《百家讲坛》:新世纪的“鸳鸯蝴蝶”  

Lecture Room:Mandarin Duck and Butterfly of New Century

作　　者：罗四鸰[1] 

机构地区：[1]复旦大学中文系,上海200433

出　　处：《洛阳师范学院学报》2010年第6期8-12,共5页Journal of Luoyang Normal University

摘　　要：《百家讲坛》作为知识分子与大众文化融合的典型个案,"鸳鸯蝴蝶派"和"百家讲坛"作为两个时期大众文化的代表,都出现在我国社会的重大转型时期,他们所面临的共同境遇都是知识分子边缘化;上个世纪的"鸳鸯蝴蝶派"文学和当下《百家讲坛》的盛行,都以新型大众媒介的兴起为基础;不同的是,《百家讲坛》是在真正意义上的现代传媒发展后出现的,电视声像文化构成了文化消费的主流。《百家讲坛》虽然存在诸多问题,但在文化普及、娱乐大众方面的成就,以及在构建多元文化空间的独特尝试是不可忽视的。我们不妨吸取新文学家们以及百年来文史学家对待"鸳鸯蝴蝶派"的经验和教训,对《百家讲坛》采取包容与理解的态度,更多地提出一些建设性的批评,共同提升大众文化审美底蕴和艺术水准,构建多元互动、和谐共生的公共文化空间。Lecture Room is a typical case of intellectuals mingling with mass culture. The Mandarin-Duck- and-Butterfly School and Lecture Room, two representatives of mass culture of different periods, both appears in times of significant social alteration, faced with marginalization of intellectuals. Mandarin-Duck-and-Butterfly School of the last century and Lecture Room become popular both on the basis of new mass media, while the latter is based on de facto modern media when the visual-acoustic culture of TV constitutes the main stream of cultural consumption. The are problems with Lecture Room, but its endeavors are remarkable in the aspects of culture pop- ularization, entertainment and muhichotomous cultural space We might as well draw on the experiences of how new literary scholars and historian saw Mandarin-Duck-and-Butterfly School, and adopt the attitude of understanding and acceptance to contribute constructive criticism, to raise the bar of people＇ s cultural and aesthetic appreciation, and to construct the muhichotomous and harmonious public cultural space.

关 键 词：《百家讲坛》 “鸳鸯蝴蝶派” 新型大众媒介 公共文化空间 

分 类 号：G223[文化科学]