將流行文化研究加入跨文化視野：流行文化對8

1、將流行文化研究加入跨文化視野：流行文化對 8將流行文化研究加入跨文化視野：流行將流行文化研究加入跨文化視野：流行文化對文化對 8080 后的影響力之案例分析后的影響力之案例分析AddingAdding thethe StudyStudy ofof PopularPopularCultureCulture toto thethe ScopeScope ofofInterculturalIntercultural Communication:Communication: AnAnExploratoryExploratory CaseCase StudyStudy ofof PopularPopul

2、arCultureCultures s ImpactabilityImpactability ononChineseChinese Post-Post-8080 YouthYouth【作者】 鹿焰；【導(dǎo)師】 顧力行；【作者基本信息】 上海外國語大學(xué)， 英語語言文學(xué)， 2009， 碩士【摘要】 最近十年來流行文化風(fēng)行于中國社會的方方面面。本文所探討的問題是流行文化給中國新一代的年輕人帶來的變化到底有多大?很多學(xué)者認為產(chǎn)生了某種方向的變化,但很少有人能找到有效的研究方法來具體衡量這種變化。本文認為“流行文化”和“青年文化”都可以采用跨文化交際的理論和方法來進行有效研究和測量。在這個外來文化涌入的時

3、期(自 1980 年以后)出生的中國年輕人受到西方流行文化的影響,實際上是個“跨文化”現(xiàn)象,因此非常值得我們跨文化學(xué)科進行研究。流行文化大致可被定義為媒體中描述的最新發(fā)展,這些媒體包括印刷品、網(wǎng)絡(luò)和熒屏,并且被大眾尤其是年輕人積極效仿,由此形成潮流。專業(yè)的學(xué)術(shù)研究領(lǐng)域正在形成并發(fā)展。學(xué)者們正在流行文化這一學(xué)科下從事學(xué)術(shù)事業(yè),在權(quán)威刊物出版論文,并組織學(xué)術(shù)研討會。同樣,跨文化交際也已確立為一個學(xué)科。從上個世紀的中葉形成并發(fā)展,到 70 年代,跨文化交際的學(xué)者編寫了跨文化讀本、課本、課程,發(fā)展了跨文化理論和研究模型。在初期,這些主要應(yīng)用于國家層面的文化比較(如對比美國人和日本人),但在近些年,則傾

4、向于研究各種亞文化與亞文化群體比較,如種族群體文化(例如美國黑人或拉美人)、男性與女性(性別文化)、或者代際文化差異。本文提出為了更有效地觀察青年文化的變動方向,需要將流行文化看成是一種處在全球跨文化影響下的文化類別?！爸袊?80 年后”(或簡稱 80 后)這一術(shù)語指的是在上世紀 80 年代出生的中國年輕人。這一人群有其共同特質(zhì),如年齡與語言的相似,受到改革開放政策的影響,常為獨生子女,常常自以為是卻又眼光開闊,像小土豆一樣看土豆網(wǎng),充滿拼搏精神,勇于創(chuàng)新和與眾不同,等等。所以,他們常常被作為特定人群來看待并討論。這一人群見證了迅速、劇烈變化的中國社會,并被其烙下深深烙印,很多是來自媒體的影

5、響,包括微妙又同時激烈的性解放潮流。因此,讓我們來看看流行文化,特別是外國媒體的引入與中國 80 后這兩種元素混合在一起會產(chǎn)生什么有趣變化?流行文化對 80 后會產(chǎn)生怎樣的跨文化影響?本文將著重討論不同流行文化對這些 80 后的影響力大小。為此,我向 50 名 80 后年輕人發(fā)放了 4 份書面或電子調(diào)查問卷,他們來自中國的各個地方并具有不同的背景。從不同載體的流行文化與不同國家的流行文化這兩個維度來探索分析流行文化對 80 后的影響力問題。本文的研究、分析和結(jié)論都是基于上述問卷收集到的數(shù)據(jù)。根據(jù)跨文化的觀點,我們可以注意到,文化的改變通常通過三個機制發(fā)生:創(chuàng)新、擴散和文化磨合(Samovar,

6、 Porter & Stefani, 1998)。本文在討論流行文化對 80 后的影響力時,也將進一步討論人與文化在這一文化變化過程中的互動。本文在結(jié)論處對本次研究進行了總結(jié),并為年輕人更好的進行文化適應(yīng)提供了一些參考建議,同時指出了本次研究的不足,為將來進一步研究提出了建議。 更多還原【Abstract】 In the recent decade, popular, or pop, culture has beenpervasive in every aspect of Chinese society. The question is to whatdegree it has brought

7、 about changes in this new generation. Manyscholars suggest there are shifts, but few have found ways toeffectively study them. This thesis suggests that bothpopcultureandyouth culturecan effectively be studied using theconcepts and tools of intercultural communication. And that theimportation of we

8、stern pop trends on Chinese youth born in thisimpressionable period (since 1980) is actuallyaninterculturalphenomenon, and therefore a worthy case forstudy.Popular culture can be generally defined as the latestdevelopment portrayed in media, including print, online, and onscreen that is rigorously f

9、ollowed by the masses, especially theyoung people, so as to form a trend. Professional academic fields ofpop culture studies are being developed. Scholars are now pursuingacademic careers, publishing in prestigious journals, and conductingseminars - all in the name of pop culture.Likewise, intercult

10、uralcommunication has emerged as a solid field of study. Fromdevelopments in the second half of the last century, by the 1970s,intercultural communication scholars started developing readers,textbooks, courses, theories and solid research paradigms. In theearly years, these were mostly applied to th

11、e comparisons of cultureat the national level (e.g. contrasting Americans and Japanese), butin recent years, the trend has been to apply these to sub-culturalvariations, and compare such things as the cultures of ethnic groups(e.g. African-Americans or Hispanic-Americans), men and women (gendercultu

12、re), or generational culture differences. This thesis proposesthat to look effectively at youth culture shifts, pop culture needsto be considered as a type of global intercultural influence. Thetermpost-80 born Chinese(often shortened as post-80s) refersto the Chinese youngsters who were born during

13、 1980s. This group ofpeople has certain common traits such as similarity of age andlanguage, being influenced by the Reform and Opening-up Policy, oftenonly-children, having developed a kind of self-righteousness and atthe same time open-mindedness, patterns of beingmouse-potatoeswatching Potatoes (

14、), being aspiring and eager to innovateand be different, and so forth. So, they are often viewed anddiscussed as a certain group. This group of people has witnessed andis strongly imprinted by the fast- and dramatic-changing Chinesesociety, much of it promoted by the media, including the subtle ands

15、ometimes radical nuances of sexual liberation.Therefore it is veryinteresting to see what has happened when the two elements mix witheach other: pop culture, especially foreign media importation withthe new Chinese youth context. How has the intercultural influence ofpop cultures affected post-80 bo

16、rn Chinese youngsters? This thesisfocuses on the impactability of different pop cultures on these post-80 youth.For the above purpose, I have asked 50 post-80s ofdifferent backgrounds and from different regions of China to answer 4sets of research questionnaires on paper or via email. The research,a

17、nalysis and results of this thesis are all based upon the datacollected from those questionnaires.Using intercultural concepts, wenote that cultural changes often occur through the three most commonmechanisms: innovation, diffusion, and acculturation (Samovar, Porter,& Stefani, 1998). The thesis thu

18、s further discusses this dynamicinteraction between cultures and the persons during the changingprocess.The paper concludes by pointing out tentative suggestions foreasing the cultural adaptation of the youngsters and some suggestionsfor future research. 更多還原【關(guān)鍵詞】 流行文化； 80 后； 中國青年； 青年文化； 媒體；【Key wor

19、ds】 Pop culture； post-80； Chinese youth； youth culture；media；參考文獻：“跨文化視野下中國古代小說學(xué)術(shù)研討會”召開2011 年 3 月 26 日至 28 日，“跨文化視野下中國古代小說學(xué)術(shù)研討會”在暨南大學(xué)隆重召開。此次會議由文學(xué)遺產(chǎn)編輯部、國家“211 工程”重點項目比較文藝學(xué)與海外華文文學(xué)、暨南大學(xué)中國古代小說.收錄數(shù)據(jù)庫：中文科技期刊數(shù)據(jù)庫 來源：文學(xué)遺產(chǎn) 2011 年 第 4 期作者：蔡亞平 機構(gòu)：不詳“跨文化視野下中國古代小說學(xué)術(shù)研討會”在暨南大學(xué)召開3 月 26 日28 日,由文學(xué)遺產(chǎn)編輯部、國家211 工程重點項目暨南大

20、學(xué)比較文藝學(xué)與海外華文文學(xué)、暨南大學(xué)中國古代小說研究中心主辦,廣州大學(xué)等單位協(xié)辦的跨文化視野下中國古代小說學(xué)術(shù)研.收錄數(shù)據(jù)庫：中文科技期刊數(shù)據(jù)庫 來源：暨南學(xué)報：哲學(xué)社會科學(xué)版2011 年 第 2 期 作者：無 機構(gòu)：不詳跨文化視野下中國古代小說學(xué)術(shù)研討會綜述2011 年 3 月 26 日至 28 日,跨文化視野下中國古代小說學(xué)術(shù)研討會在暨南大學(xué)舉行。這次會議由文學(xué)遺產(chǎn)編輯部、國家211 工程重點項目比較文藝學(xué)與海外華文文學(xué)、暨南大學(xué)中國古代小說研.收錄數(shù)據(jù)庫：中文科技期刊數(shù)據(jù)庫 來源：暨南學(xué)報：哲學(xué)社會科學(xué)版2011 年 第 2 期 作者：廖華 機構(gòu)：暨南大學(xué)文學(xué)院 廣東廣州 510632跨

21、文化研究的一種理論維度和閱讀范式讀跨文化視野中希爾作品的研究在西方,中國題材作品中的中國形象和東方主義等都是值得深入思考的重要問題。尤其是在當(dāng)今經(jīng)濟全球化的背景下,東西方的不平等和對峙狀態(tài)凸顯,東方要在正確客觀認識自身的前提下,識別抵制西.收錄數(shù)據(jù)庫：中文科技期刊數(shù)據(jù)庫 來源：黑龍江社會科學(xué) 2011 年第 2 期 作者：祝晶 機構(gòu)：北京第二外國語學(xué)院應(yīng)用英語學(xué)院 北京 100024將流行文化研究加入跨文化視野：流行將流行文化研究加入跨文化視野：流行文化對文化對 8080 后的影響力之案例分析后的影響力之案例分析AddingAdding thethe StudyStudy ofof Popul

22、arPopularCultureCulture toto thethe ScopeScope ofofInterculturalIntercultural Communication:Communication: AnAnExploratoryExploratory CaseCase StudyStudy ofof PopularPopularCultureCultures s ImpactabilityImpactability ononChineseChinese Post-Post-8080 YouthYouth【作者】 鹿焰；【導(dǎo)師】 顧力行；【作者基本信息】 上海外國語大學(xué)， 英語語

23、言文學(xué)， 2009， 碩士【摘要】 最近十年來流行文化風(fēng)行于中國社會的方方面面。本文所探討的問題是流行文化給中國新一代的年輕人帶來的變化到底有多大?很多學(xué)者認為產(chǎn)生了某種方向的變化,但很少有人能找到有效的研究方法來具體衡量這種變化。本文認為“流行文化”和“青年文化”都可以采用跨文化交際的理論和方法來進行有效研究和測量。在這個外來文化涌入的時期(自 1980 年以后)出生的中國年輕人受到西方流行文化的影響,實際上是個“跨文化”現(xiàn)象,因此非常值得我們跨文化學(xué)科進行研究。流行文化大致可被定義為媒體中描述的最新發(fā)展,這些媒體包括印刷品、網(wǎng)絡(luò)和熒屏,并且被大眾尤其是年輕人積極效仿,由此形成潮流。專業(yè)的學(xué)

24、術(shù)研究領(lǐng)域正在形成并發(fā)展。學(xué)者們正在流行文化這一學(xué)科下從事學(xué)術(shù)事業(yè),在權(quán)威刊物出版論文,并組織學(xué)術(shù)研討會。同樣,跨文化交際也已確立為一個學(xué)科。從上個世紀的中葉形成并發(fā)展,到 70 年代,跨文化交際的學(xué)者編寫了跨文化讀本、課本、課程,發(fā)展了跨文化理論和研究模型。在初期,這些主要應(yīng)用于國家層面的文化比較(如對比美國人和日本人),但在近些年,則傾向于研究各種亞文化與亞文化群體比較,如種族群體文化(例如美國黑人或拉美人)、男性與女性(性別文化)、或者代際文化差異。本文提出為了更有效地觀察青年文化的變動方向,需要將流行文化看成是一種處在全球跨文化影響下的文化類別。“中國的 80 年后”(或簡稱 80 后

25、)這一術(shù)語指的是在上世紀 80 年代出生的中國年輕人。這一人群有其共同特質(zhì),如年齡與語言的相似,受到改革開放政策的影響,常為獨生子女,常常自以為是卻又眼光開闊,像小土豆一樣看土豆網(wǎng),充滿拼搏精神,勇于創(chuàng)新和與眾不同,等等。所以,他們常常被作為特定人群來看待并討論。這一人群見證了迅速、劇烈變化的中國社會,并被其烙下深深烙印,很多是來自媒體的影響,包括微妙又同時激烈的性解放潮流。因此,讓我們來看看流行文化,特別是外國媒體的引入與中國 80 后這兩種元素混合在一起會產(chǎn)生什么有趣變化?流行文化對 80 后會產(chǎn)生怎樣的跨文化影響?本文將著重討論不同流行文化對這些 80 后的影響力大小。為此,我向 50

26、名 80 后年輕人發(fā)放了 4 份書面或電子調(diào)查問卷,他們來自中國的各個地方并具有不同的背景。從不同載體的流行文化與不同國家的流行文化這兩個維度來探索分析流行文化對 80 后的影響力問題。本文的研究、分析和結(jié)論都是基于上述問卷收集到的數(shù)據(jù)。根據(jù)跨文化的觀點,我們可以注意到,文化的改變通常通過三個機制發(fā)生:創(chuàng)新、擴散和文化磨合(Samovar, Porter & Stefani, 1998)。本文在討論流行文化對 80 后的影響力時,也將進一步討論人與文化在這一文化變化過程中的互動。本文在結(jié)論處對本次研究進行了總結(jié),并為年輕人更好的進行文化適應(yīng)提供了一些參考建議,同時指出了本次研究的不足,為將來進

27、一步研究提出了建議。 更多還原【Abstract】 In the recent decade, popular, or pop, culture has beenpervasive in every aspect of Chinese society. The question is to whatdegree it has brought about changes in this new generation. Manyscholars suggest there are shifts, but few have found ways toeffectively study them. T

28、his thesis suggests that bothpopcultureandyouth culturecan effectively be studied using theconcepts and tools of intercultural communication. And that theimportation of western pop trends on Chinese youth born in thisimpressionable period (since 1980) is actuallyaninterculturalphenomenon, and theref

29、ore a worthy case forstudy.Popular culture can be generally defined as the latestdevelopment portrayed in media, including print, online, and onscreen that is rigorously followed by the masses, especially theyoung people, so as to form a trend. Professional academic fields ofpop culture studies are

30、being developed. Scholars are now pursuingacademic careers, publishing in prestigious journals, and conductingseminars - all in the name of pop culture.Likewise, interculturalcommunication has emerged as a solid field of study. Fromdevelopments in the second half of the last century, by the 1970s,in

31、tercultural communication scholars started developing readers,textbooks, courses, theories and solid research paradigms. In theearly years, these were mostly applied to the comparisons of cultureat the national level (e.g. contrasting Americans and Japanese), butin recent years, the trend has been t

32、o apply these to sub-culturalvariations, and compare such things as the cultures of ethnic groups(e.g. African-Americans or Hispanic-Americans), men and women (genderculture), or generational culture differences. This thesis proposesthat to look effectively at youth culture shifts, pop culture needs

33、to be considered as a type of global intercultural influence. Thetermpost-80 born Chinese(often shortened as post-80s) refersto the Chinese youngsters who were born during 1980s. This group ofpeople has certain common traits such as similarity of age andlanguage, being influenced by the Reform and O

34、pening-up Policy, oftenonly-children, having developed a kind of self-righteousness and atthe same time open-mindedness, patterns of beingmouse-potatoeswatching Potatoes (), being aspiring and eager to innovateand be different, and so forth. So, they are often viewed anddiscussed as a certain group.

35、 This group of people has witnessed andis strongly imprinted by the fast- and dramatic-changing Chinesesociety, much of it promoted by the media, including the subtle andsometimes radical nuances of sexual liberation.Therefore it is veryinteresting to see what has happened when the two elements mix

36、witheach other: pop culture, especially foreign media importation withthe new Chinese youth context. How has the intercultural influence ofpop cultures affected post-80 born Chinese youngsters? This thesisfocuses on the impactability of different pop cultures on these post-80 youth.For the above pur

37、pose, I have asked 50 post-80s ofdifferent backgrounds and from different regions of China to answer 4sets of research questionnaires on paper or via email. The research,analysis and results of this thesis are all based upon the datacollected from those questionnaires.Using intercultural concepts, wenote that cultural changes