社会表演理论：在仪式和策略之间建立文化语用学模型（下）

一直以来,对文化的社会研究不是被极端化为结构主义理论就是被极端化为实用主义理论,前者视意义为文本并注重探索提供相对自主性的模式,后者则将意义处理为由个人或集体行动之权变性的创发--即所谓的实践本身,并将文化模式作为权力和物质利益之反应加以分析。在本文中,我将阐述一个超越这种极化视野的文化语用学理论,以新的方式将意义结构、权变性、权力和物质性融为一体。我的论点是,实践的物质性可以由维度更多的表演概念所取代。通过对表演研究这一新领域的成果的吸收,文化语用学说明社会表演,无论个人还是集体的,是如何可能被系统地类推为剧场表演的。在定义了社会表演的要素之后,我认为,随着社会变得更加复杂,这些要素已经趋于“分解”（de fused）。只有在能够将这些日渐离析的要素“再融合”的情况下,表演才会成功。在融合化的表演中,观众认同演员,且文化剧本通过有效的舞台布景达到逼真的程度。而当诸要素重新连接的过程并不完美时,表演就会失败：表演要素仍处于分离状态,社会行动看上去不但不够本真（authentic）,而且显得造作和难以令人信服。与此相对,再融合能使演员成功地传达其行动的意义并有效地实现他们的利益。     

The Festival of Progress: The Globalizing World-System and the Transformation of the Caracas Carnival

While the carnival in Latin America functions as a form of popular entertainment, it can also be viewed as having other roles. Robert Lavenda examines the Caracas carnival as an event which is atonce symptomatic of the social reality that surrounds it and able to bring about change within Venezuelan society. As popular culture, the carnival has been an important mediator in directing this society toward the modern capitalist worJd-system. Lavenda traces how, under the leadership o f Antonio Guzman Blanco, Venezuela took a major step in the second half of the nineteenth certury towards becoming a modern country. Under Guzman's and other modernizers' influence the old carnival, which had been characterized as a wild and rowdy small-group activity, was transformed to bring it into line with contemporary European models, that is, a highly organized and closely monitored mass celebration. The author discusses how the new power relationships that had developed in the city were reflected by the composition of the carnival's governing board. By setting up a series of oppositions between the South American and European versions of the carnival, Caracas' ruling elite hoped to orient the masses away from the former values and towards the latter.     

文学语言:符号形式与符号意义

在文学这一特殊的语义系统内,语言的能指形式不仅传达着直接意指的语义,而且还创造着含蓄意指的审美语义,极大地丰富了人们对于语言的审美感知。文学语言能指形式本身所具有的语义表现功能,便在所指层面的一般语义信息与能指层面的审美语义信息之间形成了语义的张力,从而使语言在文学中获得了“充分的自我在场”。唯其如此,强化并突出能指形式感性的、直觉的特征,是文学语言区别于非文学语言的至关重要的方面,同时也是文学语言形成审美语义的关键所在。     

The Post-Funeral Ritual in Bereavement Counseling and Grief Work

While a great deal has been written about phenomena associated with assisting persons in coping with losses, and, more specifically, the meaning of funeral practices in grief work, little discussion has taken place regarding the importance of "ritual leave-taking" during the post-funeral period. In order to ascertain the potential of a significant relationship between active ritual leave-taking and grief adjustment, 50 widowed persons were interviewed regarding the rituals they practiced before, during and after the death of their spouse. The data collected reflect the number and type of rituals practiced and the potential for discovering a significant relationship between the practice of post-funeral rituals and grief adjustment. While preliminary in nature, the outcomes of the study illustrate a link between positive grief work and post-funeral rituals. Suggestions for those who regularly assist the bereaved in grief work are advised to give greater attention to the potential of focusing their bereavement counseling on post-funeral "ritual leave-taking."     

凯迪拉克:尊贵与声望的代名词

百年意味着什么?意味着传承,意味着不老,意味着生命力.100多年来,作为各国政要和显赫家族出入重要场所的首选座驾之一,凯迪拉克承载了无数的尊贵和权威,它已不仅仅是一个奢华的品稗,更是一种卓越的精神象征,已经上升到一种文化符号的高度.     

文学艺术的形象性特点与隐喻、象征的关系

形象性是文学艺术的最重要的特征.文学艺术的形象性与生活世界的形象性必然具有不同程度的一致性或同构关系,形成隐喻性关系或象征性关系.这种关系存在不同的表现形态,由此形成了不同的艺术手法、艺术风格与艺术流派.艺术形象与被表现对象之间的隐喻、象征关系具有直观具体的形似性、抽象间接的相似性.着重考察表现抽象情感、理念的艺术形象的隐喻、象征特点.     

佛寺与家庙:滇西土官仪式的重构

明代中央王朝以违背伦理与礼仪原则为由废除西南土官。正统年间,革除鹤庆土官,改派流官。官员将佛寺改建为庙学,打击活佛信仰,士人也莫不以毁淫祀、诫僭越之名倡议正统祀典。此时,邻近土官开始谨慎处理身份与仪式的政治问题,并在经学传统中寻找身份、仪式的合法性基础。本文以云南丽江府与蒙化府的两位土官为主要研究对象,讨论他们如何以古代诸侯的身份,致力于建置相应的仪式和祠宇,如：（1）修建家寺、宦祠乃至勋祠与报功祠等;（2）将神话转为符合仪式正统的山川祭祀,成为土官领地的守护神;（3）建立宦谱,以文字书写的方式将氏族神话、传说系谱纳入正统历史叙事,并强化边境土官世系的优越性。通过分析在这一过程中土官的一系列作为,本文探究了土官在维护地方声望与地方利益时所采取的文化策略。     

表现与象征:消费的文化意义

消费在传统经济学中往往被看作是一种个体的经济行为 :消费者在成本最小、效用最大的理性判断下 ,根据价格和个人偏好购买商品、进行消费 ,获得使用价值并得到个人满足。但是现实的消费行为并不是都能用数据、曲线来解释的 ,正如消费“哈根达斯”雪糕不是消费雪糕而是消费它的广告（“爱她就请她吃哈根达斯”）中体现的文化意义那样 ,因此引入社会的、文化的因素 ,并将消费行为置于社会、文化系统中进行分析很有必要。从社会学的角度来看 ,消费并不仅仅是个体行为 ,还是一种共有行为 ,是一种同时为许多人所共同表现出来的文化。因而消费不仅…