【作者】 胡蝶；

【导师】 阎峰；

【作者基本信息】 上海交通大学 ， 传播学， 2011， 硕士

【摘要】 文化地标构建的兴起是近年两岸许多城市的普遍现象,但对其认知、认同的模式、背后的社会意识运行的机制的研究甚少。因此,本文选取在两岸具有较高文化影响力的台北誠品书店与上海的季风书店作为研究对象,运用当代社会文化理论,通过对46位受访者进行深度访谈与焦点小组访谈等实证方法并进行了比较研究分析。研究发现,诚品通过构建后现代社会的“消费大教堂”形象,满足消费者体验生活美学、晋身全球精英序列、提升自我品味与享受优质服务四大消费动机,在全球精英想象与本土文化体认感的张力中,达到了较高的认同。季风则构建了一个上海“文化高地”,满足了消费者享受优质环境、晋身都市精英、同情民营书店身份、忧心重商文化四大消费动机,并赋予消费者都市精英想象、草根力量的认同感。本研究的创新之处在于,采用实证研究方法、结合文化分析理论来诠释了当代中国城市文化地标背后的复杂社会意识形态。本文认为,文化地标不只是一个地理标志、文化景观,而且是一个指示和象征城市文化、参与和建构城市生活风格、同时充满各种阶层冲突,社会权力争斗的城市生活空间。通过消费者主动的文化消费实践,城市文化地标在全球化语境中具有作为倡导文化主导权、抵抗消费主义和文化殖民主义的重要场域。更多还原

【Abstract】 The construction of Cultural Landmark is a prevailing phenomenon in cities both in Mainland China and Taiwan, but the research of the cognition, identification and the mechanism of the social ideology behind it are little. This study chose Eslite and Jifeng as cases for their great cultural influence, and conduct a comparative study in use of cultural study and empirical approaches such as in-depth interviews and focus group interviews with 46 respondents in total.This study shows that Eslite Bookstore, through establishing the image of a―Cathedral of Consumption‖in post modern society, produced the four biggest motivation of consumers -- experiencing life aesthetics, joining global-elite, upgrading self-taste and enjoying high quality services– and reached high recognition in the leverage of the imagination of global elite and the experience of localness. Meanwhile, through the established image of Shanghai―Cultural highland‖, the customers of Jifeng Bookstore are satisfied with the enjoyment of high-quality environment, the participant of urban-elite, the sympathy of private bookstore and the concern of mercantilism. Customers of Jifeng identified with the imagination of urban-elite and grassroots strength.The innovation of this study is the usage of empirical research method, combining the cultural study theory, which interpreted the complex social ideology behind contemporary Chinese city cultural landmarks. This study reached the conclusion that cultural landmark is not just a geographical indication, nor a cultural landscape, but a living space that indicates and symbolizes city cultural, helps constructing city lifestyle and is full of class conflicts and social power struggle. Through the customers’active practices of cultural consumption, city cultural landmarks can be regarded as important fields of advocating cultural hegemony, resisting consumerism and cultural colonialism in the globalization context.更多还原