《繁花》中的消费逻辑与欲望生产  

The Logic of Consumption and the Production of Desire in Blossoms Shanghai

作　　者：冉梦丽 Ran Mengli

机构地区：[1]南开大学文学院

出　　处：《文学与文化》2024年第2期99-105,共7页Literature and Culture Studies

摘　　要：电视剧《繁花》中的体面与排场,凸显出消费社会到来引发的新的社会变革。消费社会以无意识的手段驯化出消费“生产力”,并营造出“个性”想象的欲望幻觉,制造了消费主体的身份认同。人们愈发倾向于借助资本符号来“包装”自身、打造自我,却折射出这样一种悲剧性悖论——消费并拥有物品的同时意味着欲望的缺席。消费文化显示出的是“权力形式的征服”,当最接近理想的参照物的时候,既是想象性地“成为自己”的时刻,也是与“范例”最相吻合的时候,这意味着对“集体命令”的服从。The decency and extravagance in Blossoms Shanghai,a popular TV series in 2023 in China,highlight the new social changes triggered by the emerging consumer society.The consumer society domesticates the“productivity”of consumption by unconscious means and fosters the illusion of desire for“individuality”imagination,establishing the identity of the consumers.People increasingly tend to utilize capital symbols to“package”themselves and shape their identities,but it reflects such a tragic paradox:the absence of desire resulted simultaneously from the consuming and owning of goods.What consumer culture shows is the“conquest of power forms”.When one is closest to the ideal reference,it is both the moment of imaginatively“becoming oneself”and the time when it is most consistent with the“paradigm”,which means obedience to the collective order.

关 键 词：《繁花》 消费逻辑 欲望生产 主体 

分 类 号：I207.42[文学—中国文学]