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随着主流文化、精英文化、大众文化这三种文化类型的边界逐渐模糊,其中的融合共通之处则在加强。笔者以为,这三种文化的交互融通关系可以从两个方面来加以考察。首先,在共时性上的一种交叉关系,或者说,是一种比较明显的横向力量交织关系。其次,在历时性上存在着纵穿关系,主要体现为传统的民族文化心理积淀,这是贯穿数种文化形态的内在轨迹,不易觉察而又一直在它们横向的沟通上体现着聚合的力量。二者的共同作用促成了三元结构中的“共享文化”。对于“共享文化”的探讨可以在一定程度上拓宽电视剧的创作视野,深化创作理念,从而使我们在把握具体的一种电视剧文化形态的同时兼顾多元文化需求方面有更清醒的认识。 一、“共享文化”的内涵 南京大学中文系教授周宪曾在其著作《中国当代审美文化研究》中提出“共享文化”的基本含义:“它不是一种特定文化群体或地位群体所特有的亚文化,它一定具备了
As the boundaries of mainstream culture, elite culture and mass culture are gradually blurred, the commonalities of the two are becoming stronger. The author believes that the interaction between the three cultures can be investigated from two aspects. First, a cross-synchronicity in synchronicity, or rather, a more obvious horizontal interweaving of forces. Secondly, there is a vertical relationship between diachronic periods, which is mainly manifested in the traditional psychological accumulation of national cultures. This is the internal trajectory that runs through several forms of culture. Unpredictable, they have always manifested their power of aggregation in their horizontal communication. The combined effect of the two contributed to the “shared culture” in the ternary structure. The discussion of “shared culture” can broaden the horizons of creative drama to a certain extent and deepen the creative concept so that we can have a clearer understanding of the specific cultural forms of a TV drama while taking into account the needs of multiple cultures. I. The Connotation of “Shared Culture” Zhou Xianzeng, professor of Chinese at Nanjing University, put forward the basic meaning of “shared culture” in his book “Studies of Contemporary Aesthetic Culture in China”: "It is not a subculture peculiar to a particular cultural group or status group It must have it