本文選題：消費(fèi)文化 + 新世紀(jì)��； 參考：《浙江師范大學(xué)》2012年碩士論文

【摘要】：新世紀(jì)以來(lái),隨著政治、經(jīng)濟(jì)、文化和電子傳媒的持續(xù)發(fā)展與人們價(jià)值觀念的變化,中國(guó)的社會(huì)文化語(yǔ)境發(fā)生了重大轉(zhuǎn)換。在商業(yè)原則的主導(dǎo)下,消費(fèi)文化通過(guò)市場(chǎng)與資本之手對(duì)當(dāng)代文化進(jìn)行著改造,不但成為日常生活中最突出的文化表征和現(xiàn)實(shí)語(yǔ)境,而且滲透到文學(xué)內(nèi)部導(dǎo)致了文學(xué)內(nèi)在機(jī)制的重大轉(zhuǎn)變,成為最能反映當(dāng)下文化內(nèi)涵的核心話語(yǔ)。由于女性與消費(fèi)的特殊歷史聯(lián)系,女性寫(xiě)作不可避免地深受消費(fèi)文化的影響。在文化資本權(quán)力、經(jīng)濟(jì)資本權(quán)力和性別資本權(quán)力的制約與操縱下,新世紀(jì)女性寫(xiě)作在沿襲和繼承1990年代既有成就的基礎(chǔ)上發(fā)生了新的裂變。 本文認(rèn)為,無(wú)論是被迫妥協(xié)還是自愿配合,無(wú)論是從寫(xiě)作形態(tài)的深層變化還是從直觀呈現(xiàn)來(lái)看,新世紀(jì)女性寫(xiě)作與消費(fèi)文化之間都存在著操縱與反操作、合謀與悖反的復(fù)雜關(guān)系,并達(dá)成了一種世紀(jì)性的合謀。中國(guó)女性作家對(duì)當(dāng)前文學(xué)機(jī)制和文學(xué)環(huán)境的變化不僅有了清醒的認(rèn)識(shí),還調(diào)整好了自己的處世姿態(tài),對(duì)文學(xué)市場(chǎng)化的態(tài)度由排斥、猶疑轉(zhuǎn)變?yōu)榻蛹{與迎合,不僅妥協(xié)于市場(chǎng)的操縱,還與以商業(yè)原則為主導(dǎo)的文化市場(chǎng)達(dá)成了默契。由此,新世紀(jì)的女性寫(xiě)作在總體上呈現(xiàn)出市場(chǎng)化、大眾化的文化取向,這直接導(dǎo)致了文本中女性意識(shí)的流變和批判性的弱化。在文化資本、經(jīng)濟(jì)資本和性別資本的權(quán)力場(chǎng)域中,女性寫(xiě)作已經(jīng)不再單純表達(dá)女權(quán)主義之前所要求的那種昂揚(yáng)而激進(jìn)的性別訴求,而是更多地涉及世俗化、日常化的女性關(guān)懷和欲望表達(dá),在整體上呈現(xiàn)出女性意識(shí)的柔化及性別姿態(tài)的改變。 除第一章緒論外論文還有四章內(nèi)容：第二章,通過(guò)分析消費(fèi)文化中的權(quán)力構(gòu)成及其特征和新世紀(jì)女性寫(xiě)作的文化走向,指出消費(fèi)文化對(duì)女性寫(xiě)作操縱的可能性與現(xiàn)實(shí)性。第三章,通過(guò)對(duì)都市、青春和底層這三種比較典型的敘事形態(tài)的深入分析,來(lái)探析消費(fèi)文化對(duì)新世紀(jì)女性敘事的內(nèi)在影響。第四章,通過(guò)圖文化、影視化、動(dòng)漫化和網(wǎng)絡(luò)化幾種文本形態(tài)的新特征,來(lái)揭示新世紀(jì)女性寫(xiě)作的直觀性變化及其內(nèi)在聯(lián)系。第五章,通過(guò)分析女性寫(xiě)作中的悲劇性、審丑性和日常性三種審美形態(tài),指出新世紀(jì)女性寫(xiě)作審美趣味的變化。總之,相較于1990年代無(wú)論是從作家本人的主觀意識(shí)還是文本的客觀呈現(xiàn)來(lái)看,新世紀(jì)的女性寫(xiě)作都以世俗性和日常性取代了傳統(tǒng)的精英性,逐漸呈現(xiàn)出明顯的市場(chǎng)化追求。
[Abstract]:Since the new century, with the continuous development of politics, economy, culture and electronic media and the change of people's values, China's social and cultural context has undergone a major transformation. Under the guidance of commercial principles, consumer culture has transformed contemporary culture through the hands of market and capital, which has become the most prominent cultural representation and realistic context in daily life. Moreover, penetrating into the literature leads to a great change in the internal mechanism of literature and becomes the core discourse which can best reflect the connotation of current culture. Because of the special historical relationship between women and consumption, female writing is inevitably influenced by consumer culture. Under the restriction and manipulation of the power of cultural capital, the power of economic capital and the power of gender capital, the female writing of the new century has undergone a new fission on the basis of inheriting and inheriting the achievements of the 1990s. This paper argues that whether it is forced to compromise or voluntary cooperation, whether from the deep changes in writing form or from the visual presentation, there are manipulation and counter-operation between female writing and consumer culture in the new century. The complex relationship between conspiracy and opposition, and the conclusion of a century of collusion. Chinese female writers not only have a clear understanding of the current literary mechanism and changes in the literary environment, but also have adjusted their attitude towards the world, and their attitude towards literature marketization has changed from rejection to acceptance and pandering. Not only compromise in the market manipulation, but also with the commercial principles of the cultural market for the tacit understanding. As a result, female writing in the new century generally presents a market-oriented and popular cultural orientation, which directly leads to the evolution of female consciousness and the weakening of criticism in the text. In the sphere of power of cultural capital, economic capital and gender capital, women's writing is no longer simply about the kind of exalted and radical gender demands that were required before feminism, but more about secularization. The daily female care and expression of desire show the softness of female consciousness and the change of gender posture. In addition to the introduction of the first chapter, there are four chapters: chapter two, by analyzing the composition and characteristics of power in consumer culture and the cultural trend of female writing in the new century, the author points out the possibility and reality that consumer culture manipulates female writing. The third chapter analyzes the inner influence of consumption culture on female narration in the new century through the deep analysis of three typical narrative forms: city youth and bottom. The fourth chapter, through the new features of graphic culture, film and television, animation and network, to reveal the new century female writing intuitive changes and their internal relations. The fifth chapter points out the changes of aesthetic taste of female writing in the new century by analyzing the tragic, ugly and daily aesthetic forms in female writing. In a word, compared with the subjective consciousness of the writer and the objective presentation of the text in the 1990s, the female writing of the new century has replaced the traditional elite with secular and daily nature, and gradually presents an obvious market-oriented pursuit.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：I206.7

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