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民间文艺既不同于官方文艺.也不同于精英文艺:一方面,它缺乏官方文艺所拥有的发布和推广的权利以及相应的机制;另一方面,作为一个整体,民间文艺又缺乏精英文化所具有的显著的个体性特征,这两个方面决定了民间文艺在产生之时就有着与二者全然不同的目的和运行方式。而流行文化就其广义上来说,既包含无意识的文艺传播(即自发地流行),也包含因政治、商业目的而进行的文艺传播和推广;从狭义来说,流行文化则特指商品社会中带有明显商业特征的文化传播现象。所以,很多时候民间文艺因其创作和传播方式,常常被人们看成是某一社会的流行文化,例如传奇在唐代的流行。但这种来自民间的自发的流行与有意识形态或者商业目的的流行是很不相同的,如果说前者具有极强的生命力的话,那么后者则更满足于对形式和能指的单纯占有;前者是变异的、生长着的,后者则停留于形式上的颠倒和排列组合。
On the one hand, it lacks the rights of publication and promotion owned by official literature and art as well as its corresponding mechanisms; on the other hand, as a whole, folklore lacks of the elite culture The distinctive individual characteristics of these two aspects determine the folklore at the time there is a completely different purpose and way of operation. In the broad sense, pop culture contains both unconscious literary and art communication (that is, spontaneous pop) and literary and artistic dissemination and promotion for political and commercial purposes. In a narrow sense, popular culture refers specifically to the commercial society Cultural communication with obvious commercial characteristics. Therefore, in many cases, folk literature and art is often regarded as a popular culture of a certain society due to its creation and dissemination. For example, the legendary popularity in the Tang Dynasty. However, this spontaneous pop from the private sector is very different from the epidemic of ideological or commercial purposes. If the former is extremely viable, the latter is more satisfied with the simple possession of form and means; Is mutated, growing, while the latter stays in the form of a combination of upside down and permutations.