乡村春晚、女性主体性与社会主义乡村文化——以浙江省缙云县壶镇为例

Rural Spring Festival Shows and Female Subjectivity:A Case Study in Huzhen Township,Jinyun,Zhejiang

乡村春晚源于浙江丽水,近年被迅速推广至全国,成为中国乡村文化建设中一股强大的力量,而妇女是乡村春晚台上台下的主体。本文从动态的城乡文化关系角度切入,聚焦妇女在乡村春晚中的主体作用,分析农村妇女是如何以主体的身份反转作为城市中心主义媒介景观的央视春晚,使其与在地的、传统的乡村文化结合,进而在社会关系的建构中和新文化的创造中争取权力的。乡村女性在乡村春晚的文化实践中展现出了既维持中国本土文化主体性又借鉴其他文化形式和风格,实现文化的"创造性转型"的能力,这种经过转型的融合文化是中国特色社会主义乃至世界可持续发展的文化基础。

Rural Spring Festival Shows originated in Lishui City,Zhejiang Province. It has,in recent years,rapidly spread to many rural areas across the country and become a strong force in the cultural construction of rural China. Informed by a critical perspective on urban-rural relationships, this article discusses how Chinese rural women demonstrate their subjectivity and achieve self-empowerment in the processes of reconfiguring rural social relations and creating new cultures in a social context of unequal power relations in terms of political economy, culture and gender. In their cultural practices surrounding the staging of Rural Spring Festival Shows, Chinese rural women have also demonstrated a creative ability in integrating different cultural traditions, forms and styles through a transculturation process.