【文章內(nèi)容簡(jiǎn)介】 ation of three factors: the uncertainty of an event39。s oute, the risk or financial rewards associated with participating in an event,and the anticipated display of excellence or heroics by the other words, when spectators refer to a “good game” or an “exciting contest”, they are usually talking about one in which the oute was in doubt until the last minutes or seconds, one in which the stakes39。 were so high that athletes were totally mitted to and engrossed in the action, or one in which there were a number of excellent or “heroic” games or matches contain all three of these factors, they are remembered and discussed for a long ,每當(dāng)任何一項(xiàng)體育運(yùn)動(dòng)被轉(zhuǎn)化為商業(yè)性?shī)蕵坊顒?dòng)時(shí),它的成功就依賴于觀眾的興趣。盡管觀眾對(duì)于體育的擁護(hù)背后潛藏著多種動(dòng)機(jī),但他們對(duì)體育比賽的興趣通常與三種相結(jié)合的因素有關(guān):比賽結(jié)果的不確定性,參加一項(xiàng)比賽相關(guān)的風(fēng)險(xiǎn)或經(jīng)濟(jì)回報(bào),以及預(yù)期中的運(yùn)動(dòng)員的卓越、英勇表現(xiàn)。換句話說,當(dāng)觀眾提及一場(chǎng)“不錯(cuò)的比賽”或一場(chǎng)“激動(dòng)人心的比賽”時(shí),這場(chǎng)比賽,通常在比賽即將結(jié)束的最后幾分鐘甚至兒秒鐘時(shí),結(jié)果仍然撲朔迷離?；蛘弑荣惿婕案哳~獎(jiǎng)金,因而運(yùn)動(dòng)員們都全身心地投入比賽?；蛘弑荣愓故玖嗽S多出色的或者“英雄式”的表現(xiàn)。只要運(yùn)動(dòng)比賽包含所有這三方面因素,人們就會(huì)長(zhǎng)時(shí)間記得并討論這場(chǎng)比賽。 has not had a dramatic effect on the format and goals of most spite of the influence of spectators, what has occurred historically is that sports have maintained their basic have been made within this framework, rather than pletely dismantling the design of a example, the mercialization of the Olympic Games has led to minor rule changes in certain events, but the basic structure of each Olympic sport has remained much the same as it was before the days of corporate endorsements and the sale of television 。盡管觀眾會(huì)對(duì)其產(chǎn)生影響,但在歷史上,運(yùn)動(dòng)項(xiàng)目保持了它們的基本結(jié)構(gòu)。創(chuàng)新也是在這一框架內(nèi)進(jìn)行的,并不會(huì)完全廢除這項(xiàng)運(yùn)動(dòng)的基本設(shè)計(jì)。例如、奧運(yùn)會(huì)的商業(yè)化導(dǎo)致了某些賽事規(guī)則的微小變化但其每項(xiàng)運(yùn)動(dòng)的基本結(jié)構(gòu)還是和商家贊助及電視轉(zhuǎn)播權(quán)出售之前基本一致。 seems to affect the orientations of sport participants more than it does the format and goals of make money on a sport, it39。s necessary to attract a mass audience to buy tickets or watch the events on and entertaining a mass audience is not easy because it39。s made up of many people who don39。t have technical knowledge about the plex athletic skills and strategies used by players and this technical knowledge, people are easily impressed by things extrinsic to the game or match itself。they get taken in by the event itself they often focus on things they can easily enjoy situations in which players take risks and face clear physical danger。they are attracted to players who are masters of dramatic expression or who are willing to go beyond and their normal physical limits to the point of endangering their safety and wellbeing。and they like to see players mitted to victory no matter what the personal ,與運(yùn)動(dòng)的結(jié)構(gòu)和目的相比,商業(yè)化更多的是影響運(yùn)動(dòng)參與者的取向。若要通過一項(xiàng)運(yùn)動(dòng)盈利,就必須吸引廣大觀眾買門票或在電視上觀看比賽。吸引和娛樂廣大觀眾并非易事,因?yàn)檫@些觀眾中有很多人沒有技木性的知識(shí),因而不懂得運(yùn)動(dòng)員和教練采取的復(fù)雜競(jìng)技技巧和策略。由于缺乏這些技術(shù)性知識(shí),人們?nèi)菀资艿竭\(yùn)動(dòng)或賽事之外的東西的影響,容易受到天花亂墜的宜傳的迷惑。在比賽期間,他們經(jīng)常關(guān)注那些他們?nèi)菀桌斫獾氖虑?。他們喜歡那種運(yùn)動(dòng)員冒險(xiǎn)并明顯面臨身體危險(xiǎn)的情境,他們喜愛那些搜長(zhǎng)戲劇化表現(xiàn)或者愿意超越正常的生理極限以致威脅到自己的安全和健康的運(yùn)動(dòng)員。他們喜歡看到運(yùn)動(dòng)員不惜代價(jià),立志求勝。 example, when people lack technical knowledge about basketball, they are more likely to talk about a single slam dunks than about the consistently flawless defense that enabled a team to win a , those who know little about the technical aspects of ice skating are more entertained by triple and quadruple jumps than by routines carefully choreographed and practiced until they are smooth and dangerous jumps, naive spectators get like athletes who project39。 exciting or controversial personas, and they often rate performances in terms of dramatic expression leading to dramatic want to see athletes occasionally collapse as they surpass physical limits, not athletes who know their limits so well they can successfully pete for years without going beyond ,當(dāng)人們?nèi)狈@球方面的技術(shù)知識(shí)時(shí),他們更津津樂道于某一個(gè)灌籃,而不會(huì)關(guān)注球隊(duì)取勝必需的因素:自始至終配合得天衣無(wú)縫的后防。同樣,那些對(duì)滑冰技術(shù)知之甚少的人,他們更感興趣的是三連跳或四連跳,而不是那些精心設(shè)計(jì)并訓(xùn)練直至流暢、完美的舞步。沒有驚險(xiǎn)的跳躍,無(wú)知的觀眾會(huì)感到厭倦。他們喜歡那些表現(xiàn)得激動(dòng)人心或有爭(zhēng)議性的運(yùn)動(dòng)員。他們往往根據(jù)戲劇化的表現(xiàn)是否導(dǎo)致戲劇化的結(jié)果來評(píng)價(jià)比賽。他們想看運(yùn)動(dòng)員在超越自己極限時(shí)偶爾的突然失敗,而不是多年來穩(wěn)操勝券,熟知自己極限而不去超越它的運(yùn)動(dòng)員。 a sport es to depend on entertaining a mass audience, those involved in the sport often revise their ideas about what is important in revision usually involves a shift in emphasis from what might be called an aesthetic orientation to a heroic orientation In fact, the people in sport may even refer to games or matches as “showtime”, and they may refer to themselves as entertainers as well as does not mean that aesthetic orientations disappear, but it does mean that they often take a back seat to the heroic actions that entertain spectators who don39。t know enough to appreciate the strategic and technical aspects of the game or ,對(duì)于運(yùn)動(dòng)中什么才是重要的,運(yùn)動(dòng)參與者們往往會(huì)改變觀念。這一改變常常意味著重心從所謂的美學(xué)取向向英雄主義取向轉(zhuǎn)變。其實(shí),運(yùn)動(dòng)員可能甚至把運(yùn)動(dòng)或比賽稱為“表演秀”,并把自己稱作表演者兼運(yùn)動(dòng)員。這并不意味著美學(xué)取向不復(fù)存在了,但是這確實(shí)意味著與英雄主義行為相比,它們常常退居其后。英雄主義行為吸引著那些沒有足夠的知識(shí)欣賞運(yùn)動(dòng)或比賽的策略和技術(shù)的觀眾。 the need to please naive audiences bees greater, so does the emphasis on heroic is why television mentators for US football games continually talk about danger, injuries, playing with pain, and athletes, however, realize the dangers associated with heroic orientations and try to slow the move away from aesthetic orientations in their example, some former figure skaters have called for restrictions on the number of triple jumps that can be included in skating skaters are worried that the mercial success of their sport is ing to rely on the danger of movement rather than the beauty of , some skaters seem to be willing to adopt heroic orientations if this is what will please audiences and generate athletes usually evaluate themselves and other athletes in terms of the sport ethic, and they learn to see heroic actions signs of true mitment and dedication to their ,就越會(huì)強(qiáng)調(diào)英雄主義取向。這就是為什么美國(guó)橄欖球比賽的電視評(píng)論員喋喋不休地談?wù)撐ｋU(xiǎn)、受傷、帶傷比賽和膽量。不過,有些運(yùn)動(dòng)員意識(shí)到了與英雄主義取向隨之而來的危險(xiǎn),并試圖在他們的運(yùn)動(dòng)中放慢偏離美學(xué)取向的步伐。比如,一些前花樣滑冰運(yùn)動(dòng)員已經(jīng)呼吁限制滑冰項(xiàng)目中三連跳的數(shù)量。這些滑冰運(yùn)動(dòng)員擔(dān)心,他們的體育項(xiàng)目在商業(yè)上的成功正越來越依賴于動(dòng)作的危險(xiǎn)性,而不是動(dòng)作的美感。然而,另外一些滑冰運(yùn)動(dòng)員似乎愿意采取英雄主義取向,只要這樣能取悅觀眾,獲得收入。這些運(yùn)動(dòng)員用體育道德規(guī)范去評(píng)價(jià)自己和他人,他們還學(xué)會(huì)把英雄主義行為看成是真正地投入及為運(yùn)動(dòng)獻(xiàn)身的標(biāo)志。Commercialization also leads to changes in the organizations that control sports begin to depend on generating revenues, the control of sport organizations usually shifts further and further away from the fact, the players often lose effective control over the conditions of their own participation i