走向认知文化霸权  

Toward a Cognitive Cultural Hegemony

作　　者：Bruce McConachie 蒋展[2] 何辉斌[2] 

机构地区：[1]美国匹兹堡大学戏剧艺术系 [2]浙江大学外国语言文化与国际交流学院,杭州310058

出　　处：《文化艺术研究》2015年第1期157-164,共8页Studies in Culture and Art

摘　　要：本文将雷蒙德·威廉姆斯的文化霸权观与具身认知的概念相结合,提出认知文化霸权的概念;吸收了乔治·莱考夫与马克·约翰逊的认知语言学与哲学观点,以此来分析威廉姆斯对葛兰西所创术语的理解;借用认知人类学家布兰德·肖尔著作中的观点,用文化模型来解释外在的文化实践如何在内在的思想/头脑运作中加工与再生产,以获得对文化霸权的历史动力恰当的认知方式;最后,通过作者著作中的例子,探究对文化霸权的认知方法如何帮助研究剧院历史的学者理解20世纪50年代的美国百老汇剧院。This essay puts forward the concept of cognitive cultural hegemony through reconciliation of Raymond Williams＇ s concept of cultural hegemony and a notion of embodied cognition. Combined with the cognitive linguistics and philosophical ideas of George Lakoff and Mark Johnson, it probes into Willism＇ s understanding of Gramsci＇ s terms. It borrows from the work of cognitive anthropolo- gist Bradd Shore the cultural mode to explain how external cultural practices get processed and repro- duced in the internal workings of the mind/brain, in order to gain an adequate cognitive approach to the historical dynamics of cultural hegemony. Finally, this essay draws on examples from the au- thor＇ s work to suggest how a cognitive approach to cultural hegemony can help theater historians un- derstand Broadway theater in the United States during the 1950s.

关 键 词：雷蒙德·威廉姆斯 文化霸权 认知 文化模型 

分 类 号：G02[文化科学]