aesthetic culture in the era of electronic media. In the era of electronic media, people have changed more and more in the aesthetic cultural activities. The passive state of existence in the past, and interaction and participation, mainly appeared in two forms: virtual communication and free writing.
The third chapter discusses the control of aesthetic culture in the era of electronic media. This chapter points out that the freedom of aesthetic culture in the era of electronic media is not unconditional freedom. While freedom is opened to people, the logic of the control of aesthetic culture is also vigorously developed. First, the aesthetic culture in the era of electronic media is subject to technical integration. In the era of electronic media, the proportion of technology in the aesthetic culture is increasing, and the independence of technology itself is becoming stronger and stronger. Technology is no longer only a means to promote the development of aesthetic culture. In a considerable degree, technology has become a purpose itself, and it has become a kind of ontological existence. This makes the technology eventually surpass the aesthetic culture. At the same time, the electronic media technology as a kind of image technology, a virtual technology, its virtual logic has been overriding the real logic, the virtual image has become the measure of the reality. Secondly, the aesthetic culture is permeated by commercial factors. In the era of electronic media, the production of aesthetic culture and commercial interests intertwined unprecedentedly. The production of aesthetic culture has become the pursuit of profit. The products of aesthetic culture become more and more goods. Even people themselves are unwittingly in watching movies and TV. As a commodity, it is "sold" to advertisers and sponsors. In general, the aesthetic culture for the purpose of pursuing commercial profits is roughly two modes of operation. One is mode operation, and the second is to call. The former is the production of cultural products in a fixed mode to make profit. The latter is the direct drive of industry. The production, sale, and the typical cultural style of the product is the advertisement aesthetic culture that realizes its commercial intention by calling the public to be the main body of consumption. Finally, the aesthetic culture of the electronic media era is manipulated by the power system. In the era of electronic media, the operation of aesthetic culture always embodies the meaning of the established power system. This power system is often implicit, but it is powerful and manipulative. It is shown that cultural experiences, such as films, television and other media, are actually cut and restricted by multiple power relations. On the other hand, there is also a big country's Colonialism in the cultural field. They export their own culture and price. Value and distort the image of other countries, especially the Eastern peoples.
The fourth chapter focuses on the survival situation of the people in the era of electronic media. The various manifestations of the aesthetic culture in the era of electronic media, in the final analysis, are linked to the reality of human existence. It is generated in the specific living conditions of human beings, and represents even the way of living and experience under this living condition. Chapter one is divided into two sections. The first section deals with the living conditions of people in such a fast running society. First, the information explosion makes people's connection with the society unparalleled, and it satisfies people's right to know, even all the right to know. It also inevitably inundated the small body of people, which has an important influence on human psychology and behavior. Secondly, in the era of electronic media, with the acceleration of life rhythm, people are more and more in the force of time, people's life is full of busy. This kind of busy makes people lose the union with their own inner world. There is a deep fatigue - not only the fatigue of the body, but also the psychological fatigue and the mental fatigue. Again, the rapid operation of the social media era makes the existence of the contemporary people break the time, people can not recall the past, and can not think about the future, so everything becomes a present existence, The present existence. The second section discusses the living conditions of people in a mass society today. In the era of electronic media, the society in which people are placed in it has been very different from the traditional society in terms of human types, social relations, and social forms. People are living in a mass society. First, in the public. In society, the individual is more and more dominated by the "others", and the result is the loss of people's personality. Obviously, in today's mass society, the electronic media, as the most efficient "mass" medium, indisputably plays the powerful guiding role of "others". Second, mass society is also a loose relationship. There is a lack of understanding and lack of communication between each other. The indifference of this kind of communication is not only manifested in the less and less the number of contacts, but also the lack of the depth of communication. This situation makes people feel a deep loneliness, and it seems to be a difficult fate to get rid of. Third, in the mass society, people are in spite of them. It is free to engage in a variety of activities, but in fact, people do not have "freedom". The development of electronic media technology puts people under a more rigorous and easier surveillance system. People's freedom is increasingly deprived of the "super panoramic prison" called by Mark.
The fifth chapter is to think about the relationship between the freedom and control of aesthetic culture in the era of electronic media, and to explore the possible direction of the development of aesthetic culture on this basis. In this chapter, the thesis makes a detailed discussion on the relationship between the self from and control of the aesthetic culture in the era of electronic media, using the theory of cultural hegemony of Gramsci. The thesis holds that the aesthetic culture in the era of electronic media is neither a simple freedom nor an absolute control, but a continuous struggle and compromise between the two. However, this compromise has a certain limit, and it is finally aimed at the purpose of realizing the producer of the aesthetic culture of the United States. The hegemonic mode of operation of the aesthetic culture. Then, how to resist this hegemony and go out of control? The resistance of the Bermingham school scholar fusk and others to the public's resistance is obviously enlightening. Once the power of the people is truly formed, the movement war from guerrilla warfare to glenxi is bound to seize the aesthetic language. At the same time, because the hegemonic operation of the aesthetic culture also contains the control factors of the technology, the paper makes a corresponding discussion on how to get out of the control of the technology. At the end of this chapter, it puts forward his own views on the future development of aesthetic culture. After all the signs, the paper believes that the future of aesthetic culture is bound to be free.
The conclusion summarizes the aesthetic culture phenomenon in the era of electronic media, and points out that the aesthetic text in the age of electronic media is very important.
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I01
【引证文献】
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