【作者】 胡璇；

【导师】 王又平；

【作者基本信息】 华中师范大学 ， 中国现当代文学， 2012， 博士

【摘要】 赵本山现象是中国近三十年社会变迁和文化转型中一个重要的文化现象,其包含的丰富与复杂的文化内涵已引起了广泛关注。通过对赵本山现象的剖析与考察可以洞悉在文化转型中各种社会力量的参与、对话、博弈和磨合,因此赵本山现象作为一个缩影,显露出一个多元混杂时代的文化景观。本文试图从赵本山现象入手,通过对赵本山现象变化发展的梳理和阐释,发现现象背后政治、经济、文化力量的复杂交错,尤其是社会各种文化力量之间的冲突与融合,从而在诸种力量的交叉互动、矛盾纠结中以动态的考察方式解析赵本山现象这一当今文化奇观,为当下社会的文化选择和精神变迁等问题提供些许新的关注视野和解读方法,为这个文化混杂的时代拓展更广阔的思考空间。根据本人对赵本山现象的基本属性的把握,本论文将小品、笑、喜剧等赵本山作品的核心艺术要素置于大众文化与大众传媒的论述语境中,采用相关的理论方法,对赵本山现象予以历时的(过程论的)和共时的(结构论的)解读。本论文共分为六个部分展开论述：绪论部分梳理了赵本山现象在当代文化语境中成为一道独特的文化景观的基本过程,将赵本山从二人转艺人到“小品王”再到影视产业大亨的发展历程置于官方、精英、大众、媒介等社会各种复杂力量的网络交错中进行了简要概括。同时在明确本文的论述语境的基础之上,围绕赵本山现象提出相关拟解决的问题,并将关注的视野扩展到对文化发展和文化选择的思考,力求在对赵本山现象的考察中,探寻中国社会近几十年以来的文化变迁和精神转向及其深刻的内在根源。最后,在整合研究资料的基础之上,对赵本山现象的研究现状做了简要梳理,并探索性地提出了自己的研究方法。第一章,二人转·春晚小品·影视剧：大众传媒催生的三级跳。本章主要以赵本山近三十年所经历的三个具有代表性的阶段为主要线索,梳理了赵本山现象发展至今的动态过程,探讨在大众传媒强大的语境整合之下,赵本山是如何完成他华丽的“三级跳”,并进一步挖掘在这个变化发展过程中所蕴含的多重丰富而复杂的意义。东北“二人转”是赵本山的艺术起点也是其艺术母体,二人转作为一种审美“无意识”深深根植于赵本山此后的艺术创作之中。赵本山通过对二人转的改造,将二人转从乡村推向了城市,为二人转提供了广阔的发展空间。赵本山在“二人转”中所显露出的表演天赋和独特的民间艺术气质,满足了20世纪90年代的大众文化需求,尤其是洋溢出的农民想象和乡土特色,也符合主流文化寓教于乐的基本规范,赵本山因此而从黑土地上“边缘的”农民逐渐成为京城和都市主流舞台上的“桂冠小品王”。“小品王”的桂冠和主流文化的认同为赵本山走向更广阔的社会空间搭建了支撑性平台和多维化关系网络,他以构建自己的核心品牌为动力,将“小品王”成功延伸到了影视领域,从“小品王”摇身变为影视剧的产业大户,并开始走上文化产业发展的道路。第二章,民间艺术·俗众想象·国家意识：主流意识形态管控下的三位一体。本章基于赵本山作品呈现出的三大主要文化表征,从深层的文化逻辑来探析赵本山作品的特质性和丰富性。民间艺术常常是是赵本山作品的灵感之源和承载之躯,赵本山借鉴了“民间诙谐”文化,表现出生活化的节庆表演和草根化的人世体验。赵本山又常常将民间的、日常的、通俗的经验感知杂糅在一起,通过对俗众群体的生存状态、文化观念、政治经济活动、道德伦理、理想、精神等的想象性叙述与表达,让俗众在看与被看的世界中获得自我满足与自我超越的幻象,建构起一个俗众想象世界。而赵本山之所以能成功地游走于民间、大众与主流意识形态之间,这和他的社会感知与表达策略是密不可分的。在“一体多元”的文化格局之下,赵本山的喜剧艺术作为大众文化实践,必然要在意识形态和大众趣味的双重规定性中求得生存和发展。赵本山以大众叙事言说主导话语,将代表国家政治意志的主导话语转换成承载农民思维和文化观念的大众话语表达,利用官方与大众,主流与边缘在言语上造成的错位,获得一种被广泛认同的滑稽和喜剧效果。“微讽”中呈现的国家盛世,既符合主导意识形态的规定性,又不失大众趣味,贴近大众生活。最终形成了集民间艺术、俗众想象、国家意识三位一体的、极富特质的大众文化实践。第三章,官方·精英·大众：商业化平台上的三权合谋。本章通过梳理官方、精英、大众三种文化力量与赵本山现象之间的各种复杂关联,探讨文化合谋中多重社会支援力量赋予赵本山现象的文化张力。央视春晚的大舞台为赵本山提供了展现的平台和各种发展机遇,但主流媒体也需要以赵本山凸显的“农民性”来实现文化平衡机制,并以可观的电视收益达成彼此的互利双赢。而文化精英群体对赵本山现象表现出的极大关注和大相径庭的评判,不仅体现了“赵本山现象”作为一种社会文化表征的巨大张力,更折射出当今社会的文化冲突与立场分化。在大众传媒与市场的共谋之下,大众的审美趣味发生了巨变,官能快感成为大众主要的审美追求。赵本山的“快乐生产”满足了大众欲望的宣泄,以“笑”作为喜剧创作的基点与归宿,创造了一种惟快乐是从的“愚乐”主义,大众的娱乐变成了幻象叠生的“愚乐”。第四章,喜剧·神话·霸权：娱乐至死时代的三重变奏。本章站在一个更高、更宏观的文化层面,观照赵本山在娱乐至死时代的三重变奏及其递进方式——喜剧、神话和霸权,这三重变奏分别是对赵本山小品、影视和文化产业在当代社会所富于的文化意义的一个集中概括。赵本山是这个喜剧时代的文化标签,他在嘲笑别人的同时也乐于自嘲,他的笑既有粗鄙的一面也有智慧的一面。然而,在追求爆笑的娱乐时代,他独具特色的“本山式”喜剧元素,逐渐削弱了智慧与批判的一面,而趋于不痛不痒的笑、媚俗的笑、为了笑而搞笑以及取消任何意义的笑。虽赢得了市场,却失去了喜剧的立场。赵本山为了进一步扩张自己的“笑文化”工程,通过影视剧打造起仿像的工业生产链,建构了一个关于乡村的快乐神话。神话催生了赵本山文化资本的进一步扩张,本山传媒在当代社会的崛起标志着赵本山成功地打造了一个“娱乐帝国”。“娱乐至死”成为当代社会一种新的文化霸权实践,文化场域的各种力量发生着结构性的转化。结语,中国当下文化的镜子和隐喻。结语部分对全文进行了总结与回顾,将赵本山现象视为映射当代文化现状与困惑的一面镜子。全文通过对赵本山现象内部文化逻辑和外部文化环境的考察,希望重新认识当代文化现状中诸多问题产生的文化根源,重新拾起被当代社会抛弃的思考精神,对我之存在的社会意义和生命价值作出不断地追问,在追问中继续认识自我,认识社会,认识世界。更多还原

【Abstract】 Zhao Benshan Phenomenon is an important cultural phenomenon during the development of modern society in the past30years. The complicated and rich cultural connotation in this phenomenon has attracted much attention of the mass public. Meanwhile, its development and alternation is the microcosm of the development and transition of Chinese Modern Culture over the recent30years. Zhao Benshan’s statue image has become the symbol of Chinese Modern Politics and Culture, while the acknowledgement with his cultural image has already become a metaphor to the embarrassment and helplessness of the choices and development of Chinese Culture over these decades. Besides, it also reveals a plural mixing cultural perspective.The emphasis of this paper lies not only in the interpretation of Zhao Benshan Phenomenon, but also in discovering the conflict and emerge among social cultural forces, the differentiation and contrast among cultural standpoints and the intense game relationship so as to explain effectively the development of this phenomenon over the recent twenty years, and therefore to inspect dynamically the cultural choices and spiritual transition of modern society, and to supply a broader thinking space for this culture mixing era. This paper takes the public culture and mass media as a basic statement context and background, including6parts:The Introduction part teases apart the object forms that Zhao Benshan Phenomenon has become a unique cultural introspect in Modern cultural context, and briefly introduced the process that Zhao Benshan develops from a pair-show artist to "the King of sketch performance" and to a TV Industry Tycoon in the mixed environment of official, elite, public and media forces. Meanwhile, on the basis of identifying the speech context in this paper, relating to the relative problems to be solved surrounding Zhao Benshan Phenomenon, we expend our horizon to the reflection of cultural development and transition of the whole modern society. We try to investigate the dynamic development of this phenomenon and to seek the internal root of cultural transition and spiritual transfer of Chinese society over the recent decades. Finally, on the basis of integrating research materials, we try to introduce briefly the current research of Zhao Benshan Phenomenon and raise our own research method exploratively.Chapter one, Pair-Show·CCTV New Year Gala·TV plays and Movie:three leaps stimulated by mass media. In this chapter, the main clue is the three representative stages of Zhao Benshan over the recent30years. Along with this clue, we analyzed the dynamic process of the development of this phenomenon, and explored how Zhao Benshan accomplished his "three leaps" under the circumstance of powerful context emerge of the mass media. Pair-Show is of Zhao Benshan’s art history, which has been deeply and unconsciously rooted in his later artistic creation. Through the reformation to pair-show art, Zhao Benshan pushes pair-show from countryside to the city, which changes the loose surviving environment of this kind of art. After the broadcasting of media like Television,"pair-show" art changes from "folk art" to "popular art". Zhao’s gifted performance and unique folklore artistic temperament revealed in pair-show art satisfied the demand of the mainstream Chinese culture system of the90s in the20th century to the image of farmers and regional culture expenses. Zhao transforms from "marginalized" farmer to the king of sketch performance on the mainstream stage. So far, Zhao’s sketch performance has become a special cultural symbol, which is creating a dream of entertainment for the Chinese public. The crown of "sketch performance king" and the acknowledgement of mainstream culture helped Zhao to construct powerful platform and social relationship network. In the motivation of constructing his own core brand, Zhao successfully extended the attention for "sketch performance king" to his TV production. Taking the advantage of TV encoding and broadcasting, he upgraded the pair-show and comedic sketch performance of Dongbei characteristic to TV productions. From "king of sketch performance" to tycoon of TV plays, Zhao began to walk on a boulevard of cultural industry development. The formation of any kind of cultural phenomenon cannot leave the absorption, integration and construction of the cultural context in the whole era. Zhao’s transformation from pair-show artist to "king of sketch performance" and to the tycoon of TV industry, includes the adjustment, defense and gaming between his art and the mainstream ideology, the conflict and compromise with realistic benefit, and also the meaning production and symbolic broadcasting given by the mass media.Chapter Two Folk art.imagination of the mass.ideology of the powerful:three in one under the control of popular ideology. This chapter bases on the three major culture features revealed in Zhao Benshan’s artistic texts. It analyzes the uniqueness and richness in Zhao’s performances, attempting to expose the way how the three features are combined into his artistic production. Folk art is one of the typical features in Zhao’s texts. This feature is borrowed from the culture of "local humor", which involves both performances on festivals and life experiences as a common people with low social and economic status. The raw, rough buffooning added to the performance from time to time, on the one hand suggests the vivid, powerful strength of folk art. On the other hand, this folk art also stains Zhao’s art with hideous contents. In his art, the folk experiences, the everyday ones and the popular ones are mixed by express and describe through imagination the mass’s living conditions, cultural values, political and economic activities, morality, dreams, spirits and so on. In this way, the mass could enjoy themselves in a fictional world in which they are watching and being watched at the same time. Why Zhao’s art could become so successful among the folks, the mass and even those in powers is closely related to ability of recognizing the society and his strategy of expression. In such multi-dimensional cultural structure, the comedies by Zhao Benshan, as a practice of mass culture, are bound to exist and grow in the duel control of the country and the taste of the mass. Zhao Benshan applies the language the mass use to express the converted national ideology of politics in the way the peasant could understand. He makes use of differences in language between the official and the mass to gain universally recognized effects of being funny. Its "micro-irony" indicates the prosperity of the country, which is not only welcomed by the leading party, but also fit in with the taste of the mass. Its closeness to the public ultimately forms the cultural practice of the mass with folk art, imagination of the mass and ideology of the powerful united.Chapter Three The official.elite.the mass:the unite of the three on the basis of commercialization. This chapter clears the complicated relations between the official, elite and the mass, three major social forces, and "Zhao Benshan Phenomenon", exploring the culture embodied in "Zhao Benshan Phenomemon" by multi-social forces. The Spring Festival Carnival provides Zhao Benshan with a perfect stage and various opportunities for further development. CCTV, as the TV station that owns the largest number of audiences also needs Zhao Benshan and his products to exhibit "farmer’s lives", so that they could achieve cultural balance. Together, they have attracted numerous followers and huge amount of material benefit. On the other hand, the culture group of elite, who have already moved out of the centre of social stage, have shown great concern to Zhao Benshan Phenomenon and have given entirely opposite comments. This indicates the great attraction of Zhao Benshan Phenomenon as a feature of social culture, and the conflicts and splitting up of values from different social levels in contemporary society. These conflicts lead to a new turn of culture disorder. Under the mutual effects of media and market, the taste of the mass in contemporary society has change significantly. The pursuit of physical satisfaction has become the main aesthetic purpose of the mass. Zhao Benshan’s production of "satisfaction" could meet the need of the mass, by setting "being funny" as the focus of comedy creation, which has resulted in the phenomenon that physical satisfaction is the only purpose and the entertainment of the mass has changed into "searching for fun" among various fantasies.Chapter Four Comedy.Mystical stories.Tyranny:a trio in the times when people entertain to the fullest. This chapter examine from a higher culture perspective Zhao Benshan’s trio in which comedy, mystical stories and tyranny participate. These three refer to Zhao Benshan’s short crosstalks, TV series and other cultural products. It is not exaggerating to say that Zhao is the label of this comedian time. He makes fun of others, as well as himself, creating both wise fun and vulgar one. Nevertheless, when all the people in the society are pursuing entertainment, his unique comedian elements have weakened its function of being wise and critical, with only superficial and meaningless laughters left. Won the market as it has, it has lost the status of a comedy. In order to expand his project of "fun business", Zhao Benshan created a set of TV series very much like production chains in industry, building a mystical story of fun about the country and the poor. The enterprise Zhao builds symbolizes his success in creating an empire of entertainment. And entertaining to the fullest becomes a new experience of culture tyranny, causing transformation of powers in the sphere of culture.Conclusion The mirror and metaphor of contemporary culture in China In the conclusion part, the dissertation summarizes the entire above chapters and metaphorically refers to Zhao Benshan Phenomenon as a mirror, reflecting the status and puzzle of contemporary culture. Through the analysis of the inner culture logic and outer social atmosphere of Zhao Benshan Phenomenon, the author hopes to re-recognize the root causes of many problems in contemporary culture, regain the long-abandoned virtue of thinking. Through the questioning of the significance of self-existence, the dissertation aims at continuingly knowing the world, the society and ourselves.更多还原