混搭背后的表征危机与身份迷失
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摘要
混搭背后有着复杂后现代社会和文化背景。首先,后现代符码的表征危机意味着相同符码在不同的时尚或社会文化氛围中不再具有相同的意义,失去了先前在各自语境中的文化意义和社会价值,而混搭为符码表征系统的重新建立提供了一个契机。其次、从解域和生成的视角来看,混搭是一种不同领域间相互解域的过程,在这一过程中不同领域的意义符码相遇、敞开并重构自身,从而生成新的意义符码和意义系统,而这也为解决时尚符码系统的表征危机提供了一种途径。第三,除了表达后现代主义的游戏、娱乐、无中心等特征之外,混搭也真实体现了现代多元文化社会中的价值失衡,表征了后现代社会转型期人们的迷茫、失落和焦虑之情。
This thesis means to study the complicated social and cultural background from the following three aspects: initially, the crisis of representation of post-modern code implies same code losses its original symbolic meaning and cultural value in different social or cultural environment while mix&match provides a chance for the reformation of a new representation system. Secondly, mis&match is a process of deterritorization between different territories during which different codes meet, open and rebuild themselves. This process also provides a solution for the representation crisis of fashion code. Thirdly, mix&match represents the imbalance of values in the modern multicultural society and people's confusion, loss and anxiety in the social transformation period besides embodying game, entertainment or rambling existence.
This thesis means to study the complicated social and cultural background from the following three aspects: initially, the crisis of representation of post-modern code implies same code losses its original symbolic meaning and cultural value in different social or cultural environment while mix&match provides a chance for the reformation of a new representation system. Secondly, mis&match is a process of deterritorization between different territories during which different codes meet, open and rebuild themselves. This process also provides a solution for the representation crisis of fashion code. Thirdly, mix&match represents the imbalance of values in the modern multicultural society and people's confusion, loss and anxiety in the social transformation period besides embodying game, entertainment or rambling existence.
引文
(1)戏剧网[EB/OL].[2016-6-10]http://www.xijucn.com/html/jingju/20120905/39575.html.
(2)王蕾,郁波,孙岚.“混搭”在设计发展史上的历史景深之浅析[J].艺术与设计(理论),2008(2):23-25.
(3)张闳.文化“混搭”与文化主体性[J].上海采风,2012(5):88-89.
(4)Barnard,Malcolm.Fashion Theory:An Introduction[M].Routledge.2014(5):152.
(5)余岱宗.解读叙事:解域与生成[J].文艺理论研究,2015(4):111-118.
(6)Hill,A‘.People Dress So Badly Nowadays:Fashion and Late Modernity’,in Breward,C.and Evans,C.(eds)Fashion and Modernity[M].Oxford and Berg.2005:73
(2)王蕾,郁波,孙岚.“混搭”在设计发展史上的历史景深之浅析[J].艺术与设计(理论),2008(2):23-25.
(3)张闳.文化“混搭”与文化主体性[J].上海采风,2012(5):88-89.
(4)Barnard,Malcolm.Fashion Theory:An Introduction[M].Routledge.2014(5):152.
(5)余岱宗.解读叙事:解域与生成[J].文艺理论研究,2015(4):111-118.
(6)Hill,A‘.People Dress So Badly Nowadays:Fashion and Late Modernity’,in Breward,C.and Evans,C.(eds)Fashion and Modernity[M].Oxford and Berg.2005:73