从“个人主义”到“国家整体主义”--黑格尔的社会文化价值目标述评

黑格尔的“国家整体主义”价值观导源于欧洲近代“个人主义”价值的合逻辑演变;黑格尔借助“主体即实体”的理路,将“个人主义”的学理基址——“主体性”——改造为“主体世界”思境,并据此设立了“国家整体主义”的社会文化价值目标。这一目标的质底是资产阶级的集体主义。因此,我们今天考究黑格尔的价值旨趣,对于突破“个人主义”与“集体主义”姓“资”姓“社”的传统价值禁区,重构市场经济条件下的社会主义价值目标,具有重大意义。     

Forms and Functions of Aggression in Adolescent Friendship Selection and Influence: A Longitudinal Social Network Analysis

Aggressive children are known to have friends. However, less is known about the impact of aggression on friendship development and how this can differ for overt and relational (i.e., the forms) and instrumental and reactive (i.e., the functions) aggression. This longitudinal study utilized the forms and functions perspective on aggression to assess social selection and influence in adolescents' (N = 337, 12–14 years) friendship networks. Instrumentally and relationally aggressive peers became mutual friends with similar peers. Influence effects were observed in all types of aggression except overt aggression, suggesting that instrumental, reactive, and relational aggression may be the most susceptible to social influence. The findings are discussed in terms of theoretical and methodological implications for the study of aggression and adolescent friendships.     

大众文化的批判与辩护——当代西方大众文化理论述评

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.     

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。     

Was There a Popular Culture in the Middle Ages?

With Bruce A. Rosenberg's article, “Was There a Popular Culture in the Middle Ages,” we come full circle, returning to some of the comments made by Charles Altman. Rosenberg's cautionary remark that segmenting the experienced world into “popular,”“folk,” and “elite,” is arbitrary and artificial does not discount thepractical value and necessity of constructing analytic categories in popular culture studies. What is essential, however, is that those of us studying “kopular”artifacts must also examine the ways in which they interact with other cultural aspects or segments.