期刊文献+

规训与抵制:大学生视觉形象重构 被引量:3

Discipline and Resistance:Contemporary College Students' Visual Image Reconstruction
下载PDF
导出
摘要 传统影像建构出大学生的消费者、服务者、普通人形象,却在悠远的宏大叙事向日常生活实践的转向、新媒介、城市空间等面向中被当代大学生解构和重构。这三个面向统合在青年亚文化中。并为大学生进行自身形象的视觉建构提供了技术和思想准备。政治话语与娱乐诉求的分离、日常生活审美化的趋势与商品利益的幕后操纵所形成的合力,询唤着当代大学生的时尚表现者和身体抵抗者形象的视觉建构:时尚的区分与整合功能使大学生实现自我认同和社会归属,同时内生抵抗主流意识形态的力量而建构身体抵抗者形象。抵抗的实质其实是大学生与媒介和商品合谋,当代大学生的视觉建构与大众媒介的商业利益相互邀约、彼此验证,携手建构出媒介暗自得意、大学生自觉另类、社会秩序和谐稳定的"整体的生活方式"。 Traditional image constructed the consumer, server and ordinary person images of college students,but was in the deconstruction and reconstruction by college students in the orientations of transformation from distant grand narrative to daily hfe practice, new media and urban space. The three orientations were integrated in youth subculture and provided technical and mental preparation for college students" visual construction of self image. The join forces formed by the separation of political discourse and entertainment demand, aesthetic trend of daily life and the backstage manipulation of goods interests arouse college students" visual construct of the image of fashionable performers and body resistance. The distinction and integration function of fashion make college students realize self identity and social belonging and at the same time resist the power of the mainstream ideology and construct the image of the body resistance. The essence of resistance is conspiracy of college students, media and commodity. Visual construction of contemporary college students and the commercial interests of the mass media invite mutually, authenticate mutually and construct together the whole way of life of media secretly pleased, college students" consciously alternative and social order harmonious and stable.
作者 严亚 董小玉
出处 《当代青年研究》 CSSCI 2014年第2期75-81,共7页 Contemporary Youth Research
基金 2012年重庆市社会科学规划一般项目"视觉重庆与重庆城市品牌研究"的阶段性成果 项目编号:2012YBYS106
关键词 视觉建构 青年亚文化 时尚 媒介消费 Visual Construction Youth Subculture Fashion Medium Consumption
  • 相关文献

参考文献26

  • 1William Fleming.Arts and Ideas[M].Fort Worth.Holt,Renehart and Winston,Inc.,1991.518.
  • 2马克,波斯特.第二媒介时代[M].南京:南京大学出版社,2000:84.
  • 3安德鲁·查德威克.互联网政治学.国家,公民与新传播技术[M],2010.7.
  • 4安东尼·吉登斯.现代性的后果[M].北京:译林出版社,2002.56,18.
  • 5亨利·列斐伏尔.空间的生产[M].Wiley-Blackwell出版社,1992.6.
  • 6John Fiske.Reading the Popular[M].Boston.Unwin Hyman,1989.10.
  • 7亨利·列斐伏尔.现代世界的日常生活[M].Harper&Row出版社,1971.37.
  • 8Gilles Lipovertsky. Encyclopedia of Aesthetics[M].vol.2.Oxford.Oxford University Press, 1998. 154.
  • 9B·巴布科克.可颠倒的世界.艺术与社会职能的符号性倒置[M].纽约.康奈尔大学出版社,1978.23.
  • 10齐美尔.时尚的哲学[M].北京:文化艺术出版社,2001..

二级参考文献11

  • 1格林伯格.《先锋派与庸俗艺术》[A].周宪译.《激进的美学锋芒》[C].中国人民大学出版社,2003年版.第191页,第195页.
  • 2阿恩海姆.《艺术与视知觉》.中国社会科学出版社,1984年版,第608页.
  • 3Hal Foster (ed.), Vision and Visual#y, Seattle, WA: Bay Press, 1988, p. ix.
  • 4W.J.T. Mitchell, What Do Pictures Want? Chicago: University of Chicago Press, 2005, p. 345.
  • 5C~ Jean-Francois Lyotard, Discours, figure, Paris: Klincksieck, 1971.
  • 6Mark Poster, "Visual Studies as Media Studies", inJournal of Visual Culture, No. 1 (2002): 69.
  • 7利奥塔《崇高与先锋》,《非人-时间漫谈》,罗国祥译,商务印书馆2000年版.
  • 8波吉奥利:《先锋派三论》,《激进的美学锋芒》,第184页.
  • 9Robert Hughes, Nothing If Not Critical, New York: Penguin, 1990, p. 386.
  • 10Jean Baudrilard, "Towards the Vanishing Point of Art", The Conspiracy of Art, New York: Semiotext(e), 2005, p. 105.

共引文献82

同被引文献10

引证文献3

二级引证文献7

相关作者

内容加载中请稍等...

相关机构

内容加载中请稍等...

相关主题

内容加载中请稍等...

浏览历史

内容加载中请稍等...
;
使用帮助 返回顶部