Theodore Adorno --
Adorno's concept of modernism as a form of negation. According to Adorno, "art is the negative knowldge of the actual world"; it "expresses the idea of harmony negatively by embodying the contradictions, pure and uncompromised, in its innermost structure." For Adorno, modern avant-garde art is de-aestheticized and its aura eroded from within (through its form and structure) and this immanent negativity distances the reality it alludes to.
正因為消費者沒有力量,所以他們必須要用「伎倆」(tactic)來竊取、利用不屬於他們的力量,或改變不屬於他們的空間。 Walking in the City: 對de Certeau而言,日常生活就是介入、挪用權力的方式﹔改寫都市版圖的方式就是個人在都市中的行走。de Certeau指出,行走之於地圖就如同語言行為(parole)之於語言系統(langue)﹔行走(或謂「行人的語言行動」或寫作)說/寫出了城市的多重空間。「行走肯定、懷疑、試驗、僭越、尊敬它所『說出』的軌道」(97-99)。如果都市地圖上有工整的街道,行人的腳蹤是不規律的(東歪西拐走捷徑)﹔如果都市地圖是完整的,行人的「空間」故事則是以偏代全(de Certeau用的是修辭語synecdoche,提喻),省略連接詞(asyndeton﹔100-10)。於是,移民在都市行走,一方面可能是遵循既有的軌道或被困於其中,一方面可能是寫出它的空間故事,是他/她們突破物質困境,挪用都市空間的方式之一。
大眾文化中有兩種權力及兩個團體--體制的控制及大眾在消費上的抵制。 大眾文化屬於弱勢族群("the weak" de Certeau 37; "the subordinated and the disempowered" Fiske 1989 4-5) ; 抵抗龐大笨拙、沒想像力、太有組織("cumbersome"、"unimaginative"、"over-organized")的權力 (Fiske 1989 32)。 消費者抵制的方式可以是規避("evasion"),也可以是抗拒("resistance")。在Power Plays, Power Works 中,Fiske 更進一步將消費者的伎倆分為較被動的轉換(inversion)、規避(evasion),及較主動的反抗(opposition)及顛覆(disruption)。 Fiske 的例子:Madonna fans, blue jeans wearers, homeless people.
[following Nowell-Smith] an exclusive attention to the popular may distract critical analysis from focusing on how cultural field works in general. . .
Modern culture also takes the form of a single intertexual field, whose signifying elements are perpectually being recombined and played off against each other. |