【作者】 杜晓红；

【导师】 陈龙；

【作者基本信息】 苏州大学 ， 戏剧影视文学， 2011， 博士

【摘要】 快感(pleasure)从字面上理解就是愉快、快乐的感觉,主要是指一种感官上的快适和生理上的舒畅感受。快感和身体感觉有关,但又不局限于此。本文在梳理西方快感理论的流变过程中,拟以快感理论的发展流变为经,以不同学科领域的理论家对快感问题的论述为纬,考察美学、精神分析以及文化社会学研究的快感理论。从不同理论视野中的快感概念出发,比较系统地阐述电视文化中的快感理念、生成机制、接受与再生产机制、表现形式以及价值批判等问题,同时也在电视文化研究的理论、内容和方法上进行了一些新的尝试,并且将电视“真人秀”作为个案,分析其快感表征。论文分为引言、正文和结语三个部分,其中正文部分共有六章。“引言”部分概述了快感理论的发展轨迹。略谈古希腊思想家、康德、尼采、巴赫金、弗洛伊德、拉康、罗兰·巴特、杰姆逊、穆尔维和费斯克等人对快感概念的论述,为进一步论述电视文化中的快感问题做铺垫,同时交代了论文选题的缘由、国内外对快感问题的研究现状以及本论文研究的方法和意义。第一章从美学、心理学和文化社会学研究的角度来探讨电视文化中的快感理念。快感与美感的关系问题一直是美学的基本问题。而大众文化的勃兴则导致审美泛化,快感开始取代美感成为审美文化的主角。电视文化正是在这样的语境下承载并体现大众文化对快感的追求。弗洛伊德的精神分析理论进一步肯定了快感是生命本能,劳拉·穆尔维从女性主义的角度探讨了电影的视觉快感与权力的问题。穆尔维的“凝视”理论可以运用于分析电视商业广告对女性形象和女性身体的展示。后现代文化社会学的理论家则将快感置于后现代社会的文化、政治、经济体系中进行全方位的研究。巴赫金描述的狂欢文化的特征在当代电视文化快感中得到体现和强化。在左派理论家看来,快感具有某种颠覆性。娱乐快感与政治话语的关联在中国当代电视文化中存在着更加复杂的张力。在消费社会,快感甚至成了商品化的欲望,快感成为一种经济,这也会在电视文化中加以体现。第二章回答电视文化中的快感是如何生产的。在商品生产主导的社会里,电视机构是快感的生产主体,互文、开放、多义的生产者式文本是意义和快感的潜在体。第三章从接受主体的角度,阐释受众为何以及如何从与电视文本的互动中获得快感。视觉文化的转向和“看”的方式的变革导致人们阅读和思维的浅化,感性快感的解放则使受众对电视文化中的快感的需求增强。因此,具有主体性的受众会在与文本的互动中激活其潜在意义,获取快感。第四章探讨了电视文化中的快感的表现形式,即窥视、游戏、狂欢三种典型形式。第五章以电视“真人秀”为个案,结合具体节目对电视文化中的快感进行阐释和批判。第六章对当下电视文化中放大娱乐功能、解构经典文化、强调身体叙事的快感追求进行了反思与批判,指出如果当代电视文化完全以感官的“快感”置换艺术的“美感”,将会造成审美不适和价值混乱。结语部分,总结全文,概述了电视文化中的快感的积极意义和消极意义。本论文的创新之处在于,首次将电视文化纳入复杂的快感理论的视角下,深入分析其追求感官快乐的机制与表现,从而得出了本论文的主要观点:一、电视文化中的快感的生成与精英文化逐渐式微,大众文化迅速崛起的文化背景是分不开的。正是因为大众文化的工业化生产和世俗化审美促使电视媒体转而关注日常生活,重视感性娱乐。二、电视文化中的快感的生成与电视节目的商品化生产和流通模式是分不开的。追逐收视率,追逐受众注意力资源是当代电视商品化运作的一条基本规律,对利润的追逐促使电视媒体放弃形而上的美感追求而崇尚形而下的感性娱乐。三、娱乐化的快感生产和消费成为当下电视文化的主体,电视娱乐的形式和内容花样不断翻新,快感程度节节攀升。娱乐游戏是人的天性,适当地诉诸于感性快乐,有助于满足好奇心,放松精神,愉悦心灵。但追求快感也应该有个度,如果过度透支娱乐,一味追求感官享乐,节目就会走向低俗和混乱,严重影响电视文化生态的健康与和谐。更多还原

【Abstract】 Pleasure, literally means happy and enjoyment, mainly refer to the indulgence of physical, esp. sexual, desires or appetites; sensual or sexual gratification. Though Pleasure Theory is related to physical feeling, it is far beyond that and has more widely scope. Basing on systematically review of the development of Pleasure Theory and investigation in multidisciplinary research and discovery by expertise in different fields; this dissertation mainly discuss the theory from aesthetic, psychoanalysis and postmodern culture.Through comparative study of explanations and background of the Theory in different fields, we expounded the Pleasure Theory eidos, generative mechanism, receive mechanism, expression pattern and value criticism in Television Culture. Additionally, we attempted to induce innovative idea, content and method into Television culture research. Further, we took reality TV show as case study, dissecting characteristic of Pleasure.This dissertation can be divided into mainly three parts: introduction, main body and conclusion, and the main body include six chapters.The introduction summarized the concept track of The Pleasure Theory development, introduced the explanation of the theory by ancient Greece ideologist, Immanuel Kant, Friedrich Nietzsche, Mikhail Mikhailovich Bakhtin, Sigmund Freud,Jacques-Marie-émile Lacan, Roland Barthes, Jameson.F, Laura Mulvey, Fiske,built up the foundation for further research of the Pleasure Theory in Television culture. Additionally, in which, current research situation from domestic to over sea were briefly outlined and the author’s research purpose, orientation and scope were put forward and also the method, the significance and the application of the research were given.ChapterⅠdiscusses the Pleasure Theory in television culture from mainly three points: aesthetics, psychoanalysis and postmodern culture. The relation between aesthetic and pleasure has always been fundamental to the research. However, the Pleasure gradually becomes the dominant in aesthetic culture instead of aesthetic because of the prevailing of popular culture led by aesthetic extension. Just under such a background, the emerging TV culture supports and expresses the popular culture’s pursuit for pleasure.Accompanied this process, a lot of different research theories sprang out. Freud psychology confirmed that pleasure (sexual) drives as the primary motivational forces of human life; Laura Mulvey was the first one to connect visual pleasure and patriarchy from the female angle, and her“Gaze”theory can be used for analysis of female image and body expression in TV commercial advertisement.The researchers of postmodern culture then comprehensively study the“pleasure”and its connection to postmodern culture, politics and economy.The characteristics of Canivalesque described by Mikhail Bakhtin has been embodied and strengthened in contemporary TV culture. The left- wing theorists think Pleasure has the subversive feature. And in this TV culture, the interaction between entertaining pleasure and political narration appear more complicated stretching force. The Pleasure even become commercialized desire shaping into an economy in mass consumption society, which has been embodied in TV culture as well.ChapterⅡanswers the question that how TV culture Pleasure generated. TV companies are the power house of the pleasure. The producer text with intertextuality、open、polysemy is potential carrier of meaning and pleasure.ChapterⅢelaborates the why and how audients get pleasure from the interaction to TV context from the view of the body of acceptation. The change of visual culture and the reform of Watch lead people’s thinking and reading superficial, and the free of perceptive pleasure from audience results in an increased demand of TV culture pleasure. Thereby, audience, the main body will active the potential meaning of the context through interacting with it and get pleasure.ChapterⅣdiscusses the four typical expressing forms of TV pleasure culture, namely peek, game, revelry and consumption.ChapterⅤthrough criticises present phenomenon that merely following pleasure in TV culture: exaggerating TV’s entertaining function; deconstructing classic culture; emphasizing body narration; and point out that it will result in improper aesthetic and value confusion if sensory pleasure completely replace aesthetic.ChapterⅥtelevision reality show as case study analyzes and criticises the TV pleasure culture according to the various circumstances. Conclusion part summarizes whole thesis and outlines the positive and negative influence of TV pleasure culture.The innovation of this article is a first for studying TV culture on the view of the intricate Pleasure theory, deeply analyzing its mechanism and expression form on pursuing sensory pleasure. Therefore viewpoints are listed as below:The generation of TV pleasure culture is closely related to the historical culture background where elite culture declined and popular culture grew up. It is the industrialized process of popular culture and secularized aesthetic that promote TV media change its focus into daily life and emphasizing on sensory pleasure.The occurrence of TV pleasure culture is inseparable with the commercialized production and circulation of TV program. Seeking after audience rating, going after audience attentive resource is the principle of how TV runs commercially. The pursuit of profit makes TV media gradually give up metaphysical aesthetic and follow up the opposite sensory pleasure.The production and consumption of entertaining pleasure become the main body of the TV culture, which leads to TV entertainment form and context continuously change and pleasure level increase constantly. Enjoy of game and entertainment is human nature, appropriately apply sensory pleasure into TV program could satisfy audience’s curiosity, relax his stress and please his soul. However, there should be a limit to pleasure pursuit. If entertainment goes extremely and sensory is the only aim, TV program will definitely become vulgar and chaos which will severely affect the health and harmony of the TV culture ecology.更多还原