解析“媒介事件”的内涵

通过对近年来新闻传播学界使用频率较高的“媒介事件”、“伪事件”、“奇观”和“新闻策划”等概念的内涵及其使用进行学理的梳理和辨析,认为这些概念之间具有一定的相通性,可以从两种理论范式的角度来理解:(一)真实事件→媒介化→媒介事件;(二)媒介化的动机→导演事件→媒介化→媒介事件。     

电影：奇观还是叙事

无论理论上还是实际中的确有两类电影,即叙事和奇观。法国哲学家德勒兹（Gilles Deleuze）的电影二元范式理论,可以用来说明叙事和奇观电影。奇观和叙事是电影的两难选择吗？可否有一种电影,在奇观中完成叙事或者通俗地说,既讲述了一个好故事塑造了成功的人物,又满足观众感官感性的快乐需求。影像可以作为叙事的手段,而且与文字相比较,影像乃至奇观在叙事上具有独特的优势,奇观和叙事,并非非此即彼。奇观之下,莫忘叙事,或者视觉的快感与心灵的感动结合起来,才是电影的必然出路。     

长安的槐树景观与唐代的科举文化——以白居易为中心的研究

槐树是唐代长安一道颇具都城色彩的自然景观,在其形成的过程中逐渐浸染上帝都文化色彩而具有特定的人文含义。文章以白居易为中心,通过其不同时期诗歌中槐树意象所具有的不同含义,来考察中唐新兴知识分子在长安的生活经历及生存状态。由此进一步研究在科举文化背景下槐树所具有的时代含义,以及由此反映的科举士子在长安的生活情状,从一个特殊的视角观照中古时期由以经学为中心的贵族文化到以文学为中心的科举文化转变的过程。     

Rule of law: Sharia panic and the US Constitution in the House of Representatives

In spring of 2011, Peter King (R-NY) convened a hearing titled ‘The Extent of Radicalization among American Muslims’ in the US House of Representatives. Democratic participants critiqued the hearings and contextualized the proceedings within the long history of institutionalized racism in the USA. They argued that the hearings were a threat to the Constitution itself, a violation of the Fourteenth Amendment's equal protection clause and the First Amendment's guarantee of freedom of religion. Republican participants shared concerns about threats to the Constitution but suggested that the hearings were part of a strategy to combat this threat. Numerous Republican participants identified forms of Islamic law, or sharia law, as the primary threat to the integrity of the rule of law (ROL). Despite opposing positions, all actors agreed that the ‘ROL’ is that which will save the nation from threats posed from both outside and inside the nation and, as such, it is the ROL itself that must be protected. In this sense, the ‘ROL’ ensured by the Constitution inadvertently became the primary object of the hearings. In this essay, we bring analytical approaches from performance studies and anthropology to argue that the hearings impel a re-examination of the concept of ‘ROL’ itself. Rather than simply addressing the legislative effects of the hearings, we are interested in what they reveal about the performative and cultural dimensions of the law and the lawmaking process. While critics of the hearings derisively referred to them as ‘political theater’, we suggest that it is the nature of the King Hearings as staged public spectacle that imbue them with a politically performative power. We also identify the specific effects of sharia panic in contemporary US American political and legal discourse.     

Galas,biras, state funerals and the necropolitan imagination in re‐constructions of the Zimbabwean nation, 1980–2008

This study focuses on the regime of the spectacle as it is deployed by the postcolonial state to establish hegemony and claim legitimacy, with reference to Zimbabwe from 1980 up to the establishment of the Government of National Unity in 2008. This period is dominated by the ZANU–PF narrative of the nation, in which imagining the nation excludes and disposes of undesirable individuals and groups. The study is framed by Achille Mbembe’s critique of the postcolony with special reference to two key terms – metafiction and dramaturgy of the state’s magnificence – in order to analyse how spectacle creates and occludes meaning. Guy Debord’s concept of the ‘society of the spectacle’ has also been adapted here to extend Mbembe’s analysis of the spectacular in the postcolony. In the context of the Zimbabwean postcolony, this allows for a reading of post‐2000 legislative and bureaucratic manoeuvres as marking a surge in the mediatisation of politics to demonstrate state power using symbols, described here as symbolic capital, to forge national homogeneity. The state sought to re‐energise its patriotic metafiction through galas, biras, funerals, commemorations and other state rituals. A particular obsession with the cemetery defines the necropolitan imagination and underpins an aesthetics of heroism. This article explores the implications this has had in the production of vulgar materialism, violence and insecurities of citizenship and nationality.     

德波的“景观社会”理论评析

法国哲学家德波提出的"景观社会"理论,是一个十分独特而又表述十分艰涩的理论体系.德波把"景观社会"与马克思的"商品社会"相比较,重在面对当今世界新情况提出他的"社会批判"理论.德波阐明了什么是"景观"及"景观社会",指出资本主义社会出现"景观社会"形成了"意象统治一切",提出由"景观社会"中的"真[-伪"二重性所以"伪世界"充斥,要有一种"革命性"的"总体策略"才能超越"景观社会"中"意象与幻觉的统治"等关键性命题,具有相当的现实性批判意义.     

仪式·戏剧·欲望——当代电视文化的后现代转向

当以《非诚勿扰》为代表的各地婚恋交友节目再度掀起热潮,形成新一轮蔚为壮观的电视交友收视奇观之时,它引起的震撼已经远远超出电视领域,向文化、社会、心理等领域扩展。这场奇观不仅昭示了婚恋交友节目的转型,更彰显着整个电视文化的后现代转向。本文以婚恋交友奇观为研究对象,透过它的发展态势,探析电视文化的后现代本质。     

Des « employeurs multiples » au « noyau dur » d'employeurs : relations d'emploi et concurrence sur le marché des comédiens intermittents

Managerial literature sometimes uses an ideal-type of contingent labor to describe what it imagines to be future changes in organizing work and labor. These changes would entail a shortening and, therefore, multiplication of labor contracts. Statistics on the intermittents du spectacle (an administrative category in France referring to performers as well as stagehands who work for the duration of a project in show business, television and the performing arts) are analyzed to show that the conception of work in the media industry, as reflected in the aforementioned writings, cannot account for the actual plurality of relations between these part-time employees and their employers. In the media industry labor market, two types of labor relations can be distinguished. The one is close to the ideal-type of an intermittent employee who has occasional relations with his employer, whereas the other is based on a “hard core” of employers with whom an employee has recurrent relations. This core significantly affects the number of engagements of these performing artists and contributes decisively to the stability of their careers.     

德波的景观社会批判

法国“情境论者”德波对二战后出现的“景观社会”进行了深刻的批判,他认为“景观社会”是继马克思所说的商品社会之后出现的一种新的社会控制形式,其主要特征是通过创造施催眠术的幻象与使人昏乱的娱乐形式所组成的世界来麻木大众。面对消费的大众日益沦为景观社会的幻象囚徒的困境,德波提倡充满活力、创造性和想象力的活动,从而消除由景观所诱发的冷漠、欺骗、被动与碎片化,恢复积极性的生存。     

景观社会:媒介时代的一种批判话语

网络、电视、电影、出版业等媒介在当今世界成为主导性力量,马歇尔.麦克卢汉对媒介的先驱性研究更是加深了人们对“媒介时代”的认同。法国思想家居伊.德波在其代表作《景观社会》中,展示了对媒介时代的一种批判话语。德波借鉴了马克思《资本论》的分析,认为景观已成为“媒介时代”的本质,世界完成了从“商品的堆积”到“景观的庞大堆聚”的转变。德波认为明星、休闲旅游和城市化成为当今世界最突出的景观,并对此进行了批判性分析。从景观社会的批判理论出发,德波探讨了发达资本主义社会条件下反抗异化的革命策略。