北師研究生英語課程(編輯修改稿)
2025-05-01 00:09 本頁面
【文章內(nèi)容簡介】 e actual consumers of mass artifacts, which as a result instigated substantial change in the perception of cultural consumption. The notion appeared that consumers are not “cultural dopes” but are able to think critically and use the objects of consumption to their own advantage. A number of reception studies that followed Some of the works by academics who became interested in the ethnographic research and adopted an approach to popular media which reflected the perspective of their consumers, known as the audience research, include David Morley’s study on the reception of news magazine programs (1978, 1980), Angela McRobbie’s analysis of girls’ magazines (1991), Janice Radway’s study on popular romance readers(1984), Ien Ang’s work on Dallas(1985), Dorothy Hobson’s analysis of Crossroads (1982) and Tania Modleski’s studies on the viewers of soap opera and romance readers(1982). were grounded in Stanley Fish’s notion of interpretive munities, Stanley Fish, Is There a Text in This Class? The Authority of Interpretive Communities, (Cambridge: Harvard University Press, 1980). which he used to emphasise the variability of reading petence within different social milieux, dependent on the social context, thus indirectly subverting earlier beliefs in the monolithic character of popular texts and their apparent connotative limitations.Some of the progressive theoretical reflections on popular culture from the 1970s onwards have also drawn on the findings of anthropology, psychoanalysis, and Foucault’s theory on power relations. Foucault’s assertion that “[w]here there is power, there is resistance, or rather consequently, this resistance is never in a position of exteriority in relation to power” Michel Foucault, The History of Sexuality. Vol. 1: An Introduction, trans. by Robert Hurley, (New York: Pantheon, 1978), 95. was transferred and applied to popular culture theory and advocated by a number of cultural critics. John Fiske, for example, perceives popular culture as a site of struggle between the dominant and resistant meanings. He also argues that if cultural products are texts where meanings are both constructed and contested, those, however limited, disruptive elements in the dominant message make space for popular pleasure. John Fiske, Reading the Popular, (London and New York: Routledge, 1995), 2. While some readings may appear more obvious and may be the ones which are preferred by those empowered in one way or another, there is the possibility of reading texts “against the grain,” or reading subversively. Turner, British Cultural Studies, 123. The popular text, a term embracing all kinds of cultural products which are significatory (Barthes calls a text a constant play of signifiers), is a dynamic construct where signifieds are nothing but the next signifiers. The notion of pleasure, together with the poststructuralist assertion of the locality and instability of meaning as well as of textual polysemy, explains why the stud
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