【作者】 张桂芳；

【导师】 仪平策；

【作者基本信息】 山东大学 ， 审美文化学， 2010， 博士

【摘要】 自上世纪90年代以来,中国当代传媒发生了重大的变化,传统媒介开始由大众传播向分众传播转型,以分众传播与互动传播为主的新媒介纷纷崛起。这一变化使得当代传媒与审美趣味之间产生了新的互动模式,其最重要的结果就是促成了审美趣味的群体分化并形成了不同于以往的新型趣味群体。本论文的目的就是探讨传播方式发生转变的情况下当代传媒与趣味群体的关系,揭示趣味群体的生成机制、特征及发展趋势,并通过研究中国当代审美趣味的群体分化与内涵嬗变,来从一个特殊角度审视和研究当代审美文化的变动形态和演变趋向,从而推动中国当代审美文化的健康有序发展。本论文在借鉴前人研究成果的基础上,立足价值中立的学术立场,以客观唯物的学术态度将对问题的分析还原到具体的社会文化背景之中,来探讨当代传媒与趣味群体之间的关系,同时也在特有的历史文化背景下评价其价值和意义。从这个意义上讲,本论文采用的是一种“语境化”的研究方法。在具体的研究策略上,本文借鉴并参考了西方学者如吉登斯的自我认同理论、福柯的“话语”理论、布尔迪厄的“品位区隔”等理论,以便使问题得到更为全面的关照。同时,本论文将整体把握与个案分析也进行了有机结合,力图在宏观透视与个案分析的结合中,寻求理论与历史、形式与内容之间的平衡。20世纪90年代以来,中国内地新的社会阶层结构逐渐形成,阶层身份认同与区隔的要求凸现出来。因为一些社会阶层为新兴阶层,并没有可资借鉴的历史资源,也没有稳定的惯习支撑,于是作为公共话语空间的媒介成为他们获取文化符号用以建构阶层身份的重要选择。与此同时,我国传媒在技术发展、市场竞争和传播理念更新等因素的督促下,也实现了传播方式的转变,从“大众传播”走向“分众传播”,打破了集权式的“一对多”的传播模式,建立起更为平等的“多对多”的传播模式,体现出尊重个性、关注多元、寻求互动的现代观念。反映并满足不同受众群体对不同趣味的需求成为媒介的核心理念。传媒的分众化传播使其在趣味群体的引导和塑造上有了新的机制和特色。它们不约而同地采取了受众定位策略,锁定自己的目标受众群体,进行趣味层面的设定,并建构相应的趣味文化。在这一策略实施中,阶层成为各媒介受众定位的一个重要标准。传媒一方面反映了不同社会阶层的趣味需求,为处于社会结构转型中的人们要求区分但又期望聚合的现代心理提供了美学上的满足。另一方面也通过文化符号反作用于现实的社会阶层,通过命名、规范、提供可以效仿的偶像或样本的方式,再生产甚至型塑了不同阶层的趣味。与历史上其他阶段的趣味群体相比,由当代媒介所型塑的趣味群体具有消费性、时尚性和民主性等特征,这些趣味群体经由消费符号表征其趣味,并遵循时尚的规律更换其象征符号,不同的趣味群体尽管被打上了阶层的标签,但他们并没有不可逾越的界限,群体成员可以自由选择自己的身份归属,不同趣味群体也皆有可能成为趣味领域的主导者。这些特征是由传媒的商业化性质所决定的。从宏观来看,依据审美范式与象征符号的不同,当前的趣味群体类型体现为上层、中层、下层三类。按照媒介的定义,上层趣味群体由高消费、高学历、高收入的三高人群组成,尤其是高消费成为其主要特征。中层趣味群体由所谓小资、中产、白领等新型中间阶层人员组成。下层趣味群体则由文化、经济、组织资源都较少的底层人员组成。这几个趣味群体既是媒介所假定的趣味群体,也最终在媒介的影响下成为存在的现实群体,媒介的受众调查在一定程度上印证了对于趣味传播的有效性。当然受众调查也表明,这个现实趣味群体中的某些成员的社会阶层属性与假定的并非百分百的一致,换句话说,喜欢下层趣味文化的人有可能属于社会上层,而喜欢上层趣味文化的人也可能属于社会下层,但这并不能否定阶层性趣味群体的存在,因为我们这里是从趣味的一致性来界定趣味群体,而非从群体或阶层的一致性来界定趣味群体,阶层性趣味群体所标明的只是趣味群体与社会阶层在总体上的相关性。换句话说,作为阶层性趣味文化的接受主体与逻辑延伸——阶层性的趣味群体仍然是成立的。作为当代传媒最重要的四种形式杂志、报纸、电视和因特网,它们在塑造趣味群体时既表现出相同的阶层化定位倾向,同时在呈现方式、感知方式和内容构造等层面亦有不同之处。其中,杂志作为个人付费媒介在当前的分众化传播程度上是很高的,对营造阶层化趣味群体尤其是中上层趣味群体具有突出的作用。报纸是更为大众化的媒介,但在分众传播方式的影响下,有了市井小报、白领报纸和高端报纸的区别。电视在塑造趣味群体时往往以频道或者栏目为阵地。互联网在技术上所表现出来的交互性、瞬时性、私人性和隐身性催生了一种新的趣味群体生成模式,即“聚合”模式,打破了传统媒体型塑趣味群体的压迫性。趣味群体的出现意味着普通个体审美意识的觉醒,人们开始在审美趣味上自觉地追求差异化,并将这种差异化的审美趣味实践于生活的各个方面。随着趣味群体越来越小众化,相比认同感、归属感,个性化、差异化越来越成为人们的审美追求。而趣味文化的发展打破了原有的以大众文化、精英文化、民间文化、主导文化为主的审美文化格局,更新了审美文化的类型,丰富了审美文化的内涵。媒介一方面促成了趣味群体,另一方面媒介也限制着趣味群体。媒介作为意识形态,它所建构的文化符号是有选择性的,基于趋利避害的本能,媒介更喜欢避开具有政治性的或前卫性的文化符号,同时因为其商业化运作,消费主义的逻辑主宰了其制作和传播理念,往往会偏向选择具有消费特征的符号,如此一来,人们藉以建构审美趣味的文化符号是已经被筛选过了的,看似自由的建构行为实际上只是选择的自由。媒介在此既扮演了文化符号供应商的角色,同时也扮演了操控者的角色。媒介作为物质载体,信息沟的存在使得某些人的趣味得到表现,而另一些人的趣味被隐没。尽管有些趣味群体因媒介而生成,同时也有些现实中本来存在趣味群体,因为无法通过媒介的表达、书写、记录、保存、倡导,从而渐渐在人们的视野中消隐,甚至在现实中也渐渐消失。作为社会个体,只有提高自我的反思能力和趣味水平,识破各种话语诡计和意识形态策略,才能对“心怀鬼胎”的传媒加以有效利用,建构出属于自我的、贴近心灵的趣味样态。本文同意有的学者所提出的观点,即认为在工业后社会,品味文化将不再有高低之别,也跟社会阶层无关,只依据趣味不同而划分出品味阶层。随着技术的进步、经济的发展、全民文化素质的提高,成为真正的趣味(品味)阶层是当前趣味群体的发展趋势,而且这种趋势已经在以网络为代表的新媒介影响下生成的趣味群体中初露端倪。这些趣味群体通过自觉聚合的方式形成,并且摆脱了社会身份的束缚,以更为纯粹的审美趣味作为群体聚合的基础。论文认为,现代传媒已经深深地卷入到我国当前大众的社会文化活动中,甚至于改变了社会的深层结构、人们的生活方式以及个体的自我想象模式等。在这样一个传媒化的时代情境中,人们的审美趣味已经在内容意蕴、表现形成、组织结构、价值功能等层面表现出了不同于以往的特性。要想使趣味群体更为健康的发展,促成一个良好的媒介生态环境也就成为一个相当重要的事情。这项工作的促成已不仅仅是媒介从业者个人的事情,实际上已经成为所有社会个体的责任。只有当每一个社会个体在享受现代传媒所提供的各种文化娱乐信息的同时,也能从封闭而狭小的私人空间中走出来,介入到公共空间中寻求媒介独立、文化自由的活动中时,文化的健康发展和个体的精神自由才可能更好地实现。本论文具有理论和实践两方面的价值意义。从理论价值来讲,本论文力图确立并推进一种“语境化”研究方法,将研究对象还原到其特定的历史时空,在政治、经济、文化等社会因素组成的关系网络中全面、客观地考察对象的内在结构、存在特性和价值意义。如此,就可以摆脱法兰克福学派和伯明翰学派在传媒和趣味研究中的本质主义倾向和二元对立式思维,避免将媒介文化最终解读为纯粹的意识形态和权力斗争空间,正视人们文化需求的多样性以及传媒内部权力关系的复杂性。从实践价值来讲,本论文一方面有利于揭示出当代传媒与审美趣味之间既合作又冲突的多向互动关系,从而为正确评价当代传媒以及传媒文化提供比较中允的参照系统,另一方面,通过对趣味群体特性及其形成机制的研究,使社会个体能对媒体中潜藏的控制性因素有所警觉,从而最大限度地规避来自于权力和商业陷阱的捕捉,最终塑造出适合人性自由生长的美学趣味；同时,本论文立足于文化整体的健康发展,通过对当代传媒与趣味群体之间责任关系的揭示,明确了公共权力、媒介工作者以及普通社会个体在促进文化健康发展中的责任和义务。更多还原

【Abstract】 Since the 90’s of last century, the contemporary media has undergone a major change, traditional media began to transform from mass communication to demassification communication, with interactive new media have spread rise, this change enables the contemporary media and aesthetical taste create a new model of interaction, the most important result of the change is that it contributes to the differentiation of taste and forms new taste groups, which is different from the previous groups. The purpose of this paper is to discuss the relationship between media and taste in the interactive and demassification communication period, and reveal the formation mechanism, characteristics and trends of taste groups. Through the study of group differentiation and the content evolution of Chinese contemporary culture, to study changes in morphology and trend of evolution on contemporary aesthetic cultural from a special perspective, so as to promote chinese contemporary aesthetic culture healthy and orderly development.In this paper, drawing on previous research achievement,I analyze the problem with objective academic attitude in the specific social and cultural background based on the neutral academic value point, explore the relationship between media and taste groups, and evaluate their value and significance in the unique historical and cultural backgrounds. In this sense, this paper adopts a "context-oriented" approach. In the specific research strategy, the paper references to Western scholars’theory,such as Giddens’s self-identity theory, Foucault’s "discourse" theory, Bourdieu’s "taste distinction" and so on, so that the problem can be cared more comprehensively. Besides, this paper takes the combination of overall and single case analysis, attempts to reach the balance between form and content, theory and history.Since the 1990s, a new social class structure was evolved in mainland of China, class identity and distinction became more clearly. Because some stratums of society are new emerging classes, they can’t learn from history resources, and haven’t a stable habit support. The media has been their choice to get cultural symbols to construct the social status. At the same time, transmission mode of China’s media has been updated because of the technology development, market competition and the spread of new concepts, from "mass communication" to " demassification communication ", breaking the mode of communication authoritarian style of "one to many", and establishing a more equal" many to many ". This embodies modern concept that respect for individuality, pay attention to diversity, seek an interaction. Reflecting and meeting the different tastes of different audiences became the core of the media philosophy.Demassification communication of the media forms a new mechanism and characteristic to lead and shape the taste groups. They unanimously adopted a strategy of audience positioning, locking their target audience groups, to set the taste level, and construct the corresponding taste culture. In the implementation of this strategy, class became an important criterion for the audience targeted. On the one hand, the media reflects the tastes demand of different social classes, satisfying people’s aesthetic demand in the social structure transformation that people want to be difference but expect to the polymerization. The other hand, the media affects the reality social class through the cultural symbols, such as name, specifications, providing idols or samples, reproduction and even shaping the different levels of taste.Compared with taste group in other phases of history, modern media forms taste group with the consumer, fashion and democratic characteristics. The consumption of symbolic represents their tastes, and they follow the laws of fashion to replace theirs symbolic symbols. Different taste groups are marked with class labels, but they are not insurmountable boundaries. Group members are free to choose their own identity attribution, and different groups are also possible to become taste leader. These characteristics are decided by the nature of the commercialization.In a macro view, there are three taste group types based on aesthetic paradigm and the different symbols, which are the middle, the lower and the upper class. Upper taste group is consisted of some people who are high-spending, highly educated, and have high income.Particularly high consumption is its main feature. Middle taste group is composed of so-called petty bourgeoisie, the middle class, and the white-collar and so on. The lower taste group is consisted of some people who have few cultural, economic, organizational resources. These taste groups are assumed by the media, and finally they become a reality under the influence of the media. The media audience survey confirms the effectiveness of taste transmission in a certain extent. Of course, audience survey also showed that some members’ status of the group in the reality are not consistent with the assumption totally, in other words, some people of upper class like the lower taste culture, but some people of lower class like the upper taste culture, but this cannot deny the existence of taste groups. Because we are here is to define taste groups from the consistency of taste, rather than from the same group or class to define the taste groups, hierarchical taste groups is just indicated taste groups and social classes in general relevance. In other words, as a main acceptance part and logical extension of classes taste culture, hierarchical taste groups is still valid.In modern media, magazines, newspapers, television and the internet are four important modes, which exhibit the same tendency of stratification position in shaping the taste group, however, while there are difference in the presentation, perception approach and content structures. Among them, magazine as an individual payment media is in the current demassification communication in a high degree and particularly plays a prominent role to create middle and upper taste group. Newspapers are more popular medium, but under the influence of mode of demassification communication, newspapers of the streets, reading by white-collar workers and high end became different. TV shapes the taste groups through channel and programs. Internet with interactive, transient, private and invisible nature creates a new generation model of taste group, named "polymerization" mode, breaking the traditional media oppressive nature.The emergence of taste groups means the awakening of aesthetic consciousness for normal individuals. People began to consciously pursuit differentiation of aesthetic taste, and apply the aesthetic taste in practice in all aspects of life. As taste groups becoming smaller, compared with identity and sense of belonging, personalization and differentiation becomes more and more important for people’s aesthetic pursuit. The development of taste culture broke the mass culture, elite culture, folk culture, the dominant culture based aesthetic cultural patterns, updated the type of aesthetic culture, enriched the aesthetic culture.On the one hand, the media contributed to the taste group. On the other hand,the media is also limit taste group. As ideology, the cultural symbols created by the media are selective. The media prefer to avoid political or avant-garde cultural symbols based on getting profit and avoiding loss of the instinct. Besides, because of its commercial operation, the logic of consumerism dominates its production and communication ideas. It often tends to choose symbols with consumption characteristics, so cultural symbols of aesthetic taste which the people in order to construct is already filtered, and in fact, the construction acts just have the freedom to choice. The media not only played the role of supplier of cultural symbols, but also played a role of controller. Media as a physical carrier of information makes some people’s taste show, but others not. Although some taste groups are generated by the media, some real taste groups gradually disappeared in people’s field of vision which cannot showed through the media’s expression, writing, recording, preservation, advocacy. As a social individual, we need to enhance the ability of self-reflection and taste level, to see through all kinds of tricks and ideological discourse strategies of media in order to build the taste mode that belongs to self-confident and close to our mind.This paper agree the view putted forward by some scholars that there will be no high level and low level cultural taste in post-industrial society. It has no relation with social classes, and they are different segments because of different taste.As technology, economic, and people’s cultural qualities development, becoming a real taste class is current trend, and this trend is seen in under the influence of network representing the new media. The taste groups are generated through conscious polymerization that are free from the shackles of social identity and based on purely aesthetic taste..Thesis think that the modern media has been deeply involved in Chinese current social and cultural activities, and even change the deep structure of society, people’s lifestyle and individual modes of self-imagination. In an era of media context, people’s aesthetic taste has meaning in the content, the performance of the formation, structure, function and other aspects of the value shown characteristics different from the past. To make a more taste groups of healthy development, contributing to a good media environment has become a very important thing. This work led to media practitioners, in fact, has become the responsibility of individuals in all societies. Only when each individual of a society in the enjoyment of a variety of cultural entertainment information that modern media offer while can come out of intervention into public spaces and search cultural activities free, the healthy development of culture and individual spirit of freedom is possible to achieve better.In this paper, there is both theoretical and practical significance value. From the theoretical point, this paper seeks to establish and advance a research methods named "context", which is to put object to its specific historical time and space, and examine the internal structure of the object and exist meaning and value of properties comprehensively and objectively in related net which is composed by political, economic, cultural and social factors.So, you can get rid of the essentialism tendencies and dualism thinking of the Frankfurt School and the Birmingham School in the media and taste study, avoid the media interpreted as a struggle space between pure ideological and power, and face to the diversity of people’s culture needs and complex relations within the media power. At the practical value point, this paper not only reveals the relation of multi-directional interactions which is both cooperation and conflict between the contemporary media and the aesthetic taste so as to provide better the reference system to evaluate contemporary media culture and the media. Besides, individuals can be alert to the potential controlling factor of the modern media, avoid the power and commercial traps from the capture, and shape the final mold suitable aesthetic taste which is fit for the growth of human freedom.In the same time, this paper is try to make responsibilities and obligations clear for the public power, media workers, and ordinary individuals in society through revealing the relationship between the media and taste groups based on whole healthy development of culture.更多还原