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Journal of Sinological Studies(JSS) Vol.1 No.2.jpg
학술저널

Who is the 'Spectator' in Contemporary Chinese Social Culture?; A New Exploration of John Berger's 'Ways of Seeing

Who is the 'Spectator' in Contemporary Chinese Social Culture?; A New Exploration of John Berger's 'Ways of Seeing

How does John Berger's critical perspective of the “spectator” as the “critical eye” apply to contemporary Chinese social culture? Since the 19th century, how has the evolution of women as aesthetic objects progressed, and how does the phenomenon of the dual “sexual objectification” of both women and men manifest in contemporary society? Can consumption factors account for this? Berger has stated that the “promises” made by advertising entice people to strive to become the “other” in the eyes of others. However, Hall argues that in the encoding/decoding process of media communication, the spectator is simultaneously participating in cultural construction while also deconstructing the “myth” of consumption.

约翰· 伯格以“观者”为批评视角的“批判之眼”在中国当代社会文化中作何归因。本文旨在思考,欧洲自20 世纪至今女性做为审美客体的演进,当代社会中女性与男性的双重“媚态化”现象,消费因素能否覆盖?研究得知,尽管与消费因素存在复杂的联结,但女性媚态化的表象背后充满弗洛伊德色彩,而男性的媚态化指涉的观看权力反向终究归属于瑰丽的梦境。伯格指出,广告图像的“允诺性”尽然使人们趋之若鹜想要成为他人的“他者”。但霍尔的编码/解码理论说明观者既在参与文化建构同时也在解构这场消费“神话”。

1《观看之道》总述

2 观看客体在视觉消费中的双重“媚态化”

3 广告图像的“允诺性”

4 结语

参考文献

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