【作者】 刘莹；

【导师】 冯毓云；

【作者基本信息】 哈尔滨师范大学 ， 文艺学， 2013， 博士

【摘要】 “文化政治”是一个后现代概念，是一种微观的政治。它回应了20世纪60年代以来西方社会的深刻变迁。“政治”开始超越社会解放和阶级革命，广泛地渗透在当代的文化艺术实践中。与宏观的社会政治相对，文化政治是一种文化领域的微观政治诉求。指文学、绘画、音乐、摄影、影视等文化形式，乃至日常生活都是意识形态和权利斗争的重要场所，都具有政治性。与此同时，西方文艺理论出现了明显的政治化倾向，解构主义之后的文论几乎都强调了文化政治的言说。这是一个值得关注的现象。这也引起了加拿大后现代理论家琳达·哈琴的关注，她对后现代主义文化政治问题给出了自己独特的阐释。本论文研究哈琴的后现代主义文化政治思想，认为她是用文学策略的方法来把握和理解文化政治的总体特征的。在哈琴看来，悖谬性、双重编码、历史再现、戏仿、反讽、语像跨界等文学领域的策略契合了后现代文化政治的批判模式。也就是说，后现代文化艺术实践的政治性主要是以文学策略的形式传达的。正是这些策略暴露出任何文化实践下都隐藏的意识形态与权力的潜文本。论文共分为六章。第一章介绍哈琴文化政治思想的视域、渊源及理论模型。首先介绍文化政治出现的时代语境，梳理文化政治概念的缘起与发展脉络。其次，追溯哈琴文化政治思想的理论渊源。哈琴的后现代文化政治的思想来源丰富，受到过多种理论学说的影响,但最主要的还是汲取了德里达的解构主义文本观、福柯的后结构主义的话语观和历史观以及海登·怀特的后现代历史叙事学的精华,它们相互交织构成哈琴整个后现代主义文化研究的理论基石。此外，哈琴的研究有她自己独特的理论模型，那就是后现代主义建筑。她从后现代建筑这种文化实践中获得灵感，以后现代建筑师波多盖希和詹克斯理论为基础，建构了自己的理论模型。哈琴文化政治思想的许多核心概念都得益于这一艺术形式的启示。第二章论述了哈琴后现代文化政治思想的核心。即：她认为后现代主义政治是一种基于悖论性的“妥协的”或“两面性”的政治学。表现在后现代政治实践无法摆脱它所试图颠覆的体系。它与所要批判的事物之间的关系是“既合作又批评”、“既利用又颠覆”的。因此，后现代主义的政治模式是“共谋性批判”的，也就是从所要反对的事物内部对其进行质疑和颠覆。后现代文化政治破除了非此/即彼的二元对立模式，主张对待历史和现在都采取了兼容式的、多元共生的态度。第三章与第四章集中论述后现代文化政治的两大策略。即哈琴认为后现代文化政治最重要的实践策略是后现代“戏仿”和“反讽”。本章具体分析了哈琴的“戏仿理论”。哈琴认为戏仿是后现代主义政治典型而有效的实践策略。这种原为文学中的策略不仅被运用于后现代小说，同时还广泛出现于后现代摄影、建筑、绘画、音乐和影视中。后现代艺术中的戏仿不再是现代主义纯粹内向性的自恋互文，而是一种具有“双重编码”再现方式的文化政治策略。双重编码使后现代戏仿既自我指涉又指向世界，通过反讽式的嘲弄，实现质疑与批判。第四章解读哈琴的后现代“反讽”理论。哈琴认为反讽是今天文化政治的得当的策略。后现代的反讽不同于传统意义的反讽，它已经成为后现代艺术家在晚期资本主义条件下干预社会的一种新的文化政治策略，具有批判性的锋芒。只不过在文化文本中，戏仿的意义更为错综复杂而具有“风险性”。在后现代文化艺术实践中，反讽的运作模式是“双重言说”和“共谋性批判”的。第五章与第六章论述具体的文化艺术实践中，如后现代小说、摄影与电影中的政治意识问题。第五章主要讨论后现代主义小说对历史再现的质疑与政治介入。哈琴将具有鲜明后现代主义特征的小说称之为“编史元小说”或“历史编纂元小说”。这是她首次提出的概念，认为它是后现代主义小说的典型形式。“编史元小说”是充满矛盾的流行作品，它悖谬的再现模式体现了独特的文化政治意识。本章将论述编史元小说的历史再现机制，指出它们是通过反讽和戏仿对历史再现真实性这一问题进行质疑。以两部具体文本为例，分析其蕴含的政治介入。第六章分析后现代摄影与银幕中的政治意识及其表现方式。摄影在后现代时期表现为一种观念艺术。它质疑了纪实摄影的客观中立性。哈琴特别关注的是当代摄影中那些将文字与图像结合的作品。这种包含两个不同描述系统的再现方式具有一种张力，有效地表达了艺术家的批评意识和主张，揭示了现实生活中的意识形态与权力的运作。戏仿在摄影中的运用也为其带来了显而易见的政治蕴含和批评意识。本章还分析了后现代电影文本的再现方式。与编史元小说类似，作为视觉文本的电影利用“元电影”与戏仿和反讽的策略使电影具有建构人们意识形态的作用。结语部分总结哈琴的理论成就及其思想中的问题与争议。哈琴对后现代文化政治做了独特的阐释：她从文学的角度进入政治，从艺术实践出发，还原了后现代主义的真实面貌，为我们客观冷静的认识后现代政治的矛盾性及两面性提供依据。哈琴的思想在当今后现代主义备受争议的语境下，不失为一种建设性的思考。然而，对于后现代政治是否终止于不偏不倚的妥协的文化政治，哈琴却没有给出答案。后现代主义未来的发展方向又如何呢？这将是我们需要继续思考的问题！更多还原

【Abstract】 “Cultural politics”is also called micropolitics which is a postmodern concept. Itechos the great change of the western world since the1960s.“Politics” began toinfiltrate largely in contemporary literaturary and artistic practices. In contrast withgrand social politics, cultural politics is a micro political appeal in the cultural domain.It means almost all cultural forms, such as, fiction, painting, music, photography andfilm, are political. All of them are the fighting fields of ideology. Meanwhile, thewestern literary theory also began to be politicalized. The literary theories afterDerrida’s Deconstruction emphasized much on the cultural political appeal. This trendneeds to be payed attention.Linda Hutcheon, the Canadian female postmodern theorist,was also ware of this important turn, and put forward her unique ideas and theories oncultural politics.This dissertation attampts to study Hutcheon’s cultural politics idea. And raise thepoint that she grasped the character of postmodern politics through the perspective ofliterary strategy. According to Hutcheon, the literary tactics such as, paradox, double-coded, history presentation, parody, irony, text-image border tension matchs the criticalmode of postmodern cultural politics.That is to say, these strateges helps to reveal thehidden text of ideology and Power.The thesis consists of six chapters. Chapter1introduces Hutcheon’s theoreticalvision, theory source and her research model for postmodern politics. Firstly, thischapter introduces the historical context of cultural politics, and traces back thedefinition and development of cultural politics. Secondly, Derrida’s deconstructiveoppion of text, Foucault’s post-structuralist understanding of power and discourse,White’s new historical narratology give influce on Hutcheon’s cultural politics idea.Furthermore, Hutcheon’s postmodernism got the inspiration from postmodernarchitecture theory and practice represented by Jencks. It provided the modol forHutcheon’s cultural politics research. The principal concepts in Huctcheon theory arebased on this model.Chapter II mainly discusses the core of Huctcheon’s cultural politics ideas. According to Hutcheon, postmodern politics is the “politics of ambivalence” whichmeans it could not dispense the system it attampts to subverse. The relation between itand its opposite side is both cooperation and criticism. Therefore, its compromisedstance makes its model complicitous critique. To subverse the opposite in the oppositeside, postmodernism employs both/and instead of either/or thinking model andadvocates the pluralism and ambivalence political attitudes.Chapter III analized Hutcheon’s theory of parody. In Hutcheon’s theory, parody isthe important strategy for postmodern political practice. As a literary tactic, parody isapplied not only in literature but also largely in photography, painting, architecture,music and film. Postmodern parody is not modern narcissistic self–reference any more.Instead, it is a doubly-coded cultural political strategy. Double-coded model enablepostmodern politics to be both inward to art world and outward to the real world.Chapter IV studies Hutcheon’s theory of irony. Besides parody, irony is anotherliterary tactic which Hutcheon emploied to study the cultural politics. She argues ironyis a appropriate strategy for postmodern politics. Being different from the traditonalirony, with its edge, it has already become a political practice which postmodernistutilize to social intervention. Merely, in today’ s cultural text, irony’s meaning is morecomplex and risk-taking. In postmodern artistic practice, irony operates doubly-codedwith complicitous critique.Chapter V studies the cultural political representation in the form of historiographicmetafiction. Hutcheon defines those fictions with distinct postmodern character ashistoriographic metafiction which is the representative form of postmodern fiction.Historiographic metafiction is the popular fiction in the paradoxical form which reflectsunique political consciousness. This chapter studies the historical representation andpolitical intervention of historiographic metafiction.Chapter VI analizes the political representing of postmodern photography and film.Photography in postmodern time is a part of concept art which subverses the objectiveprinciple of documentary photography. Which arouse Hutcheon’s concern most is thosephotoes with text in them. The text-image border tension expresses the artist’s criticalpropersiton effectively and reveals the ideology and power operation. Furthermore, theappllication of parody in postmodern photography also helps to bring about the criticalconsciousness. This chapter also studies the political representaion in postmoern film.Being similar to historiographic metafiction, parody and metafilm makes thepostmodern film political.The conclusion part summarized Hutcheon’s theoratical achievements as well asthe weak points. Hutcheon’s contribution is that she made unique illustration onpostmodern cultural politics. Through the angle of literary tactics and artistic practice,she presents the evidence for us to recognize the ambivalence and pradox ofpostmodernism objectively and soberly. Hutcheon’s cultural politics idea is regarded asa constructive contribution for the “controversial” postmodernism. However, willpostmodern politics stop at that ambivalence and compromise position? The solutionneeds to be explored.更多还原