摘要
弹幕作为一种新媒体话语,备受青年们的青睐。它实现了话语与图像的结合,成为视觉化符号。本研究立足批评话语分析的框架,聚焦探究弹幕符号的形式特征以及文化内涵,实现从文本分析到文化研究的跨越。研究发现弹幕符号具有寄生性、隐喻性、象似性、动态性和狂欢性的话语特征。弹幕话语展现了青年话语与主流话语、其它网络话语甚至弹幕视频之间话语权的争夺,同时是表现自我存在并建构青年专属的“e”托邦,即想象的共同体的有效方式。本研究旨在为新媒体话语与青年文化的研究提供新的启示。
As a new media discourse, bullet screen, a visual sign, integrating "discourse" with "image", has prevailed among the youth. A CDA-based approach has been used to decipher bullet screen in terms of its formal characteristics and cultural connotations, bridging the gap between text analysis and cultural studies. Bullet screen is characterized by being parasitic, metaphoric, iconic, dynamic and carnivalesque. Also, as an arena for reallocating discursive power among youth discourse, mainstream discourse, other cyber discourse, and even bullet screen video, bullet screen effectively enables the youth to represent their state of being and construct the etopia/imagined community exclusive to them. The aim of the study is to shed a new light on future studies pertaining to new media discourse and youth culture.
作者
沈文静
SHEN Wenjing(School of Foreign Studies,South China Agricultural University,Guangzhou 510642,China)
出处
《山东外语教学》
2019年第3期22-30,共9页
Shandong Foreign Language Teaching
基金
2017年度教育部人文社会科学研究青年项目“信息通信技术在虚拟公共领域中的科学传播话语体系研究”(项目编号:17YJC740082)
华南农业大学校长科学基金
新学科扶持基金项目“边缘话语分析”(项目编号:5700-K15049)的阶段性研究成果
