【作者】 马广利；

【导师】 方汉文；

【作者基本信息】 苏州大学 ， 比较文学与世界文学， 2008， 博士

【摘要】 本文追溯了西方文化霸权理论发展历程,在梳理西方文化霸权理论的流变过程中,拟以文化霸权发展历程为经,以不同时期有代表性的理论家作为纬,考察了葛兰西、法兰克福学派、福柯、萨义德等文化霸权理论,对有关文化霸权大量的史实资料进行了梳理。从文化霸权的渊源角度出发,比较系统地阐述了文化霸权的渊源、性质、内容与方法等问题,不仅再次界定文化霸权,同时也对文化霸权研究的理论、内容和方法上进行了一些新的尝试,同时就文化霸权控制下的印度文学、美国黑人文学和西方视野中的中国形象进行了个案研究,指出文化霸权的危害性。论文最后一部分就中国文化语境中抵制西方文化霸权提供了策略,给文化霸权研究提供了新的视角。论文分为引言、正文和结语三个部分。其中正文部分有四章。“引言”部分概述了后殖民批评中文化霸权的发展轨迹。略谈葛兰西、法侬、福柯、萨义德、斯皮瓦克和霍米·巴巴等的文化霸权观,为进一步论述做铺垫。同时综述了国内外对文化霸权理论的研究,并给出本论文的创新点。“第一章文化霸权的起源和深化”葛兰西的文化霸权、法侬的后殖民批判以及法兰克福学派的后殖民批判构成了文化霸权的缘起。文化霸权起源于葛兰西,本论文从三个方面详细探讨葛兰西的文化霸权理论。指出:实践哲学是葛兰西文化霸权的理论基础、国家构成理论是葛兰西文化霸权理论的前提、政治权力理论是葛兰西文化霸权理论的核心内容。作为后殖民早期代表的法侬,开启了从文化视角对殖民主义进行批判的传统,他认为殖民统治所带来的白人统治、文化侵略和种族歧视,给黑人尤其是黑人中的知识分子以严重的文化异化,他们的内心中有着惊人的而又难以言表的心理创伤和心理扭曲。进而法侬提出了反殖民主义斗争策略。在法兰克福学派文化工业批判一小节中,指出法兰克福学派文化工业的批判内容:文化工业受满足“大众”需要的商业力量所操纵,以娱乐消遣为目的,丧失了作为艺术本质的否定与超越精神,艺术技巧依赖于机械技术,作品内容和风格雷同,没有艺术价值。凭借对媒体的垄断,文化工业控制了大众日常生活直至内心意识,取消了个体的批判精神和否定意识,使之成为“单向度”的人,现代资本主义国家通过文化工业进行意识形态控制,巩固自身统治。第二节文化霸权的发展。在这一节中,首先分析了福柯的权力话语。贯穿于福柯哲学的是权力问题和主体问题。福柯堪称是最重要的权力理论家。福柯关注的问题是,权力是以怎样的方式造就了形形色色的主体形式的。主体完全受制于权力的锻造,屈从于权力,无时无刻不在被规训和造就,它只能是“驯服的身体”。第一小节通过福柯的两部作品《认知意志》和《疯癫与文明》来探寻福柯的权力话语。萨义德的东方学是后殖民批评发展的顶峰代表作。他与斯皮瓦克、霍米·巴巴被尊称“神圣三剑客”他们都发展了文化霸权的理论,在这里,我通过萨义德的东方学、斯皮瓦克的属下能发言吗?和霍米·巴巴的混杂理论与第三空间理论来探讨文化霸权的持续发展。在后殖民主义看来,随着殖民地的纷纷独立,传统的殖民时代已成为历史。然而,帝国主义的殖民性仍然滞留于殖民地。虽然他们已经不再以大规模武装侵略方式对东方世界进行掠夺和奴役,但他们在世界政治、经济、文化交往中仍然处于中心位置,主导着世界,东方各国则处于世界的边缘和被决定的位置。只要拥有经济强势而又企图把自己的思想文化意识强加于人的国家和民族,就会产生文化霸权,就会使其他民族文化受到伤害,引发异文化之间的矛盾和冲突甚至是战争。在本章第三节中,我列举了汤林森的文化帝国主义;富山的历史终结论;亨廷顿的文明冲突论,探讨他们理论对文化霸权理论的深化和他们理论本身的优缺点。“第二章文化霸权的特征”首先文化霸权具有意识形态性。意识形态对不同的的阶级、群体具有建构作用;对他者具有想象、书写、描绘的功能。在葛兰西和福柯的启发下,后殖民理论对于西方对东方民族的文化、意识形态建构和虚幻想象进行了全方位的探索和揭露,在一定意义上说,是对意识形态理论的丰富和发展,也为后发展国家认清西方意识形态本质,拓展了新的视野,增强了防范意识。文化霸权的第二个特征时“他者”的双重结构。后殖民主义的一个很重要的特点是批判帝国主义和欧洲文化中心论。在后殖民主义研究一个最具特色的领域是是“本土”与“他者”的研究。本土和他者是相对的,它会随着参照物的不同而改变。在西方,西方就是本土,东方也就是“他者”。在东方,东方是本土,西方就成了“他者”。只要存在本土,就肯定不可避免的存在“他者”而且这二者之间不可避免地发生各种各样的关系。知识分子在文化建构和抵制文化霸权过程中起到至关重要的作用,他们的双重职守在于守护理想和消解权威。文化认同,就是指对人们之间或个人同群体之间的共同文化的确认。人们之间在文化上的认同,主要表现为双方相同的文化背景、文化氛围,或对对方文化的承认与接受。伴随现代性而来的强势文化扩张和文化霸权,造成了文化秩序破坏和文化生态的失衡。现代性在催生“世界历史”的同时,又伴随着经济扩张、政治殖民化和文化霸权。强势文化对主流话语的垄断、对弱势文化的挤压以及强势文化与弱势文化的不平等关系,都使原有的文化格局被迫重组,人们的文化认同特别是基于弱势文化的认同遭遇到前所未有的挑战。这时,文化认同问题的提出,是对文化霸权的抗争,也是对弱势文化生存权的维护,是对文化多样性的呼唤“第三章‘他者形象’:文化霸权中的文学实践。在这里我探讨文化霸权影响下的印度文学和美国黑人文学。同时研究西方视野中的中国形象。西方殖民主义话语体系是随着西方的殖民扩张建构起来的,欧洲中心主义、西方先进思想、白人优越论等是殖民话语的重要内容。西方殖民者将受殖者看作是没有思考能力和自我意识的他者,常常以西方人的价值尺度来衡量东方人:原始、落后、愚昧、肮脏等集一切因素之大成。这种东方视角的设定是一种文化霸权的产物,有着深厚的殖民主义侵略扩张的背景。在全球化时代,由于作家身份的改变、英语的普及和现代性发展,印度的传统文化正在日趋消亡,甚至被看成是一种低劣于西方的文化。在美国这个多元文化共生、西方文化占主导地位的社会里,黑人文化与文学长期只能在边缘徘徊,无法跻身主流学术界。这一处境与黑人在美国社会的政治经济地位的低下,奴隶制残余思想的影响,以及主流学术界西方文化优越论的统治,都有一定的原因。中国之于西方,是作为异质文化来接受的。西方关于中国形象不管是积极的、正面的、肯定的,还是消极的、反面的、否定的,都不是中国形象的真实情形,而是掺杂了很多想象成分,是西方欲望与恐惧的产物。当描述中国幅员广阔,物产众多,遍地财富,到处城廓时,他们也在展现自身的缺憾,并表达自己的某种期待欲望。同样,当谈及中国荒芜颓败、野蛮愚昧时,也显示出自身的那份种族和文化优越感。可以说,西方作家看中国,总存在着一个认识视角问题,而他们的视角又受其文化追求、文化理想以及观念主张所决定。不论他们对中国的态度是肯定还是否定,是赞扬还是贬斥,都是他们自己立场的展示,与中国的实际情况关系不大。中国只不过是他们表述见解的一个载体和契人点。“第四章中国如何应对西方文化霸权”中国是一个发展中的大国,同时也是一个正在崛起的社会主义国家,由于在文化、意识形态、社会制度、国家利益等诸多方面与西方发达国家存在着较为明显的分歧,自然而然地成为某些霸权主义国家进行文化渗透和文化颠覆的主要目标之一。这就决定了中国在新世纪必然面临严峻的文化安全挑战。面对西方通过广告、商品、英特网、语言和新闻信息等向我国输入西方文化,我们要有着清醒的头脑。首先要坚持马克思主义的指导地位,以海纳百川的态度对待不同文化。弘扬忧秀的民族文化传统,保持鲜明的民族文化特色,推进文化创新。结语部分:总结全文,概述了殖民主义的终结及其影响,深化本论文的主要观点。本论文的创新之处在于对后殖民批评理论策略研究中的文化霸权进行了全面的梳理和分析,并结合“他者形象”:文化霸权中的文学实践研究,从而得出本论文的主要观点:1、文化霸权理论的缘起是一个有机的过程,它起源于葛兰西的文化霸权理论,法侬的后殖民批评理论和法兰克福学派的文化工业批判给它的缘起注入了活力。福柯的权力话语和后殖民“神圣三剑客”的理论是文化霸权理论发展的顶峰阶段。汤林森的文化帝国主义、富山的历史终结论和亨廷顿的文明冲突论进一步深化了文化霸权理论。由此,可以清晰的看到文化霸权的发展之旅。2、在对文化霸权深入研究的基础上,概括了文化霸权的几个主要特征:意识形态性、他者、知识分子和文化认同。3、通过对印度文学、美国黑人文学和中国形象的文学实践研究,指出随着殖民地的独立,帝国主义的殖民性仍然滞留于殖民地。西方文化仍处于中心位置,主导着世界,西方殖民者常以西方人的价值尺度来衡量东方人,这种东方视角的设定是一种文化霸权的产物,致使东方各国的文化处于边缘的地位。4、面对霸权主义国家对中国进行文化渗透和文化颠覆,新世纪中国文化安全面临严峻的考验,在此,我分析了西方文化殖民的种种形式,并提出了维护中国文化安全的对策。更多还原

【Abstract】 This dissertation has traced back the development of wesern culture hegemony to explore the main principle strategy of Gramsci, Frankfurt School, Foucault, Said etc.on culture hegemony. With representative theoreticians in different periods as latitude and the course of development as longitude, this dissertation has elaborated the problems such as method, nature, content and the origin of culture hegemony fairly systematicaly from the angle of dynamic development, not only by clarifying some mistakes on traditional research,but making some new discoveries on the theory,content and method of culture hegemony. At the same time,the dissertation discusses the Indian literature, Afro-American literature and Chinese images under the influence of culture hegemony .In the last part of the dissertation, the author offers the strategy on how China deals with culture hegemony and gives a new visual angle to culture hegemony study.The whole dissertation is composed of four parts.The introduction part has generally been stated the survey of culture hegemony of post-colonial criticism and told the viewpoints of representive theorists on culture hegemnoy as prepartion for further discussion. The author also summarize the domestic and international research in this field and give his innovation.In the first chapter, the dissertation discusses the origin of culture hegemony .The author thinks the theory of Gramsci,Fanon and Frankfurt school are composed of the origin of culture hegemony. The author talk about Gramsci’s theory of culture hegemony from three aspects: 1.Pragmatic philosophy is the foundation of Gramsci’s culture hegemony.2.The theory of nation compsoition is the logical premise.3. Political power is the core. As the early representative of post-colonialism,Fanon opens culture visual angel to criticize colonialism. He thinks that the white dominance, cultural aggression and racial discrimination brought by colonial dominance give Blacks especially the black intellectuals serious cultural alienation, and there are astonishing psychological wound and twisted psychology that is hard to speak in their hearts,so he puts forward struggle strategy on colonialism. Frankfurt school cultural industrial criticism thinks: Cultural industry satisfies the needs of "the masses" controlled by commercial strength,and people are taking amusement pastime as purpose and lost the essence as art negate and surmount spirit, artistic skill relies on mechanical technology, and has no artistic value. Relying on the monopoly for medium,cultural industry controls popular daily life till heart consciousness, canceles the criticism spiritual and negative consciousness of individual, and makes it become " one dimensionac man ",modern capitalist nations carry out ideology control and solid self dominance through cultural industry.In section two, the author analyses Foucult’power discourse from his two works: Folie et deraison and HistoiredelaSexualitéto explore how power shapes different main bodies. Said’s Orientalism is the peak representative work of post-colonial criticism. I go on discussing the coninuing development of culture hegemony through Said’s Orientalism, Spibak’ Canthe SubalternSpeak? and Homi Bhabha’s The Location of Culture.With many nations’independence, the traditional colonial situation has ended,however, the colonialism of imperialism is still in central location in world political, economical and cultural communication,it dominates the world, the eastern countries are in the edge of world. Culture hegemony can be produced when the stronger imposes his ideological cultural consciousness on the weaker. Here the author lists Tomlinson’s Cultrual Imperialism,Francis Fukuyama’s The End of History? and Huntington’s Clash of Civilizations to discuss their advantages and disadvantages.In the second chapter,the author sums up the main featuresof culture hegemony .First culture has the feature of ideology. Ideology can help to form different class and group, and has the function of imagining, writing and depicting. The second feature of culture hegemony is the double construction of "other ". The "other"is a very important concept in the theory of post-colonialism. It comes from the philosophy of Hegel and that of Sartre. The culture identitiy of "other"is actually a double construction process, which originated from the influence of the Western centralism and from the "other"of non-Western culture’s participation,like China. Therefore, we should emphasize an equality dialogue attitude for the communion and development of both sides. Intellectuals play an important role in building culture and resisting culture hegemony,and their double role lies in defending ideal and clearing up authority. Cultural identification denotes the confirmation of common culture among people or groups. With the expansionism of the strong culture and culture hegemony, it has caused the damage of culture and the unbanlance of culture ecology .The monopoly of strong culture imposed on weak culture and the unequal relation between them has made original culture reconstrcution and unprecedented challenge, Cultural identification is the resistance to culture hegemony, the maintenance of survival right for weak culture and the call for multi-cultures.In the third chapter,the author discusses the Indian literature and Afro-American literature and Chinese images under the influence of culture hegemony. The system of western colonial discourse is going along with western colonial expansion, European centralism, western advanced idea and WASP (White Anglo-Saxon Protestant) etc. are the important content of colonial discourse. Western colonialists regared the people in colony as"other"without the ability of thinking and self consciousness,they often measure eastern people with the western measure of value as: original, backward, ignorant, dirty etc. This kind of eastern visual angle is the production of cultural hegemony,it has deep background of colonial aggression and expansion. In global times, as the change of writer identity,the popularization of English and the development of modernism, the traditional culture of India is dying out day by day and has even been regarded as a kind of culture that is inferior to the West. In America, western culture takes leading position, Afro-American culture and literature can only be wondering on edge for a long time, it can not ascend the academic circle of main stream. This situation and the political economic position of Black in American society is connected with the influence of slave system as well as the academic dominance of western cultural superior theory. China is accepted as different culture. No matter how Chinese images in the western eyes is positive or negative, it is not the truth about Chinese images, it is adulterated imaginary composition, it is the production of western desire and fear.In the fourth chapter,the dissertation discusses how China deals with culture hegemony .China is a developing country, it is also a socialist country,it has become the main target of culture infiltration and subversion carried by western great nations, because of relatively obvious bifurcation such as culture, ideology, social system and national benefit. This has decided that China will inevitably be faced with stern cultural safe challenge in new century. Facing the input of advertisement, merchandise, internet, language and news information etc., we should have clear mind. First, we should insist the guidance position of Marxism , widely absorb different cultures, promote good national cultural tradition,keep the national cultural characteristic and carry cultural innovation forward.The last part presents the conclusions and main arguments of this dissertation,it also have stated the end and influence of colonialism.The innovation of this dissertation lies in the comprehensive and analysis of culture hegemony in combination with the images of "other"in literature study of culture hegemony . Conclusions and main arguments are as follows:1. The origin of cultural hegemony is a organic course, it orginated from Gramsci’s culture hegemony, Fanon and Frankfurt school pour it into vigour. Foucault’power discourse and the theory of "three sacred swordsmen" are the peak stage of culture hegemony. Tomlinson’s Cultrual Imperialism, Francis Fukuyama’s The End of History? and Huntington’s Clash of Civilizations have further deepened cultural hegemony theory. From this, it can be distinct to see the travel of the development of cultural hegemony. 2.With the foundation for cultural hegemony thorough research, the dissertation has summarized some major features of cultural hegemony: ideology, other , intellectual and culture identification. 3.Through the literature research for Indian literature, Afro-American literature and Chinese images, the author has pointed out that with many nations’ independence, the traditional colonial situation has ended,however, the colonialism of imperialism is still in central location in world political, economical and cultural contact,it dominates the world, the eastern countries are in the edge of world. The western colonists often measure eastern people with the western measure of value,this kind of eastern visual angle is the production of cultural hegemony.4. Facing the culture infiltration and subversion carried by western great nations, the disssertation has analysed the colonial various forms of western culture, and have put forward the countermeasure of keeping Chinese culture safe.更多还原