本文選題：角色扮演　切入點(diǎn)：后現(xiàn)代　出處：《西南大學(xué)》2011年碩士論文　論文類型：學(xué)位論文

【摘要】：角色扮演絕不是一種新興的社會現(xiàn)象,而是在后現(xiàn)代的語境里涌現(xiàn)了新的表現(xiàn)形態(tài)——大型多人在線角色扮演類網(wǎng)絡(luò)游戲和COSPLAY,本文主要研究這兩種形態(tài)所具有的后現(xiàn)代特征和彰顯的審美體驗(yàn)。論文從三個方面展開具體論述： 第一部分“角色扮演的后現(xiàn)代語境”,主要考察了角色扮演的技術(shù)背景和社會心理學(xué)根源。網(wǎng)絡(luò)虛擬技術(shù)、大眾媒介為角色扮演提供了硬件上的支持和保障。人類角色扮演的根源則在于“自我”確立之初的“他者”維度。 第二部分“角色扮演的后現(xiàn)代形態(tài)”,主要探討后現(xiàn)代社會里兩種形式的角色扮演：多重角色的網(wǎng)絡(luò)游戲、形象至上的COSPLAY。揭示了日常生活中的自我扮演在后現(xiàn)代語境下的新轉(zhuǎn)變,自我扮演的壓抑和刻板促使更多的人沉迷于虛擬的扮演。以《魔獸世界》為例闡明了網(wǎng)絡(luò)游戲里角色的創(chuàng)建、刪改和扮演,并與戲劇舞臺上的扮演做了對比。網(wǎng)游中一人可同時扮演多個角色,打破了角色扮演史上演員與角色必須一對一的固化模式。以扮演唯美、驚艷的動漫人物為目的的COSPLAY是視覺文化的產(chǎn)物,是對形象消費(fèi)的追隨,是對后現(xiàn)代社會里身體展示價值的追求。 第三部分“角色扮演的審美體驗(yàn)”,深入探究網(wǎng)絡(luò)游戲和COSPLAY所帶來的審美體驗(yàn)。以虛擬現(xiàn)實(shí)技術(shù)為依托的網(wǎng)絡(luò)游戲充分調(diào)動各種感官而使玩家浸入其中,是一種沉浸體驗(yàn)。COSPLAY的初衷在于扮演理想的自我,玩家們過分追求外在形象上的“像”而忽略了動漫人物的精神內(nèi)核,體驗(yàn)到的是一種深深的沒入感。體驗(yàn)是身體的切切實(shí)實(shí)的體驗(yàn)。網(wǎng)游中的虛擬身體、COSPLAY中的形塑身體在突破身體具身性限制而拓展多種可能性的同時,也成了審美經(jīng)驗(yàn)層次上的身體意象,同時構(gòu)建了一個游牧的空間,進(jìn)而體味到游牧式的生存。然而在后現(xiàn)代的視閾下,游牧體驗(yàn)只能是一個理想的烏托邦。
[Abstract]:Role-playing is by no means an emerging social phenomenon, But in the post-modern context, a new form of expression has emerged-the large-scale multiplayer online role-playing online games and COSPLAY. this paper mainly studies the post-modern characteristics and aesthetic experience of these two forms. This paper discusses the following aspects:. The first part, "postmodern context of role-playing", mainly examines the technical background of role-playing and the root of social psychology. Mass media provide hardware support and guarantee for role-playing, and the root of human role-playing lies in the dimension of "otherness" at the beginning of the establishment of "self". The second part, "the postmodern form of role-playing", mainly discusses two forms of role-playing in post-modern society: the multi-role online game. The image supremacy of COSPLAY. reveals the new transformation of self-play in daily life in the post-modern context. The repression and stereotype of self-play has led more people to indulge in virtual play. Taking World of Warcraft as an example, the creation, deletion and play of characters in online games are illustrated. In the online game, one person can play multiple roles at the same time, breaking the stereotype that actors and characters must be one-on-one in the history of role-playing. COSPLAY is the product of visual culture, the pursuit of image consumption and the pursuit of body display value in postmodern society. The third part, "the aesthetic experience of role-playing", deeply explores the aesthetic experience brought by online games and COSPLAY. Based on virtual reality technology, online games fully mobilize all kinds of senses and make players immerse in them. Is an immersive experience. Cosplay original intention is to play the ideal self, players too much to pursue the external image of "like" and ignored the spirit of animation characters core, Experience is a deep sense of lack. Experience is a real experience of the body. It has also become the body image on the level of aesthetic experience, and constructed a nomadic space at the same time, and then realized the nomadic existence. However, nomadic experience can only be an ideal utopia from the perspective of postmodernism.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：C912.6

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相關(guān)碩士學(xué)位論文 前2條

1 胡鴻;論網(wǎng)絡(luò)游戲中的審美因素[D];江西師范大學(xué);2007年

2 駱毅;青春的狂歡 身體的延伸[D];華中師范大學(xué);2006年

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本文編號：1652202