意义生产与社会行动

【作者】 周立；

【导师】 黄芝晓；

【作者基本信息】 复旦大学 ， 新闻学， 2010， 博士

【摘要】 本文所关注的是文化传播的问题。本文所希望解答的中心问题是作为一种文化产物的“传统文化”是如何被形塑和中介的。围绕这一中心,本文从文化的生产与接受过程中寻找答案。这里包含一系列问题：社会如何动员并确立起对传统文化的推崇?这一过程本身是否以及如何影响着传统文化的生产实践?社会群体又在多大程度上影响了传统文化的再生产?文化自主性问题在这一过程中有何体现?为了便于展开论述,本文将研究对象进一步具体化为昆剧的生产与接受。选择昆剧作为具体的分析对象主要是源于昆剧作为传统文化的一种文化客体,它在当代的生产与接受比较明显地具有一种文化运动的色彩。这一过程中展现了各种力量的碰撞,这在其他的传统文化客体中是少见的,也不同于任何其他的戏剧形式。在理论层面上,西方的生产与接受研究指出了影响文化表现形式的基本因素。这些因素的存在确实具有普适性。但由于中西文化差异,这些因素作为变量对最终结果的影响可能并不相同。而我们对这些问题的解答缺乏本土的案例加以支持。由此本文对研究对象的选择是创新点之在具体的论述过程中,本文依据文化社会学者温迪·葛瑞斯伍德的“文化钻石”模型以及维多利亚·D.亚历山大对此模型所作的补充作为基本分析框架。笔者进一步将维多利亚·D.亚历山大增加的“中介”因素确定为“媒介”。在此框架下,社会世界、生产者、文化客体、接受者以及媒介成为本文的五个分析单位。在这五个分析单位中,本文对文化客体这一要素的具体关注体现于对文化自主性的特别强调。文化生产与接受研究受文化社会学传统影响显著,而文化社会学对文化自主性的问题以及文化意义的问题存在普遍的忽略。因此在现有文化生产与接受的大量研究课题中,明确指出文化自主性问题的并不多见。这是本文的第二个创新点。论文第一章首先解释了多次发生生存危机的昆剧在当代如何实现再生产的可能。本文认为建国初期的文化政策与生产单位的建制,国际社会应文化多元化的诉求对人类口头与非物质文化遗产的保护政策以及对昆剧传统的创造性追溯这三方面共同建构了昆剧再生产的社会脉络。这是传统文化生存与发展的制度性保障也是早期传统文化发展向当代过渡的重要环节。在此基础上,本文第二章具体说明昆剧为什么要进行创新性生产,而不是依循传统。作为一个文化问题,创新性的生产无法凭空捏造,创新性生产同样需要环境资源的支持。创新性生产的动力主要来自三方面的力量：当代昆剧的现实困境；八十年代初都市文化发展与观众口味的变化；传统与现代的二元现象以及由此展开的讨论。第三章聚焦于国家意识形态对昆剧生产过程的影响,展现权利与生产的关系。这是一个与欧美差异非常大的文化生产控制要素。西方社会政府对文化的管理多为宏观调控,对文化产品的具体生产并不发生直接关系。而在我国,政府直接管理生产,对具体的生产存在导向性。第四章具体分析的对象是作为市场的受众。本文的观点是对于传统文化这一特殊产品,目前还处于消费者主体性建立的阶段。事实上,昆剧的生产主体对消费者的需求并不敏感。这缘于生产组织形式以及当代社会赋予传统文化的特殊地位。同时这一章的论述也说明了意识形态并非铁板一块,占据统治地位的意识形态时时受到来自外部的挑战,尤其是来自市场的挑战。第五章通过对大众传媒有关昆剧的文化新闻报道的考察,认为媒体作为把关人的独立价值判断并没有得到充分表达,即不足以影响既有的传统文化生产取向。通过以上分析,本文最后一章站在生产单位的立场上,分析生产者具体如何进行创新性生产。昆剧生产单位的性质,组织结构以及运营方式,市场化转型的要求以及昆剧作为非物质文化遗产受到保护的一面,这些因素决定了昆剧创新性生产的三种取向：评奖剧制作取向,青春剧制作取向以及传承剧制作取向。这一分析过程必然触及到文化生产单位的管理思想。一般而言,管理理论并不是此类研究的一个流行主题。从生产与接受的研究情况看,相对于生产,研究兴趣更集中于文化产品的消费情况。由此研究取向的选择是本论文的第三个创新点。本文的结论体现于三个层面：首先是对传统文化在当代的存在方式作出回答。其次,本文通过个案研究中所得的变量认为政府导向、市场、文化自主性这三方面是传统文化再生产过程中具有决定性影响的因素,这三个要素对传统文化的内在质素与形式起了决定性作用。最后是对传统文化的知识生产现象的总结。更多还原

【Abstract】 This paper concerns the problem of cultural communication. The central question this article hope to answers is, as a cultural product, how "traditional culture" is to be shaped and mediated. This contains a series of questions:How to mobilize the community and to put on the traditional culture of praise? How the process itself affects the production of traditional cultural practices? The extent to which social groups has affected the reproduction of traditional culture? And is cultural autonomy of any expression in this process?To facilitate the discussion started, the paper will further specific object of study into the production and reception of Kun Opera. Select Kun Opera as a specific analysis mainly stems from the process of production and reception of Kun Opera is more clearly as a cultural movement. This process shows the impact of various forces, which is really rare in the traditional culture of the others, and is also different from any other dramatic form.At the theoretical level, the study of production and reception in the west point out the basic influence factors. However, differences between Eastern and Western cultures, such factors as the impact of variables on the final result may not be the same. We lack of the local case to support the answer. Thus the choice of the subject is the first innovation point of the study.The basic analytical framework is based on Wendy Griswold "cultural diamond" model and Victoria·D. Alexander’s additional work. In this framework, the social world, creator, cultural object, receiver and the media as the unit of analysis of this article.In these five units, the specific concerns of cultural object that reflect the special emphasis on cultural autonomy. The traditional studies pay little attention on the problem of cultural autonomy and cultural significance. Therefore, in the current study of cultural production and reception, give the specific issue of cultural autonomy that is rare. It is the second innovation of this article.The first chapter begins by explaining how the reproduction of Kun Opera is possible in the contemporary society. This article view that the early days of cultural policy and the establishment of the production units, the demand of cultural diversity form the international community as well as the oral and intangible heritage of humanity protection policy, the traditional creative bring Kun Opera back. These three constructs the reproduction social context of Kun Opera.On this basis, chapterⅡspecify why Kun Opera must innovative the production, not just follow the traditional way. As a cultural problem, innovative production can not be invented; innovative production also needs the support of environmental resources. Innovative production is driven by three forces:The reality of the plight of contemporary Kun Opera; urban and cultural development of early 80s as well as the changes in taste with the audience; dual phenomenon of traditional vs. modern and the corresponding discussion.ChapterⅢfocuses on the ideology of the production process of Kun Opera, showing the relationship between power and production. This is a very big difference with western control of elements of cultural production. The management of the Government of Western society mainly with macro regulation and control, But in China, government exist specific production-oriented to the specific production of cultural products.ChapterⅣanalyses of the target audience as a market. The view is the traditional culture of this particular product is still at the stage of the establishment of consumer subjectivity. In fact, the main demands of consumers are not sensitive to creator. This is due to the form of production organization and the contemporary society gives special status to traditional culture. This chapter also shows the dominant ideology is always challenged from the outside, especially by the market.ChapterⅤspecific on news reports about the Kun Opera, the conclusion is the media as gatekeeper of the independent value judgments are not fully expressed, that is not enough to affect the orientation in the production of traditional culture.Through the above analysis, the last chapter analyzed how producers do their innovative work. The characters of production units, organizational structure and operational methods, market-oriented transformation of the requirements and Kun Opera as a masterpiece of the Oral and Intangible Heritage of Humanity, these factors determine the three orientations in the Kun Opera’s innovative production:production oriented drama awards, production oriented youth and production oriented heritage.This process of analyses will touch on management thinking in cultural production units. In general, management theory is not a popular subject of such research. Research interests always focus on the consumption of cultural products. So the specific content of this study is the third innovation of the article.The conclusion is reflected in three aspects:The first is to answer the existence way of traditional culture in contemporary society. Secondly, the paper obtained through case studies of variables that the government-oriented, market, and cultural autonomy are the most decisive influence factors during the reproduction of traditional culture. These three elements played a decisive role in form of internal quality of traditional culture. Finally, summarize the phenomenon of knowledge production in the traditional culture.更多还原