【作者】 王彬；

【导师】 冯宪光；

【作者基本信息】 四川大学 ， 文艺学， 2005， 博士

【摘要】 任何时代任何人群都有自己独特的文化表达方式。大众流行文化作为当代社会新的文化形态一直在社会文化结构中占据重要位置。早在20世纪20、30年代，上海等地就出现了娱乐性的流行文化，以电影和广播为载体的流行歌曲就是其中传播最广、影响最深的文化形态之一。70年代末，社会生活的重大变动使流行歌曲卷土重来。流行歌曲以其对社会变动特有的敏感，记录并表征着日常生活的细微变化。港台流行歌曲的广泛流行不仅是社会结构调整的结果，也根本改变了社会的文化氛围和精神结构，并深刻影响着普通人的生活方式。20多年来，流行歌曲充斥日常生活，成为须臾不可缺少的文化事实和文化存在。但由于文化惯性和思想认识的局限，流行歌曲不得不遭遇各种误解、贬损甚至诋毁。长期以来，尽管流行歌曲已经影响了整整几代人的生活，形塑和重构着社会的文化精神结构，但流行歌曲的学术研究在国内一直处于空白状态。20世纪90年代以来，文化研究作为一种新的研究范式被国内学术界接受和认可。文化研究的各种理论方法和理论视角为打破国内学术界的偏见带来了契机。流行歌曲作为一种新的文化表征实践和表征形态不仅记录了当代社会变迁的过程，而且反映了时代精神的嬗变。作为见证流行歌曲发展演变，浸泡在流行歌曲中，并受流行歌曲影响长大的一代，有责任和义务对流行歌曲进行严肃的学术研究。任何文化实践都是内在于历史并在历史中展开的，文化实践甚至就居住在历史之中。流行歌曲并非无根之木，它是与当代社会发展和社会结构转型内在地联系在一起，流行歌曲是当代社会生活的镜子。本论文以当代大陆流行歌曲及其相关文化现象作为研究对象，将流行歌曲放在宏观修辞学研究的框架中，以法国理论家乔治·巴塔耶的耗费观念和普遍经济学理论为基本理论出发点，考察流行歌曲的发展演变与当代社会现实的结构同源性关系。由于论文把当代大陆流行歌曲作为一种整体的文化表征形态，其文化文本存在样态的多样性决定了流行歌曲广阔的修辞运作空间和文化表达的丰富可能性。论文认为流行歌曲的文化属性决定了其文本修辞和运作修辞的具体选择，流行歌曲不仅是当代社会一种新的文化表达方式，一种娱乐消费文化形态，而且还是消费文化时代推动社会发展、倡导能量非生产性耗费的一种文化修辞策略，一种特殊的经济形态。论文分为六部分。绪论部分主要阐述论文选题的重要意义以及论文理论方法和理论视角确立的依据，确定论文整体走向和内容重点。第一章主要解决论文立论的基本理论问题。首先，清理国内外对流行歌曲的各种界定，并在此基础上对流行歌曲进行重新界定。论文认为流行歌曲是当代社会新的文化表达方式，并以此确定论文的论域。其次，梳理大陆流行歌曲发展演变的具体历程，考察流行歌曲的文化精神与社会变迁的内在联系。再次，在回顾西方古典修辞学的“说服论”与美国新修辞学的“认同说”的基础上，适当扩展修辞学的研究范围，从宏观角度强调选择性与不确定性对于修辞的重要意义，提出新的修辞学观念，认为修辞在于选择，修辞学是对选择方式和选择策略的规律、意义和价值的研究。最后，阐述对流行歌曲进行宏观修辞学研究的可能性和必要性。第二章研究当代流行歌曲的文本修辞学。论文主要从流行歌曲最突出的文化主题——怀旧与爱情——着眼，剖析流行歌曲文本修辞的选择与社会现实状况的内在关系，在此基础上阐释流行歌曲文本修辞的文化意义。论文认为，流行歌曲文本修辞的选择不仅是当代社会特定修辞情景规约的结果，而且是流行歌曲商业文化本质决定的，怀旧和爱情作为流行歌曲的文化修辞是其长期文化实践证明了的安全高效的修辞策略。文本修辞是流行歌曲顺应、调适、迎合和满足大众社会文化需求的修辞方式，是流行在文化内容上的根本保证。第三章剖析流行歌曲的运作修辞学。从理论上看，流行歌曲是一种听觉文化，但单纯的听觉刺激并不能为歌曲本身的流行提供任何可靠保证。于是，流行歌曲不得不借助一切可用的、有利的修辞手段，通过技术的美学化使用制造多种感官刺激。在具体商业运作中，流行歌曲凭借各种视觉化的技术手段，丰富自身的话语表达系统，为其具体的修辞运作拓展空间。明星和演唱会就是流行歌曲精心选择的视觉化的运作修辞学。明星作为流行歌曲的肉身化载体，通过明星形象的修辞化展示和呈现，把一种消费的、娱乐的、感官化的生活观念和价值逻辑推销给社会。演唱会则在演唱和表演的名义之下，以明星身体的在场为先决条件，通过特定的空间分隔技术建立特定的等级秩序，这些空间等级秩序反映了特定的文化权力关系。通过明星制与演唱会的商业运作，流行歌曲巧妙地向大众施加各种修辞压力。这种修辞压力往往不自觉地内化为大众社会的文化需求。流行歌曲作为一种文化娱乐工业，其各种修辞策略的选择必须遵循重复经济本身的内在逻辑：产品生产退居次要地位，重要的是需求的创造。流行歌曲的文本修辞体现了满足大众文化需求的内在要求，怀旧和爱情成为满足这些需求的重要手段，而运作修辞则制造需求，并把一种外在的关于生活品味和生活方式的压力内化为大众寻求社会地位和文化身份的修辞动力。因此，文本修辞学和商业化的运作修辞学最终都旨在倡导一种崭新的生活观念——耗费最大化。第四章以法国理论家皮埃尔·布迪厄的场域理论为基础，考察流行音乐场形成和分化的历史及其所扭结和反映的社会文化矛盾。论文认为流行歌曲作为一种文化异质性对大陆文化场的结构形成强大冲击，流行音乐场形成和分化的历史反映了社会空间中各种文化力量之间的权力争夺。作为当代社会的文化修辞，流行歌曲映现了当代社会的诸多文化矛盾，论文主要考察流行与高雅、青年与社会和本土与国际三对矛盾。论文认为这些矛盾并不是流行歌曲本身固有的，而是当代社会所面临的普遍性矛盾，是当代社会结构内部分裂在流行歌曲中的反映。流行歌曲作为矛盾性的文化存在，其本身就是当代文化的修辞表达。从整体上看，流行歌曲是当代社会的文化修辞学。结语部分从修辞关系角度考察流行歌曲，认为流行歌曲是在确定性与不确定性的张力中运作的，是一种特殊的经济形态。同时，指出流行其实是修辞主体与修辞受众之间的修辞互动，这种互动既为流行提供了可能，也使流行成为文化、商业领域的风险投资。修辞关系的任何一方都对修辞选择的实际效果产生重大影响，以此回应阿多诺等人对流行音乐的批判。对当代社会而言，流行歌曲是运作于发展逻辑的确定性和推动发展的具体方式的不确定性之间的修辞策略和修辞选择，流行歌曲是当代社会促进发展的文化修辞。更多还原

【Abstract】 Any times and any people always own their special ways and strategies of cultural expression. As a new cultural configuration of contemporary society, popular cultures have been a very important position of social structure in contemporary. In the early of twenty century, there were some recreational popular cultures in Shanghai. And popular songs were an extensive and influential cultural configuration by movie and radio. Until late 1970’s, some important changes of society made popular songs appearance again which have recorded and represented changes of everyday life because they are especially sensitive to social changes. That popular songs of Hongkong and Taiwan were extensively popular in China was not only a result of social changes, but also transformed cultural air and spiritual structure of contemporary society and deeply affected the way of living on ordinary people. Since then, popular songs have abounded in everyday life and become an important cultural fact and cultural being. With the limits of cultural habits and cognizance abilities, popular songs have been misunderstood, dishonored and decried by many people for a long time. Although popular songs have affected the life of several generations, which shaped and reconfigured the spiritual structure of society, the academic researches on popular songs of contemporary in China have been vacant. Since 1990, culture studies as a new research method have been accepted and used by academic circle at home, which has brought some chances for popular songs’ studies. Popular songs as a new method of cultural representation have not only accurately recorded the course of social changes, but also reflected spiritual transformation of contemporary. For the generation who has been affected by popular songs, the witness who has grown up with the development of popular songs in contemporary, it is an incumbent responsibility to research popular songs in contemporary. Because any cultural practice always includes and develops in a special history, even it reside in the history. Popular songs are always closely related to the development and transformation of social structure in contemporary, which are a mirror of contemporary social life.Based on the General Economics Theory and the Notion of Nonproductive Expenditure that were raised by Georges Bataille from France, this dissertation deals with popular songs and its relevant cultural phenomenon. In thorough perspectives, the study is carried out from macroscopic rhetoric aiming at the complicated structural relations between popular songs and social reality of contemporary. As a whole method of cultural representation and expression, the room of rhetorical use and the possibility of cultural expression about popular songs are defined by its diversified of cultural texts. And the dissertation shows that the cultural characteristics of popular songs confine the choice of textual and working rhetoric, that popular songs are a new cultural expression way, an entertainment culture configuration, a cultural rhetorical strategy and a special economics form which can efficiently promote the development of contemporary society.This dissertation is divided into six parts. The introduction mainly shows the meanings of the subject, the basis of theoretical method and perspective. The chapter one principally deals with some basic theoretical questions about the dissertation. Firstly, it remarks some representative definitions of popular songs at home and abroad, then redefines popular songs. It assumes that popular songs are a new cultural expression method of contemporary society in order to define its borders and its emphasis. Secondly, it outlines the history of popular songs in contemporary and probes the relations between cultural spirits of popular songs and social changes. And then based on the Persuasion Theory of classical rhetoric in West and the Identification Theory of Kenneth Burke from U.S. A, it properly expands the rhetoric range, emphasizes the significance of selectivity and uncertainty for rhetoric, and offers a new rhetoric notion which claims that the essence of rhetoric is to choose and that rhetoric is a research on the rules, meanings and values of these choice ways and choice strategies. Lastly, it discusses the possibility and the necessity of the research on popular songs from the rhetoric perspective.The chapter two probes the textual rhetoric of popular songs in contemporary. Especially focusing on the most important cultural themes: love and nostalgia, it reveals the connection between the textual rhetoric of popular songs with the social reality of contemporary society and explains the cultural meanings of these choices. It insists that these choices are defined not only by particular rhetorical situation of contemporary society, but also by the essence of cultural characteristics itself. Without question, Love and nostalgia are safe politically and efficient economically for popular songs. The textual rhetoric of popular songs is a very important strategy to cater and satisfy people’ s cultural needs in contemporary. Meanwhile, they make popular possible in cultural contents.The chapter three is the demonstration of the working rhetoric of popular songs. Theoretically, popular songs are an aural culture. Because single voice cannot satisfy people’s needs, popular songs must explore all useful and available rhetoric means and strategies. In the course of commercial working, popular songs always try to enrich its discourse system and expand its rhetoric room with a lot visible methods. Stars and performances are the two most important of these, which have become the working rhetoric of popular songs. Popular songs through the star figures sale some special ideas and values such as luxury, entertainment, delectation, etc. The star’s performance on which is based the body of star at present builds a peculiar hierarchy by means of some special space technologies. Also, the spatial hierarchy reflects special the power relation of cultural fields in contemporary society. Through the commercial working of the star and performance, popular songs secretly impact a rhetorical pressure on people, which often naturally transforms certain immanent cultural needs. As an entertainment industry, its rhetorical strategies must totally obey the rules of repetitive economics: the production is not any more important than the creation of needs, and its textual rhetoric is a main method to satisfy the cultural needs of the society, while its working rhetoric is another one to create these needs. And at last, both (the star and the performance) encourage a new notion: to make expenditure to the most.Based on the Field Theory of Pierre Bourdieu, a famous sociologist from France, the chapter four explores the shaping and dividing history of popular music field in contemporary and the cultural contradictions that it intertwines. It points that popular songs as a cultural heterogeneity impact on the cultural structure of China and that the history of popular music field expresses the struggle between all kinds of social power about cultural hegemony. It mainly probes three contradictions: popular culture and high culture, the youth and the society, and the native and the international. Certainly, these contradictions, which are mirrors of the disintegrated social structure, are not inherent in popular songs, whereas these are universal ones in contemporary society. As a paradoxical cultural existence, popular songs are a rhetorical expression of contemporary culture. In other words, popular songs are a cultural rhetoric of contemporary society.In conclusion, this dissertation discusses popular songs from the perspective of rhetorical relationship. It demonstrates that popular songs have been working the tension between certainty and uncertainty, and that any aspect of the rhetorical relation can apparently affects on the result of choices in order to respond the critique of Th. W. Adorno about popular music. For contemporary society, popular cultures such as popular songs are a rhetoric strategy, a rhetoric choice and a new economic form to promote social development.The values of the dissertation are following: first, it offers a new rhetoric notion which claims that the essence of rhetoric is to choose; second, because popular songs of contemporary hasn’t been systematically studied at home, it try to fill this blank; third, it is particular that it discusses popular songs from the prospective of the macroscopic rhetoric, so it assumes a practical and contemporary value; last, it always concerns the relation between cultural themes and commercial working of popular songs to avoid the defects only from the content aspect or only from form one. The disadvantages of the dissertation cannot research the sound structure of popular songs.更多还原