讀解文化研究-英文

前言

　　文化研究在西方學術界從20世紀60年代誕生之日起就經(jīng)常被正統(tǒng)學者批評為華而不實的“學術時髦”。這種批評不僅沒有阻止學術界對文化研究與日俱增的興趣，反而使之成為在西方高校備受關注的顯學。究其原因，文化研究的確填補了傳統(tǒng)人文學術研究領域的空白，發(fā)揮著不可替代的知識創(chuàng)新功能?！　∥幕芯恐荚跈z驗文化實踐與權力的關系，其研究對象遍及日常生活中社會與政治背景下無限多樣的大眾文化形式，不僅關注文化如何建構我們，而且關注我們?nèi)绾谓嬑幕Ｎ幕芯吭噲D解釋構成人類生活環(huán)境的各類文本與意識形態(tài)、階級、種族、性別等的復雜關系，其研究方法具有典型的跨學科性，涉及社會學、政治學、歷史學、哲學、傳播學、文學批評、女性主義批評、藝術批評、翻譯研究，等等。上述意義上的文化研究的確超越了一切傳統(tǒng)的人文與社會科學研究范式，提供了觀察人類文化和現(xiàn)實生活的獨特視角?！　∥鞣轿幕芯康睦碚撆c范式正式進入中國大陸學術界大概可以追溯到本世紀初。在短短十多年的時間里，西方文化研究的概念和理論被大量輸入國內(nèi)學術話語體系，不少域外文化研究的著作被翻譯出版，文化研究機構不斷涌現(xiàn)，相關課程開始進入高校課程設置，越來越多的碩士和博士論文瞄準文化研究選題。文化研究顯然已成為中國學術界的顯學?！　鴥?nèi)學術界文化研究的進一步展開，必須更加系統(tǒng)、深入地把握西方文化研究的理論與方法，同時，高校文化研究相關課程的教學必須建立在對文化研究核心經(jīng)典文本的閱讀之上。為此雙重目的，我們組織了一支中西方學者合作團隊，聯(lián)袂推出“文化研究讀解系列”。本套叢書包括《讀解文化研究》、《讀解電視》、《讀解流行音樂》、《讀解新媒體》和《讀解電影》等。每分冊的選文由相關領域造詣深厚的西方學者負責精心挑選，均為文化研究領域公認的經(jīng)典文本；每分冊的導讀和注釋等則由中國學者完成，旨在幫助中國讀者準確理解原文。　　如此分專題系統(tǒng)呈現(xiàn)和讀解西方文化研究領域的經(jīng)典文本，在中國學術界尚屬首次。我相信，無論是文化研究領域的研究者還是授課教師，都能從這套權威性的讀本中獲取豐富的研究靈感和教學資源。　　當然，這套叢書還存在這樣和那樣的不足，特別是現(xiàn)有的選題遠未完整呈現(xiàn)半個多世紀以來西方文化研究的豐碩成果。這一遺憾只有留待來日彌補了。

內(nèi)容概要

《讀解文化研究》精選外國學者的20篇名作，分為“城市化”、“編碼
”、“擬象”、“電子人”、“文化工業(yè)”、“大眾傳播”、“文化政策”
等10個單元，全面闡述“文化研究”的對象、方法和學科特性，不失為從理論上認知何為文化研究、實踐上掌握文化研究何為的珍貴材料。
《讀解文化研究》由馬海良、勞倫斯·西蒙斯編著。

作者簡介

作者：馬海良 （新西蘭）勞倫斯·西蒙斯（Laurence Simmons）  馬海良，北京外國語大學英語學院教授，博士生導師，英美文學中心主任，《外國文學》雜志副主編，“中國外國文論與比較詩學研究會”副會長。主要研究方向為英國文學和西方文論，講授西方文論、文學批評實踐、英國散文、19世紀英國小說、小說理論、敘事學、英國社會與文化、文化研究等課程。主要出版物有《文化政治美學——伊格爾頓批評理論研究》（中國社會科學出版社，2004）、《新敘事學》（譯著，北京大學出版社，2005），《花園里的機器》（合譯，北京大學出版社，2011），發(fā)表《魯迅的拜倫精神》（Images of Westerners inChinese and Japanese Literature，Amsterdam：Rodopi Press，2000）、《鮑德里亞：理論的暴力，仿真的游戲》（《外國文學》2000年第2期）、《后結構主義》（《外國文學》2003年第6期）等論文。 勞倫斯·西蒙斯，教授，曾任新西蘭奧克蘭大學意大利語系主任和電影、電視和媒體研究系主任。主要研究方向為現(xiàn)代傳播學、文化研究，代表作有《向權力說真話》（Speaking Truthto the Power：Public Intellectuals Rethink New Zealand，2007）、《弗洛伊德的意大利之旅》（Freud's Italian Journey，2006）、《形象說了算》（The Image Has the Last Word：OnContemporary New Zealand Painting andPhotography，2002）。

書籍目錄

Unit 1 : City and Modernity
  Text I  Country and City
  Text II  Things to Do with Shopping Centres
Unit 2: Communication and Signification
  Text III  Encoding/Decoding
  Text IV  Ringing the Changes: the Cultural Meanings of the
Telephone
Unit 3 : Interpreting the Image
  Text V  The Evil Demon of Images
  Text VI  She'll Always Be Your Little Girl
Unit 4 : Culture Industry
  Text VII  Culture Industry Recoidered
  Text VIII  The Elvis Spectacle and the Cultural Industries
Unit 5: Globalization and Coumer Culture
  Text IX  Disjuncture and Difference in the Global Cultural
Economy
  Text X  "Bwana Mickey" : Cotructing Cultural Coumption at Tokyo
Disneyland
Unit 6 : Cultural Ititution
  Text XI  The History and Theory of Cultural Policy
  Text XII  Are Museums Political 9
Unit 7 : Cultural Policies
  Text XIII  Culture and Difference: Discoue and Policy
  Text XIV  White Muhicuhuralism: a Manual for the Proper Use of
Ethnics
Unit 8 : Cyber Culture
  Text XV  A Cyborg Manifesto: Science, Technology, and
Socialist-Feminism in the Late Twentieth Century
  Text XVI  Cyborg Babies and Cy-Dough-Plasm: Ideas about Self and
Life in the Culture of Simulation
Unit 9: Modernity and Mass
  Text XVII  Mass and Masses
  Text XVIII  Mass Culture as Women: Modemism's Other
Unit 10: Defining Cultural Studies
  Text XIX  Is Cultural Studies a Discipline？ And Does It Make Any
Political Difference？
  Text XX  Who Needs Cultural Research？
Glossary

章節(jié)摘錄

版權頁：   From this general perspective, we may crudely characterize the television communicative process as follows. The institutional structures of broadcasting, with their practices and networks of production, their organized relations and technical infrastructures, are required to produce a programme. Using the analogy of Capital, this is the "labour process" in the discursive mode. Production, here, constructs the message. In one sense, then, the circuit begins here. Of course, the production process is not without its "discursive" aspect: it, too, is framed throughout by meanings and ideas: knowledge-in-use concerning the routines of production, historically defined technical skills, professional ideologies, institutional knowledge, definitions and assumptions, assumptions about the audience and so on frame the constitution of the programme through this production structure. Further, though the production structures of television originate the television discourse, they do not constitute a closed system.They draw topics, treatments, agendas, events, personnel, images of the audience,"definitions of the situation" from other sources and other discursive formations within the wider socio-cultural and political structure of which they are a differentiated part.Thus to borrow Marx's terms circulation and reception are, indeed, "moments" of the production process in television and are reincorporated, via a number of skewed and structured " feedbacks", into the production process itself. The consumption or reception of the television message is thus also itself a "moment" of the production process in its larger sense, though the latter is "predominant" because it is the "point of departure for the realization" of the message. Production and reception of the television message are not, therefore, identical, but they are related: they are differentiated moments within the totality formed by the social relations of the communicative process as a whole. At a certain point, however, the broadcasting structures must yield encoded messages in the form of a meaningful discourse. The institution-societal relations of production must pass under the discursive rules of language for its product to be "realized". This initiates a further differentiated moment, in which the formal rules of discourse and language are in dominance. Before this message can have an "effect" (however defined), satisfy a "need" or be put to a "use", it must first be appropriated as a meaningful discourse and be meaningfully decoded. It is this set of decoded meanings which "have an effect", influence, entertain, instruct or persuade, with very complex perceptual, cognitive, emotional, ideological or behavioural consequences. Ir a "determinate" moment the structure employs a code and yields a "message": a tanother determinate moment the "message", via its decodings, issues into the structure of social practices. We are now fully aware that this re-entry into the practices ofaudience reception and "use" cannot be understood in simple behavioural terms. The typical processes identified in positivistic research on isolated elements -effects, uses "gratifications" - are themselves framed by structures of understanding, as well as bein produced by social and economic relations, which shape their " realization" at the reception end of the chain and which permit the meanings signified in the discourse to be transposed into practice or consciousness (to acquire social use value or political effectivity).

編輯推薦

《讀解文化研究(英文)》是文化研究讀解系列叢書之一?！蹲x解文化研究(英文)》共分10個單元，以全英文的形式，分別介紹了城市化、編碼、擬象、電子人、文化工業(yè)、大眾傳播、文化政策等內(nèi)容?！蹲x解文化研究(英文)》由世界知識出版社出版。

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