摘要
法兰克福学派的“文化工业”理论是最早进入中国的大众文化研究理论,但因其无法剥离的“法西斯语境”而在当今时代越发显得不合时宜。通过考察“文化工业”理论在中国走向衰落的外因与内因,可见“文化工业”无法与中国现实接合的基点在于对“大众”的纯粹否定理解:从“大众”作为“被动客体”这一定位出发,注定导向对“大众文化”的消极解读,这使得“文化工业”必然成为充满悲观色彩的精英主义学说。而在中国语境下,“文化产业”直至20世纪末方才逐步从“文化事业”中独立,以“人民主体”为出发点,实现了对“大众/人民”“工业化/产业化”“意识形态性”的彻底颠覆,生成了一套基于中国现实的肯定性话语。随着中国文化市场经济建设日渐成熟,“文化产业”通向对“文化工业”的辩证发展,将成为这一批判理论概念的肯定性话语革新。
The“culture industry”theory of the Frankfurt School is the first popular culture theory accepted by the Chinese academia.But nowadays,it is increasingly inappropriate due to its inseparable“fascist context”.By examining the external and internal causes of the decline of the theory of“culture industry”in China,it can be seen that the basic point of the failure of“culture industry”to articulate with Chinese reality lies in the pure negative understanding of“the masses”:starting from the position of“the masses”as“passive objects”,it is destined to lead to a negative interpretation of“popular culture”,which makes“culture industry”inevitably become a pessimistic elitism theory.In the Chinese context,“cultural industries”gradually became independent from“cultural undertakings”at the end of the 20th century:starting from“people as masters”,it achieves a complete subversion of“masses/people”,“industrialization”,and“ideology”,and generates a set of affirmative discourse based on Chinese reality.With the gradual maturity of China's.cultural market economy,“cultural industries”moves towards a dialectical development of“culture industry”,which is the affirmative discourse innovation of this critical theoretical concept.
作者
王彦丁
Yanding WANG(Shandong University)
出处
《马克思主义美学研究》
2024年第1期83-96,473-474,共16页
Research on Marxist Aesthetics
基金
山东省社科规划项目“马克思主义理论视野下的‘讲好中国故事’研究”(22CZWJ09)阶段性成果
关键词
法兰克福学派
文化工业
文化产业
文化事业
Frankfurt School
cultural industry
cultural industries
cultural undertakings
作者简介
王彦丁,山东大学文艺美学研究中心博士研究生,研究方向为马克思主义美学、文化批评
