本文選題：費(fèi)斯克 + 大眾文化��； 參考：《遼寧大學(xué)》2014年碩士論文

【摘要】：約翰·費(fèi)斯克是當(dāng)代英美學(xué)術(shù)界著名的大眾文化理論家，他批判和摒棄了法蘭克福學(xué)派的大眾文化研究方向，致力于探討大眾文化的積極層面，以樂觀的態(tài)度努力為大眾文化進(jìn)行辯護(hù)。本文將筆觸深入到大眾文化的受眾主體，深入挖掘費(fèi)斯克筆下的大眾身上生產(chǎn)、抵抗與狂歡的特征。 費(fèi)斯克大眾文化理論主要受巴特的文本理論和巴赫金的狂歡理論、米歇爾·德賽都的“游擊戰(zhàn)”理論以及布爾迪厄的趣味及大眾辨識(shí)力等理論的影響。首先，大眾是有能力、有辨識(shí)力的群體，他們能夠?qū)Υ蟊娢幕瘎?chuàng)造性地進(jìn)行了解讀利用。大眾的文本具有淺白、過度和互文性的特征，也正是由于這些特征將大眾文化和精英文化區(qū)分開來，抒發(fā)大眾的快感，彰顯大眾生產(chǎn)者的地位。判斷大眾文化的標(biāo)準(zhǔn)是看文本是否能與大眾產(chǎn)生共鳴，，符合大眾的利益。其次，大眾的抵抗帶有符號(hào)意義，他們能生產(chǎn)出代表自己的意義與快感的符號(hào)，并以此為工具來對(duì)抗統(tǒng)治階級(jí)的意識(shí)形態(tài)的控制；抵抗也存在于日常生活之中，大眾巧妙地采用“詭計(jì)”和“偷襲”的戰(zhàn)術(shù)，與統(tǒng)治力量進(jìn)行“游擊戰(zhàn)”。大眾文化還沒有強(qiáng)大到能夠取得文化領(lǐng)域的領(lǐng)導(dǎo)權(quán)，他們只能盡情地享受著屬于弱勢(shì)者的意義并且盡可能地去豐富這種意義，最終達(dá)到與統(tǒng)治階級(jí)的利益相制衡的結(jié)果。此外，大眾在統(tǒng)治階級(jí)的重壓下竭力想逃脫規(guī)訓(xùn)的牢籠，在對(duì)規(guī)則的顛覆中享受狂歡的快感，書寫著自己的意義。當(dāng)下中國正處在一個(gè)全民娛樂、全民狂歡的時(shí)代，在這種語境下，戲仿作為一種藝術(shù)創(chuàng)作手法體現(xiàn)在大眾文化文本中，試圖顛覆經(jīng)典和既成結(jié)構(gòu)，彰顯了大眾的話語權(quán)與生產(chǎn)能力，隱藏著大眾反抗的意識(shí)形態(tài)，弱化了文學(xué)的審美的高貴氣質(zhì)，逐漸消解主流文化的控制。費(fèi)斯克肯定了大眾的生產(chǎn)力和創(chuàng)造力，認(rèn)為大眾文化具有快感和抵制的功能，把大眾文化和日常生活緊密相連，為分析中國當(dāng)下語境下大眾文化的文本提供了借鑒意義與指導(dǎo)意義。
[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.
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：G0

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