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中南大学学报(社会科学版)
ZHONGNAN DAXUE XUEBAO(SHEHUI KEXUE BAN)

2014年08月第20卷第4期
   
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文章编号:1672-3104(2014)04-0136-06
 
论“戏仿”意识形态立场的两面性
 
程军
 
(安徽财经大学文学与艺术传媒学院,安徽蚌埠,230030)
 
摘  要: 关于戏仿的角色、功能和立场定位,目前学术界颇多争论。实际上,戏仿在这些方面都具有两面性:在美学领域,戏仿在发挥其解构、革新和推动艺术进化的功能的同时,也起到了一种建构、继承和加强现有艺术规范的作用;在政治立场上,戏仿对主流意识形态和政治权威保持一种矛盾的暧昧态度,在批判与共谋、质疑与妥协、革命与保守、挑战与规范的立场之间摇摆不定。戏仿在角色、功能立场上的两面性,使得理论家对戏仿的评价呈现出两极化趋势。
 
关键词: 戏仿;创作手段;文本建构;创作思想;两面性
 
 
On the ambivalence of ideological standpoint of parody
 
CHENG Jun
 
(School of Literature, Art and Media, Anhui University of Finance & Economics, Bengbu 230030, China)
 
Abstract: In the research and debate on parodistic cultural phenomena in contemporary Western, the issue about aesthetics, political and ideological standpoint of parody becomes the center of attention, including three kinds of fundamental views on this issue. Parody in both aesthetical and political field is holding an ambivalent stance: while exercising the function of deconstruction, innovation and promoting art evolution, parody plays a role in constructing, inheriting and strengthening existing artistic norm. Politically, parody maintains a contradictory and ambiguous attitude towards mainstream ideology and political authority, vacillating between dual position of criticism and conspiracy, questioning and compromise, revolution and conservative, challenge and normalization. The ambivalence of ideological position of parody has polarizated theorists’ evaluations of it.
 
Key words: parody; creative means; text construction; creative ideas; ambivalence
 
 
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