文艺学
文艺学文艺学
    内容摘要
    在学术界关于“媒介时代”的探讨中，电视作为当代媒介文化的一种重要形式而成为关注焦点。相应地，对中国电视文化进行现象研究的众多论著也成为学术界的一大景观。尽管相关成果已经不少，但电视文化仍蕴藏着有待探索的巨大空间。电视的技术在发展、内容在更迭、环境在变化，最重要的是电视的思维和理念也总在接受新的挑战。因此，本文仍然选择把中国电视文化作为研究课题。
    本文力求从“话语”的角度，对中国当代电视的竞争格局及其深层寓意进行探析。中国电视由统一的垄断性的总体性媒体领域分化成各不相同的多元竞争的媒体地带的过程，实际上就是由国家一元话语到国家话语、精英话语与大众话语多元生成和竞争的过程。为了阐明这些话语系统之间复杂的竞争与共生关系，本文采取的是结构分析的方法。所谓“结构分析”，简单来说就是将一个系统拆分成不同组合结构（如表层与深层的组合结构、显性与隐性的组合结构）去揭示问题。在本文中，这种“结构分析”具备三层涵义：首先，在对当代中国的电视话语系统作分析时，始终都以宏观的视野作依托，尤其是从全球化进程中的政治、经济、文化等动态的结构关系中去加以观照，并运用相关理论（如现代性、后现代性、现代民族国家、产业竞争、全球化等）进行阐释；其次，既考虑到了电视文化在整个大文化结构中的特殊地位，又考虑到了它与其它文化类型的联系及共性；最后，组成本文写作框架的是下述传播过程：“环境→传者→信息产品→受者→环境”。本文将从这四个相对独立又复杂联结的传播环节中去探究三种话语系统形成的原因，分析其精神文化特质，展现它们之间竞争与共生的复杂关系。
    本文的观点是：中国当代电视出现的话语分化，既是中国社会现代性发展的结果，又蕴含着对中国现代性发展的参与性力量。从电视文化在西方的发展历史来看，它是在现代性的发展过程中出现的，与现代性的诸多维度交织在一起；从西方对电视文化的研究史来看，论者虽然看法各异，但不约而同地关注现代性问题。20世纪90年代以后，中国电视行业出现的体制改革，以及由此推动的多元话语系统竞争与共生的文化现象，是以西方电视发展的经验作为自己的参照的，可以说是在全球化条件下引发的电视界的西学东渐，是一次与世界接轨并期望在接轨中崛起的文化行动。因此，本文认为中国当代电视文化的发展尽管有国情的特殊性和历史的特殊性，但从根本上来讲并未脱离和西方电视文化一样的与现代性密切相关的轨道。
    在现代性的视域下，本文认为电视领域中国家话语系统的出现是对现代化的文化回应，以民族国家的名义宣传国家意志、来统一全民的“国家”想象；精英话语系统是在努力通过电视去建构一个以“协商式的批评”来推动现代性发展的公共领域；大众话语系统的建立则体现了中国当代文化对感性现代性的追求和肯定。这三套话语系统之间的竞争在很大程度上围绕话语权与话语理念而展开。
    国家话语的竞争优势在于现代民族国家是个体所必需的政治归属，人们需要电视文化去构造这个“想象的共同体”，尤其是在中国当前的良好发展态势下，人们需要与这个“想象的共同体”加强联结并感受它的活力。但是国家话语系统的制作往往过于严重地受到国家权力的控制，从制作思维到节目内容形态等方面都暴露出机械、僵化的弊病，在一定程度上偏离公众的收视权益，让观众既爱又恨。
    大众话语的竞争优势在于感性现代性是推动市场经济发展的巨大动力，也是这个消费时代大众最乐意消费的关于梦想、奇迹、欲望的神话。但是欲望的泛滥与过度膨胀又导致了社会人文精神的堕落与国民整体素质的下滑，这些都需要一种理性的清醒之音来加以纠偏和批判。精英话语的积极意义在于为当代中国的电视文化提供一种理性、多元的意见交换平台。但在中国目前的情况下，在国家话语系统分化出的空间中，大众话语系统占据了极为重要的地位，精英主义的话语空间受到比较大的挤压。当然，这也是全球电视发展的一个显著现象。如何在国家话语、精英话语和大众话语之间达到良性共生，是电视文化产生以来就困扰着知识精英的忧思，也是本文的期盼。 [英文摘要]：     Abstract
    In  the discussion about “media time”in the academic circle, the television becomes the focus of attention as the contemporary medium culture's one important form.  Correspondingly, the papers and the works on China TV culture phenomenon research is also becoming a big landscape in academic circle. As a till-now the biggest core media, the TV, China's TV culture question contains a huge discussion space although we already have many related achievements, because the television is a complex cultural phenomenon. Television's technology is developing, the content is alternating, the environment is changing, the most important is that television's thoughts and the ideas are constantly facing new challenges. Therefore, I still chose China TV culture as the important research subject in this article.
    In this article, I explored the competition pattern and in-depth implication of Chinese present television medium from the theory angle of “the discourse”. In my opinion, the process that the Chinese television, as a unified monopolizing bulking media domain, has been split up into the media region of various multi-dimensional competition, is in fact the one that national mono discourse has been split up into multi-dimensional discourse which contains the national discourse, the elite discourse and the populace discourse. In order to explain the complex competition and co-existence relations among these words system, and to reply designed series questions in this research activity, the structural analysis method is adopted in this article. Simply speaking, in order to discover the problems, the so-called Structural Analysis means we split a system into different built-up section, such as the surface layer and in-depth built-up structure, dominant and the recessive combination structure. In this paper, the Structure Analysis refers to three implications. First, when making the analysis to Contemporary China's television words system, always based on the macroscopic perspective in this article, especially in globalization age, I will look into the system in the relationship among the dynamic structural relations of whole politics, the economy, the culture in global community, and will carry on the explanation by using the correlation theories such as the modernity, post-modernity, the modern nation-state, the industrial competition, the globalization, as well as many modern culture theory and so on. Next, this article I considered the special cultural status of TV culture in the entire big cultural structure, in the meantime, I also considered the affiliation and the general character with other cultural type contacting. Finally, what compositing the writing frame is a spreading process structure: “environment →disseminator→ information product →receiver → environment”. From the link of this four relatively independent and complex dissemination link I will inquire into the reasons of three kinds of discourse systems forms, analyzes the energetic cultural special characteristic of the words, unfolds the complex relations that have competition and the co-existence among them.
    The viewpoint in this article is that the discourse differentiation phenomenon appears in the modern Chinese television is a result led by Chinese society modernity development, is also a kind of participation strength to a Chinese modernity development. Looking from the West's historical development of the TV culture, it appears in the modernity developing process, it interweaves with many dimensions of the modernity; Looking from the west research history of TV culture, the views about TV culture  varies and all sorts of conclusions are containing understanding and the analysis about the modernity made by the researchers. After the 1990s, the media organizational reform appeared in the Chinese television profession and the multi-dimensional discourse system competition and the co-existence cultural phenomenon impelled by the reform took the experience of the Western television development as it's own reference. We may say that is the introduction of western learning to the east in television world which initiates under the globalization condition, is a cultural motion which connects rails with the world and expects rises in the trail connection. Therefore, I think that the development of the Chinese modern TV culture has not been fundamentally separated from the relationship track of modernity which is as the same as in the West TV culture, though it has the national condition particularity and the historical particularity.
    Under the modernity sight, I thought that the appearance of the national discourse system is a culture respond to modern nation-state dimension of modernity culture of television. It unified all the people with“country”imagination and propagated national will in the name of nation-state. The elite discourse system tries to construct the public domain in which the modernity development promoted by“the consultation-like criticism” through the television; The establishment of popular discourse system has manifested the perceptual modernity pursue and the affirmation to which the Chinese contemporary culture shows. And the competition among these three discourse system manifests a kind of competition between the discourse power and the discourse idea.
    The advantages of national discourse competitive lies in the fact that modern nation-state is essential politics ownership of individuals, the people need the TV culture to construct“the imagination community”, particularly under Chinese current positive development situation, the people need to strengthen the joint with“the imagination community”and feel its vigor. But the manufacture of the national words system is often strictly controlled by the state power, from the manufacture thought to program content shape it exposes the abuse of machinery and rigid. To a certain extent, it deviates public's reception rights and interests of TV, lets the audience love and hate as well.
    The advantages of popular words' competition lies in that the perceptual modernity is the giant power which promotes the market economy development, is also a legend about the dream, the miracle and the desire myth which populace is mostly glad to expend in this consumption time. But desire being in flood and over expansion has caused degeneration of society humane spirit and downgrade of national overall quality. We need a rational and clear sound to correct the error and to criticize.
    The positive sense of the elite discourse lies in that Contemporary China's TV culture provides one exchangeable platform of rationality and Multiplicity. But in the Chinese present situation, in the space split out from the national discourse system, the populace discourse system had the greatest important status, the discourse space of elite has received a bigger extrusion. Certainly, this is also a remarkable phenomenon that the global television develops. It is puzzling knowledge elite how to achieve the benign co-existence among the national discourse, the elite discourse and popular discourse since the TV culture appeared, and it is also what we are expecting in this article.