随着移动互联网基础设施在农村的普及,短视频渗透进农民的日常生活,两者的相遇是一种持续性的互动与互建.在驯化理论的视角框架下,对鲁中地区西村农民的短视频使用实践的研究表明,短视频在多重维度上重构了农村农民的日常生活:大多数村民对短视频的被动挪用属于新技术接纳的"滞后者",是短视频的被动消费者而非主动生产者,短视频以一种补偿甚至替代性的娱乐方式嵌入农民的日常生活实践.在嵌入个人、家庭、村落等不同场景的过程中,短视频实现了私人空间与线上公共空间的连接,引发了家庭共享空间的衰落,通过"云"上村落实现了"地方"的凸显与再造.在转化至公众领域的过程中,短视频成为个人表征的来源与资本,同时导致乡村传统权力结构的变化.

当今世界围绕全球化出现了两幅充满张力的图景:一边是西方主要国家兴起逆全球化思潮与行动,另一边则是共建"一带一路"倡议初见成效.在全球化进程面临这种不确定性的时代背景下,"一带一路"代表了一种新型全球化模式的探索性方案.通过追溯全球化的历史痕迹可知,这一概念具有历史阶段性和时代性表征的特点,自西方诸国进入资本主义阶段而主导现代全球化进程以来,体现出霸权性和同一性的特征.因此,所谓逆全球化的兴起并非对全球化本身的抛弃,而是对西式全球化导致的世界失衡发展困境的反思.而"一带一路"在基本内涵、路径和存在逻辑上都有另一种不同的呈现,在异于西式全球化的同时力图超越后者的困境,针对当代世界谋求多元共同发展探索一种更为均衡普惠的全球化模式,并以此回应逆全球化的危机问题.

信息技术革命促使当代社会呈现一幅"微时代"的"微文化"景观,在此语境下,媒介叙事从以大众媒体为代表的现代宏大叙事,转向新媒体为代表的后现代"微叙事"范式.从移动传播这一媒介环境学的理论视野看,这源于新媒体在当代社会实践中已超越了工具论而上升至媒介化层面,作为一种制度化要素,新媒体的技术偏向是时间上的非连续性和空间上的断裂性,这决定了新媒体叙事隐喻了一种即时性、碎片化的微叙事范式.该范式转型从认识论的高度蕴含着重新衡量和表达事物的思维方式:"当下主义",它在叙事中试图把大量时间压缩在一个时空瞬间,在聚焦当下的同时忽略过去与未来的向度,其本质上是区别于传统农业和现代工业社会的后现代社会的数字时间观.

在媒介化理论视角下,数字技术使家庭传播遵循一定的媒介逻辑,媒介作为行动者与家庭主体进行动态的相互作用,在数字化的代际沟通与反哺中扮演重要角色.具体到微信媒介化的中国家庭,通过扎根理论研究发现,微信在Meyrowitz提出的媒介三重隐喻维度对家庭传播产生影响.首先,微信作为渠道,在代际沟通中生成分裂与弥合的张力;其次,微信作为语言,表情包以流行文化的方式重塑家庭代际沟通,消解了家庭的传统权威结构,微信赋予年轻子代话语权,亲代与祖代在数字语言使用中呈现"延伸""替代""融合""适应"的趋势;最后,微信作为文化环境,使家庭亲子关系的纵轴重心位移,增强了家庭的情感沟通,微信与流行文化的关联也蕴涵着消费主义意识形态,商业正悄然渗入家庭传播场域.

媒介接触与使用是传播学研究的重要议题和领域.在快速发展的互联网媒介与用户主体经验的二元结构及其互动关系中,媒介接触行为不断呈现新的特点.对于在内地高校学习的澳门大学生这一群体而言,双重社会情境势必给他们的媒介接触与使用带来影响.从使用与满足的理论视角,该群体在网络媒介的使用、选择、动机与评价四个维度上的表现与现有研究不尽相同,并在整体上呈现出差异性情境下"两栖性"的媒介接触行为与文化认同.

“传播学中国化”自20世纪80年代提出以来,即成为中文传播研究中最重要的议题之一.梳理该议题的产生及其内涵外延的来龙去脉,一方面形成对“传播学中国化”较为全面的认知,另一方面接续和回应围绕其合法性和可能性引发的讨论与观点.这些论争隐含了“传播学中国化”作为在地经验的研究与西方学术霸权乃至全球化之间的关系问题.“传播学中国化”应自觉置身于全球知识生产的场域中,首先借鉴和入乎西方理论之内,以研究中国特色的在地经验,彰显其理论的特殊性一面,进而超越和出乎西方理论之外,在全球视野中互映中西方传播理论,在对话融通中提升中国传播理论的普遍性一面,最终实现理论特殊性与普遍性辩证统一的全球在地化.

中央电视台春节联欢晚会由于多重权力形式的参与建构,成为一种具有独特意义叙事的"春晚话语"。一方面,这一特定意义体系来自传统民俗、民族国家、商业资本三重叙事的共同建构,形成一个集民间狂欢化、民族国家意识形态、商业叙事三位一体的复调架构。然而在另一方面,这三者由于叙事逻辑的不同,在叙事架构内构成一种逻辑对抗与互为解构的张力关系,导致春晚的叙事话语成为一个悖论式的意义表征系统。

As an American sinologist,Stephen Owen's research is distinguished by its breakthrough in the traditional perception in ancient Chinese literary history.In his An anthology of chinese literature,some literary period of time is relocated,during which the literary activity can be reevaluated.As a result,some structural breakthrough brought about.In the research of Tang poetry,Owen offers new frame for understanding the development of poetry due to his new category,which is the breakthrough in the view of history of literature.Finally,Stephen Owen's combination of sensitive experience and rational analysis in his research break the pattern of single discourse in the existent literary history.

The New Year's message,published on the last or first issue of Southern Weekly of every year since 1997,has been through for over ten years.Its special form of discourse is pretty of influence among media and readers.These New Year's Messages are found to consist of several subject terms in common forming a series of words families,which compose a unique discourse narrative in Southern Weekly.On one hand,this unique discourse provides a media sphere of language for readers "reading China",on the other hand,it also helps to construct a social mental state of "imagining China" from the aspects of identities,connotation and results.Imagining China as Nation-state consequently makes it a part of contemporary national narrative of China.

The principle of political investigation runs through the appearance and consideration of Taiwan's policies and statutes in the Cross-Strait journalism and communication.It consists of multiple discourses within the specific texts including political precaution,qualification,number limits and political intention.These policies and statutes legislatively authorize and guarantee the Cross-Strait journalism and communication.However,these restrictive features mentioned above bring about,to a great extent,the unbalance of communication between Taiwan and mainland.Based on its objective analysis the paper makes some suggestions for the future decision-making on the Cross-Strait communication.

Newspapers play multiple roles in the history of cross-strait exchange such as media pioneer,link,maintenance and platform,which propel the relations continuously across the Strait in depth and width. Under the new circumstances,Taiwanese newspapers,Chinatimes for instance,proceed with their news communication and public opinion construction and act as a powerful drive of cross-strait trade and cultural exchanges. Confronting the future relations,the news media of both sides can try initiating the new pattern of cooperation such as joint media across the Strait,establishing the imagined community and national identity by shared media culture.

The paper analyzes the relationship between mass media and consuming ethics.

文学传统是文学研究中难以回避的问题。本文针对当代西方汉学家的代表、美国宇文所安教授的论述,在不同文化语境中讨论该问题。本文作者认为,宇文氏在对中国古代文学及其思想的研究中,采纳了某种他本人认定的历史还原法,主张打破五四时期对传统中国一元化的塑造,而还原古代文学传统中本身所具有的多元特征,以文本解读为主要方式对传统做出了重新阐释与建构。这种解读和阐释体现了宇文所安尊重不同文化传统本身的态度以及尊重文学研究所独有的生命体验与理性思维并重的话语思维模式,代表了中国文学研究一种新的研究范式。其研究方式和话语模式的建构方式对于中国文学研究和比较文学研究有着借鉴意义。

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Stephen Owen suggests in his study on Chinese poetics that a poem in Chinese literary tradition is usually presumed to be non-fictional and its statements are taken as strictly true.This argument is criticized as arbitrary speculation on Chinese literary tradition by some scholars.Based on an in-depth analysis of Owen's research,this article illustrates that Owen's proposition is a partially valid description of Chinese reading tradition,and should be understood critically as a perspective on the reader's response notwithstanding its intrinsic limitation within the literary tradition.The paper also suggests that Owen's research mode of offering propositions is provocative to the discourse rebuilding of Chinese literary theory.

Stephen Owen suggests in his research into the Chinese poetic thought that a poem in Chinese literary tradition is usually presumed to be nonfictional and its statements are taken as strictly true.This argument is questioned by some scholars.Based on the further analysis of the Owen's discussion,it argues that his statement of nonfiction that characterize the Chinese literary thought is a partially valid description of Chinese reading tradition and should be understood critically from a perspective of reader's response.In addition,Owen's research mode of offering propositions is revealing to the rebuilding discourse of Chinese literary theory.

从词源学意义上看,体制是指在长期的社会发展中积淀下来的社会习俗、意识模式和行为方式等,其生命力远远强于文字的规定。从文学的角度而言,作为一个自律的领域经过长期的发展和积淀,文学在其自身内部也有了一种已经规范化了的体制;而伴随着社会的现代化和工业化过程,文学变为由社会多种力量参与建构的产物,文学体制作为维持文学生产的秩序性力量,它在文学与社会、文学与权利、想象与规则等因素之间建立起相互的联系。从文化研究的角度而言,作为一个生产性的机构和中介,体制通过系统化的习俗惯例和传统来建立和传播知识和信仰;作为维持各种社会活动和社会关系的规定性力量和系统,体制已经深入到一种文化共同体的各个领域和层面,对社会的运行、意识形态的建构、文化现象的形成等起着不可忽视的作用。