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对于“大众文化”,西方学界一直存在着不同的观点。批判者认为其是“欺骗群众的启蒙精神”,是肤浅文化的同义语,是美国文化对本土文化的入侵,是民间文化的灾难。辩护者则认为,对大众文化的这些非难关系到一系列价值标准的判定,大众文化和趣味标准不应由意识形态的制造者来决定,大众文化与其说是将艺术降格为商品世界的符号的再生产,不如说它是一个转折点,即终结了旧的文化形式,并将符号和消费引入自身地位的界定之中。所以,传统的批判理论指责大众文化被框定在极度的消费主义之中,风格千篇一律的刻板单调和平庸陈腐,是无的放矢。大众文化或许同样可以对高雅文化说,它事实上什么也不缺。大众文化本质上是一种下层文化。大众用两种基本方式来对待自己的下层性:一是逃避;二是对抗。两者是相互联系在一起的,并且都包含着快乐和意义的相互作用。在逃避中快乐多于意义,在对抗中则意义比快乐更为重要。大众文化的负面影响表现为全球文化一体化和单一化的趋势,对人生深度、意义深度的消解,对艺术的神圣性、超越性的消解。
For “popular culture,” Western scholars have always had different views. Critics think it is “the enlightening spirit of deceiving the masses”, a synonym for superficial culture, an invasion of native culture by American culture, and a disaster of folk culture. Defenders argue that these atrocities of popular culture are linked to a series of judgments of values, that popular culture and tastes should not be dictated by ideological producers, which are not so much a symbol of degrading art as a commodity world Reproduction, as it is a turning point, that is, the end of the old cultural forms, and symbols and consumption into its own definition of status. Therefore, the traditional critical theory accused the mass culture is framed in the extreme consumerism, style stereotyped monotonous and mediocre stereotypes, is without goal. Popular culture may equally well say to an elegant culture that it is in fact nothing short of. Popular culture is essentially an inferior culture. The general public treats their inferiority in two basic ways: one is to evade; the other is to confront. The two are interrelated and involve the interaction of happiness and meaning. Happiness is more than meaning in evasion, but meaning is more important than happiness in confrontation. The negative impact of popular culture manifests itself in the tendency of global cultural integration and simplification, which has a profound impact on the depth of life, the depth of meaning, the sanctity of art, and the resolution of transcendence.