北師研究生英語課程(參考版)
2025-04-07 00:09本頁面
【正文】 taste as an arbitrary category is not a determining factor in the critical analysis of cultural practices. The “innocence” of the category of taste was criticized by Pierre Bourdieu, who saw it as an agent of ideological class division and a marker of social difference. Pierre Bourdieu, Distinction: A Social Judgment of Taste, trans. By Richard Nice, (Cambraidge and MassachusettsThe Status of the PopularKatarzyna SmyczyńskaAs the border between “l(fā)ow” and “high” cultural forms bees continuously blurred, it is no wonder that chicklit has a somewhat ambiguous status in western cultural discourse. Unlike relatively anonymous massproduced paperback romances (organized in series and therefore called “category romances”), some novels promoted as chicklit fiction have gained the status of bestsellers. While numerous novels have only been published in their paperback version, some have been issued in hardback and sold at a much higher price than conventional “pulp fiction” for women. As some of them contain elements of humour and irony, they are often discussed alongside such cult productions as the internationally known American TV series Sex and the City, Friends and Ally McBeal, Imelda Whelehan, Overloaded: Popular Culture and the Future of Feminism, (London: Women’s Press, 2000), 139. Also see Joanna di Mattia, “What’s the harm in believing Mr Big, Mr Perfect, and the romantic quest for Sex and the City’s Mr Right”, in Reading Sex and the City, Ed. Kim Akass and Janet McCabe (London: I. B. Tauris, 2004), 1732. canonical popular texts of the era whose postmodern narrative twist and constant play with the audience’s expectations imply more sophisticated readings than those associated with category romances.Although the existence of popular culture in industrial societies has been an area of concern for political and social thinkers of the modern era, Matthew Arnold’s famous definition of culture (“the best that has been thought and said in the world”) from his book Culture and Anarchy implies a clear dichotomy between culture produced by the social elite and the “anarchic” culture made by mon people, which considered degenerative in nature. His works strongly influenced another cultural critic, F. R. Leavis, who perceived “mass civilization” as inherently manipulatory and therefore dangerous. Their works, nevertheless, initiated further studies on massproduced culture (in England represented by the works of such eminent theorists as Raymond Williams and Stuart Hall) and opened up an academic discussion which continues till the present day. See for example John Storey, An Introductory Guide to Cultural Theory and Pop Culture, (New York and London: Harvester Wheatsheaf, 1993). its definition, status, and the character of its signifying practices still remain ambiguous. While some strands in postmodern theory have emphasized the importance of popular culture in the everyday experience of individuals, the view that mass culture shoul
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