“同根同源”的文化展演

【作者】 潘峰；

【导师】 王建民；

【作者基本信息】 中央民族大学 ， 人类学， 2009， 博士

【摘要】 自中华人民共和国建立以来,台湾问题一直关系到“祖国统一”的大事。“一国两制”的基本方针提出,将过去强硬的武力手段转向对柔性宣传政策的倾斜。其中,建造两岸关系的“同根同源”的人造景观,成为对台宣传政策的重要途径之一。在国家宣传对台政策的宏观话语下,地方的城市规划也在依据特殊的城市定位进行资源的协调。泉州的中国闽台缘博物馆和厦门的台湾民俗村分别从政治和经济维度,展现了两岸在社会、文化方面的诸多相似性,成为本文理解“同根同源”表征体系的主要线索。我认为,在国家对台宣传的“宏大叙事”和台商纷纷跨地域“市场经营”的大背景下,国家、专家学者、媒体、演员、参观者以及各种展示物、情境等,共同上演了一出“社会戏剧”。本研究运用勒菲夫尔(Lefebvre,H.)提出的“空间三维说”作为文化展演的分析框架,以理解当前中国话语中的“同根同源”是如何成为一个自在的表征体系进行运作,并作用在两处人造景观(泉州的中国闽台缘博物馆和厦门的台湾民俗村)的空间建造、主题化和实践当中。本文试图通过一种理论建构的案例讨论,直接将戏剧表演的三要素——演员、观众和文化脚本纳入复合的、多维度的互动当中。研究关注消费的社会文化力量和国家意识形态(1)是如何塑造文化景观的形象并赋予意义,并在一定程度上与大众文化达成某种契合;(2)表述是如何通过记忆、行动和形象(想象)的方式让“同根同源”的主流话语在不同机构间进行意义的转换;(3)在意义赋予过程之同时,重视观者的主体性,以及对意义解读的各种实践。这样的解读是如何在合理地镶嵌文化展演的表征结构当中,并通过身体的移动实践展现他们各自的主体性。在研究方法上,本文采用参与和观察与非结构访谈法相结合,进行跨地域的田野作业。研究视角延续文化表演研究的理论脉络,并引入视觉文化研究的相关成果作为讨论的分析工具。论文将所有资料看作是一种建构的文本,并强调民族志文本的协商性——是各个研究主体在当时、当地共同建构的表演文本。与以往研究忽视演员、观众、文化脚本三者整体性不同,本文尝试通过使用空间的概念,将三者整合在一个框架中,讨论三者的互动关系。特别是关注两点:一是知识、话语的权力是如何作用意义的编码和解码的双向过程,二是演员和观众如何在空间实践中达成意义的协商。论文内容包括绪论、概述、主体内容、结论四部分。首先是绪论部分,简要介绍研究问题、相关理论回顾,主题公园、博物馆的研究现状,以及本文使用的研究方法和主要内容。第一章是概述部分,概述主题公园和博物馆案例的基本情况,包括地理位置,城市规划的意图,以及建设人造景观的政治、经济的宏观背景。初步勾勒出“同根”话语作用下,不同社会历史背景、城市技术安排、官方话语导向而共同形塑的社会结构。第二章、第三和第四章是论文的主体部分。章节安排采用勒菲夫尔的理解空间和实践空间的概念划分。前两章是理解空间的层面,讨论人是如何通过专业知识有意识地控制空间,以主题化或系统化的方式整合空间。后一章(第四章)是实践空间的层面,讨论社会成员的表征行为,是如何把各种理想融入到现实的空间改造和实践当中。首先,第二章讨论主题公园和博物馆的作为一种建筑,是如何被建造成人造景观,以表征“同根同源”的社会空间。这一建造过程中,消费文化和意识形态是如何通过规划、建筑的专业化技术,将“同根同源”的话语附合在建筑的各种符号上。第三章则讨论展览品的视觉形象是如何在主题公园、博物馆的空间中得以系统化表述。笔墨将集中在“同根同源”的话语如何通过展览品的叙述,有条不紊地安排文字内容,以至形成一种贯彻前后、有序的交流文本。这一章讨论诸如企业故事、传说、陈列大纲等形式的文本,是如何经过“净化动机”的展示设计,让各种有不同符号组合成的物品在新的场域中变成“同根同源”展演的一个组成部分。如果说第二章论述视觉物的建造技术,那么第三章论述的是,展示物的秩序化安排和系统化言说。第四章讨论“同根同源”表征体系的空间实践层面,围绕着观众、游客通过在空间中以身体移动、视觉凝视的活动,带来对符号解读这一个持续不断的认知过程。这其中,主体的能动性被放置在一个互动的位置,是与编码形成的知识结构、合法性制度之间的互动,最终在某种程度上达成意义的协商。最后是结论部分,归纳上述研究的要点,并对以往的理论研究做一点自己的思考。总而言之,本文通过两处人造景观(博物馆和主题公园)的研究,提供一个以空间视角看待文化展演研究的地方性个案,展示了观众、演员、文化脚本在空间实践过程中的相互关系。结论大致为以下几点:一是两处案例——主题公园和博物馆的文化展演,都呈现出对“家国同构”价值观的当代解读和结构性移植。二是观众和演员的二分法可以用更灵活的生产者和消费者的概念进行替换。三是所有参与主体都具有能动性,他们用各自的行动(编码/解码)积极地参与到空间的实践当中。一方面,话语建构的力量自上而下渗透到所有主体的各种行动中。另一方面,所有主体不是象福柯、德波、鲍德里亚等学者所说的被动教化和接受,而是通过自下而上的空间实践,主动地迎接、再生产话语的意义。更多还原

【Abstract】 Sine the People’s Republic of Chinese has found, Taiwan question has always been one of the biggest affairs of reunification of China. That policy, named "One country, two systems", had been carrying out, brought on the old the policy by force into the soft propaganda works upon these issues. Among propaganda works, to build artificial scenery about relations across the Taiwan Straits has become one of the importance approaches of propaganda policy to Taiwan affairs. Under the circumstance of these affairs, local government also has been assorting with resource in hand according to the special city layout. Chinese Fujian-Taiwan’s Relation Museum in Quanzhou city and Taiwan Folk Village in Xiamen city display the so much common on social and cultural aspects in both economic and political spheres, which became a clue to understand "One Root" representation system. I will figure out that nation, scholars, media, actors, participants and all sorts of displays, scenes have been performing one "social drama" under grand narrative about propaganda works on Taiwan issue.This dissertation applies the concept of "Three-dimension Space", put by Henri Lefebvre, as the analytical framework for culture performance, to understand what the "One Root" in Chinese discourse has became auto- representation system currently. Those have direct affect on both artificial scenery of spatial building, topicalization and practice. The dissertation manages to discus a case of theory constructed, put three elements (actor, audience and cultural script) into the complex, multi-dimensional interactions. I will focus on the social and cultural force in consumption, and national ideology to think (1) how to shape the imagine of cultural scenery and to give the meanings, in a sense, to make agreement with public culture; (2) how representation drive the change of meaning among institutions on main discourse for "One Root" by means of memory, action and image; (3) to regard the importance of the subjectivity and practice of meaning reading of viewers. The action of reading is how to entangle into the structure of cultural performance in reason, and performs their subjectivity by experience of body movement.In research method, this dissertation use participant observation and informal structural interview together to do the cross-place fieldworks. The view continue academic context of cultural performance studies, and introduce the currently outcomes relative to visual culture studies as analysis tool. All of the material in this dissertation is looked on as the negotiation text. I will stress on that ethnography is negotiation. All of researching subject has been constructing the performing text then and there. Different from the ignorance of other studies to the integrity views of actor, audience and cultural script, the dissertation attempt to use the concept of space into one framework of interacting relationship. I will stress on two points in special: First is how the power of discourse and knowledge have effects on the process of meaning coding and decoding. Second is which way actor and audience make agreement on the meaning reading by spacial practice.The content includes four parts: preface, brief description, main body and conclusion. Firstly, preface introduce study question, theory retrospection, the current research on the issue of theme park and museum, and the method and main content used in this paper. The first chapter is the brief description. It introduces the basis background of the studying cases, including location, purpose of city plan, and the political and economic circumstances in process of building artificial scenery. I will the social structure shaped by social history, urban technical arrangement and the orientation of official discourse together under "One Root" discourse influence. The second, third and fourth chapter are the main body of dissertation. Arrangement for chapters is taken by division from the concepts of "conceived space" and "practice space" advanced by Lefebvre. The former two chapters belong to the layer of conceived space, to discuss people how to take full use of academic knowledge to control space consciously, in order for conformity of space in themed and systemic ways. The next chapter (the fourth) is the layer of practice, to discus the representational action of social members, who put their various image into the reconstructing spacial practice. First of all, the second chapter focus on the theme park and museum to be construct the symbol of social space of artificial scenery to present "One Root" discourse. In this building process, consuming culture and ideology make use of academic skills to adhere the "One Root" discourse on the symbols of building. The third chapter stress on the systematization of narrative in visual imagine of exhibitions in both theme park and museum space. Description is made on the arrangement of words content for display narrative in logical way, which can shape one consecutive, orderly text for performance. This chapter pay attention on all sorts of text, like company story, legend, display outline, that become an important part of "One Root" discourse in combining different symbols of objects or material in new field by the designs of "refining intention". The former is the technical building; the latter is narrative talking and systematization for arrangement. The fourth embody the body movement and looking practice of visitors and audience in space, to discuss the continual process of symbol reading. Between them, the agency of all subjects is put into the interactive position between knowledge structure and legal order, which will in a sense make agreement of meanings in the end. The conclusion sums up the main points upwards, and reflects what other studies upon my research.In a word, dissertation provides a view from the conception of space into considering the case of locality, shows the interaction among audience, actor and cultural script in practice of space, by two artificial sceneries studies. The finial conclusions are below. Firstly, the cultural performance in both cases present the reading today and structural replacement on the value of "Nation-Home Isomorph". Secondly, the division between actor and audience can be proper replaced by the other conception of "producer" and "consumer". Thirdly, all of subjects in cases are active agencies. They participate actively in the special practice with coding and decoding. On one hand, the constructing discourse is penetrating into various actions of all subjects from top to bottom. On the other, what all subjects are doing are not the passiveness of education and undertaking like Foucault, Debord and Baudrillard, but the receiving and reproducing the meanings of discourse on their own initiative.更多还原