The new cyberspace,images,media,and computer industry constitute a new media culture.Faced with this change,it is necessary to view culture as a continuous entity and apply interdisciplinary and multi-perspective methods to study cultural sociology.Classical sociological theory has transcended the disciplinary boundaries by outlining the relationship among economics,politics,and culture in modem society.Frankfurt School adopted a multi-perspective approach to study various cultural phenomena on the basis of interdisciplinary research,and developed the early models of cultural studies.Same as Frankfurt School,Birmingham School,taking social changes as the research subject,combined the social theory,cultural analysis and political criticism at the meta-theoretical level.British cultural studies rejected the distinction between elegant and vulgar cultures,gave up the elitism of Frankfurt School,and broke through the limit of Frankfurt School's concept of"passive audience"by the concept of"active audience".However,the cultural studies after 1980s emphasized on the consumption pleasure and welcomed the popular culture,leading to the uncritical praise of"mass culture"and ignorance of the influences of elegant culture,modernism and avant-garde.Therefore,it is necessary to devise a multi-perspective method for cultural studies and cultural sociology,to criticize the cultural products from three dimensions of political economy,text analysis,and research on audience,and to form a comprehensive application of Frankfurt School,British cultural studies,postmodern theory,and some other new methods.
一 中国出版 (一)中国大陆/内地地区出版 《迦陵论词丛稿》,上海古籍出版社,1980年11月 《中国古典诗歌评论集》,广东人民出版社,1982年5月 《王国维及其文学批评》,广东人民出版社,1982年9月 《迦陵论诗丛稿》,中华书局,1984年4月 《灵谿词说》(与缪钺合著,平装、精装),上海古籍出版社,1987年11月 《杜甫秋兴八首集说》(平装、精装),上海古籍出版社,1988年2月 《唐宋词十七讲》,岳麓书社,1989年2月 《中国词学的现代观》,岳麓书社,1990年7月
本文以中国现代悲剧观的特点与成因为例,探讨理论旅行过程中出现的"误读"与"变异"如何影响在地文化对自身特殊文学现象的解读与定位.中国现代悲剧观本身即是"创造性误读"的产物,它表面上承袭了西方叙述模式,实际上却在20世纪中国文化和社会语境中被不断修正,以符合现代中国文学的生存环境与发展要求.海外汉学界的一些现有研究对这一事实的定势解读脱离了中国文学现代化具体历史进程的实际,从而落入"强制阐释"的学理窠臼.
文昌信仰盛行于唐宋两代,因文昌帝君司掌功名禄位,得到了士大夫与平民百姓的普遍信奉.具体到信仰行为,除建庙造祠、斋醮祭祀之外,还出现了大量与文昌帝君相关的诗文,既有赠答交往诗中的相关诗语,也有文人参与宗教活动的祝文祠记.文昌帝君的形象经过朝廷敕封与民间崇奉,在宋代逐渐定型,集地方神、空间神与人格神为一体,产生的感召力远超前代.就诗文而言,宋人的遣词造意更加灵活丰富,既反映了文昌形象的变化,同时也体现出宋代士大夫的道教信仰与精神世界.
随着市场化程度的加深,新世纪文学期刊频频遭遇生存危机,但小小说类文学期刊在激烈的市场竞争中脱颖而出.它们文体特征鲜明,通过种种期刊行动培育小小说作家作品,厘清小小说定义,确立小小说文体,在创作群体、流通传播、接受对象、文化意义四个方面明确了小小说大众性的文体要义.它们强调雅俗共赏的审美追求,在内容、结构、语言等多个层面既满足了读者的阅读趣味,又实现了小小说美学品格的提升.适应时代变革的文体类型给新世纪文学发展提供了源源不断的推动力,创造了丰赡多姿的文学实绩.
