文化研究学派中“受众”意识的流变  

Development and Change of the Views of Audience in Cultural Studies

作　　者：刘立刚[1] 陶丽[1] 

机构地区：[1]中央民族大学文学与新闻传播学院,北京100081

出　　处：《中央民族大学学报（哲学社会科学版）》2013年第6期122-127,共6页Journal of Minzu University of China(Philosophy and Social Sciences Edition)

摘　　要：文化研究作为一个非体制化领域,一直处于交叉学科位置,也因此没有明晰的学科界限和被普遍认可的学科定义,但却在整体发展研究上留下了脉络。本文以"受众"为切入点,以人物图谱的方式展现文化研究学派中"受众"意识的流变:从早期将受众视为文化和阶级的附属品,到霍尔引进"帕金模式",强调受众在解码时的主动性,再到费斯克将受众研究推向具有争议的"文化民粹主义"边缘。文化研究学派对"受众"的不断强调,使得这条以受众为核心的线索成为文化研究学术地图中不容忽略的理论脉络。Cultural studies, as an interdisciplinary study in a non-institutionalized field without a clear discipline boundary and generally accepted definition, has its own place in the studies of overall development. This paper makes a study from the perspective of audience to display the development and changes of the views of audience through figure maps, that is from the early period of regarding audience as subordinate to culture and class to Parkin Model introduced by Hall with the emphasis on the initiative of audience in decoding and to Fiske who led the studies on audience to the fringe of controversial cultural populism. Constant emphasis of cultural studies on audience has made audience-centered study an unnegligible theory in cultural studies.

关 键 词：文化研究 受众 霍尔模式 费斯克受众观 

分 类 号：G206.3[文化科学—传播学]