后现代社会的消费文化及其审美特征

王宁认为,消费文化是后现代消费社会特有的产物,与现代主义的精英文化有着明显的差别;它的一部分格调高雅的产品有可能被提升为精英文化产品,但更多的产品则会随着时光的流逝而成为过眼云烟。王一川指出,中国当前消费文化并没有简单地按费瑟斯通所铺设的"商品世界及其结构化"大道迈进,多重文化因子在其中起着复杂的拉动作用,形成彼此错时或错位关联,因而使出现了身体在热烈消费而头脑却在冷峻思考的悖谬现象。包亚明认为,消费主义的逻辑不仅成为了社会运用空间的逻辑,而且也成为了主导日常生活的文化逻辑;在全球城市的风景背后,精英阶层的消费文化"诉求"已经被合理化、自然化为与世界接轨的先决条件。陆扬认为,消费文化的全球化面临着美国文化主导其中这个难以回避的问题,假如认为美国文化纯粹是由图像和声响刺激起来的消费主义,那将是过低估计了它对中国文化发扬光大自身民族传统构成的挑战。

Consumer Culture and Contemporary China (Symposium)

Wang Ning holds that as a product of postmodern consumer society, consumer culture distinguishes itself apparently with the elitist modern culture. While some of its elegant products may well become elite cultural products, more will be out of fashion along with the elapse of time. Wang Yichuan insists that consumer culture in contemporary China does not simply follow what Featherstone called the thoroughfare of "commodity world and its structuralization," instead, due to the intricate functioning of its multiple elements, it represents a displaced and time twisted dilemma: a consumer spoiled hot body and a critically reflective mind. To Bao Yarning, however, the logic of consumerism not only becomes the logic of our social space operation, but also the cultural logic dominating the daily life. Finally, Lu Yang tries to illustrate that while the cultural Americanization grows to be the core issue each nation faces, it will be a too naive resolution to dismiss it as a damned consumerism purely stimulated by multiple images, or sound and furry exactly.