机构地区: 中国人民大学新闻学院
出 处: 《山西大学学报(哲学社会科学版)》 2013年第2期110-118,共9页
摘 要: 文章考察了"文化工业"这一关键词在中国的变迁过程。上世纪80年代末90年代初,当中国还不具备成熟的文化工业时,法兰克福学派的文化工业理论引入导致了一场错位的中国文化工业批判。但是当进入21世纪后中国建立起真正的文化工业后,"文化工业"概念却被置换成了"文化产业",并衍生出如"创意产业"等相关的概念,正面肯定并服务于文化工业。文章借用了布尔迪厄的场域分析方法,对这一现象背后的原因进行了初步探索,揭示出媒介文化研究场域的自主性正在削弱。 This paper studies the changes of such a keyword as "culture industry" (WenhuaGongye) in China. In the late 1980s and early 1990s, when the modem culture industry was not fully established in China, the introduc- tion of Frankfurt School' s culture industry theory caused a misplaced criticism against Chinese culture industry; whereas when culture industry was realized at the beginning of 21th century, the "culture industry"( Wenhua- Gongye) was displaced by the "culture industries" ( WenhuaChangye ) , which also derived other concepts like "creative industy". These new concepts legitimize and serve the newly established culture industry. This paper u- ses Pierre Bourdieu' s field theory to explore the explanation of this phenomenon and finds out that the autonomy of the academic field is diminishing.
领 域: [文化科学—传播学]