读解文化研究-英文

所属分类:文化研究  
出版时间:2012-11   出版时间:世界知识出版社   作者:马海良,(新西兰)西蒙斯 编著   页数:253   字数:333000  

前言

  文化研究在西方学术界从20世纪60年代诞生之日起就经常被正统学者批评为华而不实的“学术时髦”。这种批评不仅没有阻止学术界对文化研究与日俱增的兴趣,反而使之成为在西方高校备受关注的显学。究其原因,文化研究的确填补了传统人文学术研究领域的空白,发挥着不可替代的知识创新功能。  文化研究旨在检验文化实践与权力的关系,其研究对象遍及日常生活中社会与政治背景下无限多样的大众文化形式,不仅关注文化如何建构我们,而且关注我们如何建构文化。文化研究试图解释构成人类生活环境的各类文本与意识形态、阶级、种族、性别等的复杂关系,其研究方法具有典型的跨学科性,涉及社会学、政治学、历史学、哲学、传播学、文学批评、女性主义批评、艺术批评、翻译研究,等等。上述意义上的文化研究的确超越了一切传统的人文与社会科学研究范式,提供了观察人类文化和现实生活的独特视角。  西方文化研究的理论与范式正式进入中国大陆学术界大概可以追溯到本世纪初。在短短十多年的时间里,西方文化研究的概念和理论被大量输入国内学术话语体系,不少域外文化研究的著作被翻译出版,文化研究机构不断涌现,相关课程开始进入高校课程设置,越来越多的硕士和博士论文瞄准文化研究选题。文化研究显然已成为中国学术界的显学。  国内学术界文化研究的进一步展开,必须更加系统、深入地把握西方文化研究的理论与方法,同时,高校文化研究相关课程的教学必须建立在对文化研究核心经典文本的阅读之上。为此双重目的,我们组织了一支中西方学者合作团队,联袂推出“文化研究读解系列”。本套丛书包括《读解文化研究》、《读解电视》、《读解流行音乐》、《读解新媒体》和《读解电影》等。每分册的选文由相关领域造诣深厚的西方学者负责精心挑选,均为文化研究领域公认的经典文本;每分册的导读和注释等则由中国学者完成,旨在帮助中国读者准确理解原文。  如此分专题系统呈现和读解西方文化研究领域的经典文本,在中国学术界尚属首次。我相信,无论是文化研究领域的研究者还是授课教师,都能从这套权威性的读本中获取丰富的研究灵感和教学资源。  当然,这套丛书还存在这样和那样的不足,特别是现有的选题远未完整呈现半个多世纪以来西方文化研究的丰硕成果。这一遗憾只有留待来日弥补了。

内容概要

《读解文化研究》精选外国学者的20篇名作,分为“城市化”、“编码
”、“拟象”、“电子人”、“文化工业”、“大众传播”、“文化政策”
等10个单元,全面阐述“文化研究”的对象、方法和学科特性,不失为从理论上认知何为文化研究、实践上掌握文化研究何为的珍贵材料。
《读解文化研究》由马海良、劳伦斯·西蒙斯编著。

作者简介

作者:马海良 (新西兰)劳伦斯·西蒙斯(Laurence Simmons)  马海良,北京外国语大学英语学院教授,博士生导师,英美文学中心主任,《外国文学》杂志副主编,“中国外国文论与比较诗学研究会”副会长。主要研究方向为英国文学和西方文论,讲授西方文论、文学批评实践、英国散文、19世纪英国小说、小说理论、叙事学、英国社会与文化、文化研究等课程。主要出版物有《文化政治美学——伊格尔顿批评理论研究》(中国社会科学出版社,2004)、《新叙事学》(译著,北京大学出版社,2005),《花园里的机器》(合译,北京大学出版社,2011),发表《鲁迅的拜伦精神》(Images of Westerners inChinese and Japanese Literature,Amsterdam:Rodopi Press,2000)、《鲍德里亚:理论的暴力,仿真的游戏》(《外国文学》2000年第2期)、《后结构主义》(《外国文学》2003年第6期)等论文。 劳伦斯·西蒙斯,教授,曾任新西兰奥克兰大学意大利语系主任和电影、电视和媒体研究系主任。主要研究方向为现代传播学、文化研究,代表作有《向权力说真话》(Speaking Truthto the Power:Public Intellectuals Rethink New Zealand,2007)、《弗洛伊德的意大利之旅》(Freud's Italian Journey,2006)、《形象说了算》(The Image Has the Last Word:OnContemporary New Zealand Painting andPhotography,2002)。

书籍目录

Unit 1 : City and Modernity
Text I Country and City
Text II Things to Do with Shopping Centres
Unit 2: Communication and Signification
Text III Encoding/Decoding
Text IV Ringing the Changes: the Cultural Meanings of the
Telephone
Unit 3 : Interpreting the Image
Text V The Evil Demon of Images
Text VI She'll Always Be Your Little Girl
Unit 4 : Culture Industry
Text VII Culture Industry Recoidered
Text VIII The Elvis Spectacle and the Cultural Industries
Unit 5: Globalization and Coumer Culture
Text IX Disjuncture and Difference in the Global Cultural
Economy
Text X "Bwana Mickey" : Cotructing Cultural Coumption at Tokyo
Disneyland
Unit 6 : Cultural Ititution
Text XI The History and Theory of Cultural Policy
Text XII Are Museums Political 9
Unit 7 : Cultural Policies
Text XIII Culture and Difference: Discoue and Policy
Text XIV White Muhicuhuralism: a Manual for the Proper Use of
Ethnics
Unit 8 : Cyber Culture
Text XV A Cyborg Manifesto: Science, Technology, and
Socialist-Feminism in the Late Twentieth Century
Text XVI Cyborg Babies and Cy-Dough-Plasm: Ideas about Self and
Life in the Culture of Simulation
Unit 9: Modernity and Mass
Text XVII Mass and Masses
Text XVIII Mass Culture as Women: Modemism's Other
Unit 10: Defining Cultural Studies
Text XIX Is Cultural Studies a Discipline? And Does It Make Any
Political Difference?
Text XX Who Needs Cultural Research?
Glossary

章节摘录

版权页:
From
this
general
perspective,
we
may
crudely
characterize
the
television
communicative
process
as
follows.
The
institutional
structures
of
broadcasting,
with
their
practices
and
networks
of
production,
their
organized
relations
and
technical
infrastructures,
are
required
to
produce
a
programme.
Using
the
analogy
of
Capital,
this
is
the
"labour
process"
in
the
discursive
mode.
Production,
here,
constructs
the
message.
In
one
sense,
then,
the
circuit
begins
here.
Of
course,
the
production
process
is
not
without
its
"discursive"
aspect:
it,
too,
is
framed
throughout
by
meanings
and
ideas:
knowledge-in-use
concerning
the
routines
of
production,
historically
defined
technical
skills,
professional
ideologies,
institutional
knowledge,
definitions
and
assumptions,
assumptions
about
the
audience
and
so
on
frame
the
constitution
of
the
programme
through
this
production
structure.
Further,
though
the
production
structures
of
television
originate
the
television
discourse,
they
do
not
constitute
a
closed
system.They
draw
topics,
treatments,
agendas,
events,
personnel,
images
of
the
audience,"definitions
of
the
situation"
from
other
sources
and
other
discursive
formations
within
the
wider
socio-cultural
and
political
structure
of
which
they
are
a
differentiated
part.Thus
to
borrow
Marx's
terms
circulation
and
reception
are,
indeed,
"moments"
of
the
production
process
in
television
and
are
reincorporated,
via
a
number
of
skewed
and
structured
"
feedbacks",
into
the
production
process
itself.
The
consumption
or
reception
of
the
television
message
is
thus
also
itself
a
"moment"
of
the
production
process
in
its
larger
sense,
though
the
latter
is
"predominant"
because
it
is
the
"point
of
departure
for
the
realization"
of
the
message.
Production
and
reception
of
the
television
message
are
not,
therefore,
identical,
but
they
are
related:
they
are
differentiated
moments
within
the
totality
formed
by
the
social
relations
of
the
communicative
process
as
a
whole.
At
a
certain
point,
however,
the
broadcasting
structures
must
yield
encoded
messages
in
the
form
of
a
meaningful
discourse.
The
institution-societal
relations
of
production
must
pass
under
the
discursive
rules
of
language
for
its
product
to
be
"realized".
This
initiates
a
further
differentiated
moment,
in
which
the
formal
rules
of
discourse
and
language
are
in
dominance.
Before
this
message
can
have
an
"effect"
(however
defined),
satisfy
a
"need"
or
be
put
to
a
"use",
it
must
first
be
appropriated
as
a
meaningful
discourse
and
be
meaningfully
decoded.
It
is
this
set
of
decoded
meanings
which
"have
an
effect",
influence,
entertain,
instruct
or
persuade,
with
very
complex
perceptual,
cognitive,
emotional,
ideological
or
behavioural
consequences.
Ir
a
"determinate"
moment
the
structure
employs
a
code
and
yields
a
"message":
a
tanother
determinate
moment
the
"message",
via
its
decodings,
issues
into
the
structure
of
social
practices.
We
are
now
fully
aware
that
this
re-entry
into
the
practices
ofaudience
reception
and
"use"
cannot
be
understood
in
simple
behavioural
terms.
The
typical
processes
identified
in
positivistic
research
on
isolated
elements
-effects,
uses
"gratifications"
-
are
themselves
framed
by
structures
of
understanding,
as
well
as
bein
produced
by
social
and
economic
relations,
which
shape
their
"
realization"
at
the
reception
end
of
the
chain
and
which
permit
the
meanings
signified
in
the
discourse
to
be
transposed
into
practice
or
consciousness
(to
acquire
social
use
value
or
political
effectivity).

编辑推荐

《读解文化研究(英文)》是文化研究读解系列丛书之一。《读解文化研究(英文)》共分10个单元,以全英文的形式,分别介绍了城市化、编码、拟象、电子人、文化工业、大众传播、文化政策等内容。《读解文化研究(英文)》由世界知识出版社出版。

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  •     很不错的书,书本质量很好,也适合英语学习
 

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