文学的“狂欢”与文学研究的“复调”

随着文学的“泛化”和大众文化研究的兴起 ,文艺学科面临着危机与挑战。文章阐述了文学及文学研究的现状 ,分析了危机意识生发的原因 ,并力图提出有操作性的应对策略     

“和谐”与“斗争”——对90年代以来散文发展的思考

散文热从 90年代已经成为一种引人注目的文化现象。其背后的主导力量有二 ,一是商业文化的发达 ,市民阶层的崛起 ;二是知识分子传统的社会情结在起作用。二者既对抗互补 ,又相生共容 ,从而生成了一个活跃多元的文化空间     

法谚:法律生活道理与经验的民间形态——汉语谚语的法文化分析

法谚是生成并通行于大众中的有关法律的民间用语形态,属于俗文化范畴。在文化或观念的传承上,法谚比同属俗语的歇后语、惯用语要深入或深刻,比雅语的成语要细微。法谚之民间形态的根基,是大众法律生活道理与经验的总结和传授的需要。法谚所反映的法律生活的范围是比较宽广而全面的,囊括了当时社会法律生活的基本领域和主要的法律现象。法谚与法律的关系密切。它们基本上渊源于法律的规定、原则和精神,至少是与其密切相关。法谚与其他谚语关联甚紧,后者对其起支撑、加固或强化作用;法谚有时也衍化为外围谚语,进一步表达一种日常生活道理或经验。从法学、语言学、文化学、历史学的学科交叉角度,对法谚进行研究是有重要意义的。     

后殖民东非文学概述

本文探讨后殖民东非文学关于写作语言、民众文学、见证文学三个热点问题。这些问题实质上表明何为后殖民东非知识分子的作用与责任这一根本问题。对此,以尼古基为首的许多东非作家的回应是:用非洲本土语言书写普普通通、各行各业的东非民众,打造民有、民治、民享的非洲文学。     

休闲文学及其评价

“休闲文学”是指给读者娱乐、消遣的文学 ,它是 90年代以来文学发展的一种趋向。现当代对休闲文学审美主义和意识形态的批评 ,实际上是高等文化人对市民意识、市民情趣的文化歧视。针对当前日益勃兴的休闲文学 ,批评家应调整视角 ,公正地加以剖析     

“休闲文学”争鸣(三篇) 也谈休闲文学

休闲文学是具有休闲功能的文学作品 ,它不同于主流文学 ,也不同于通俗文学。休闲文学不是现在才悄然勃兴的 ,它一直是文学的一个有机组成部分 ,在中国文学发展史中起着不可低估的作用     

符号-物、虚像与大众文化批判--巴特《流行体系》解读

20世纪40年代之后,对大众文化的批判构成当时欧洲思想界的一个重要主题,巴特是其中一位重要代表.与法兰克福学派从思辨角度批判大众文化不同,巴特主要从索绪尔结构语言学方法入手,揭示经过大众传媒这一中介后,大众文化如何将自己建构为一种符号机制,并在日常生活中将人们吸收到这个体制的过程.巴特认为,这不再是人直接被物所支配,而是人被符号创造出来的虚像所支配,这是现代意识形态的重要特征.<流行体系>是巴特结合结构语言学方法分析大众文化的代表作.     

Good Gay Buddies for Lifetime: Homosexually Themed Discourse and the Construction of Heteromasculinity Among Chinese Urban Youth

Starting as an Internet meme, the homosexually themed gao-ji discourse recently became popular among Chinese urban youth in describing intimate relationships among heterosexual men. Positioned within a body of scholarship on the interplay between language, homophobia, and the construction of heteromasculinity, this article suggests that the gao-ji discourse manifests a form of male homosociality, through which new boundaries of Chinese heteromasculinity may be renegotiated. Based on qualitative interviews with college students, the article first tracks the genealogy of the gao-ji discourse in the wake of China’s booming Internet culture. The main body focuses on unpacking the daily use of the gao-ji discourse, with an attention to the two latent functions it serves (i.e., expanding heteromasculine behaviors and reiterating heteromasculine identities). In conclusion, I argue that the prevalence of the gao-ji discourse mainly resolves straight men’s anxieties against the background of growing public awareness of homosexuality; therefore, it cannot necessarily translate into social acceptance of homosexuality.     

Pleasurable critiques: feminist viewership and criticism in Feminist Frequency,Jezebel, and Rosie Recaps

In an introduction to her webseries Tropes vs Women in Video Games, critic Anita Sarkeesian makes a disclaimer: “This series will include critical analysis of many beloved games and characters,” she says “but remember that it’s both possible, and even necessary, to simultaneously enjoy media while also being critical of its more problematic or pernicious aspects.” Sarkeesian’s statement pre-empts a common complaint made of feminist criticism: namely, that it inhibits the consumer’s pleasure in her or his favourite texts. In this paper, I argue that feminist criticism is in fact intrinsic to many viewers’ enjoyment in popular culture. Surveying texts such as Feminist Frequency, Jezebel, and the television recap series Rosie Recaps, I develop the concept of pleasurable criticism as a way of describing the increasingly visible modes of feminist enjoyment discernible in the broader culture. By identifying pleasurable criticism as a viewing practice, this paper demonstrates how feminist criticism can be constitutive of rather than extrinsic to pleasure.     

A Feminist Political Economic Critique of Women and Investment in the Popular Media

From a feminist political economic perspective, this paper examines the relationship between gender and investment in the popular media in three interrelating ways. First, a discourse analysis was used to examine eight popular books on investment for women published in the US. The popular financial literature asks women to solve the problems that they encounter in a patriarchal household by participating in the financial market. Second, Suze Orman was used as a case study to show the commodification process of financial information through the tactics brand differentiation, multi-platform delivery, and creation of niche markets. Third, the consumption of commodities is linked to that of production and distribution by revealing the relations between the gendered production and reproduction in the household, transnational corporations, and financial institutions.