摇滚文化话语中的划分实例

S. Dyukin
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摘要

文章的主要概念是话语和划界实例。这是一套能够形成话语结构、确定其主要和次要部分的社会制度。研究的目的是确定摇滚文化话语中的划界实例。本研究的方法包括对摇滚文化代理人的叙事访谈和话语分析。摇滚文化的参与者包括音乐家、他们的密友、唱片收藏者和歌迷。通过研究,我们可以得出以下结论。在摇滚文化的话语中,这些机构的角色由朋友、家庭中的长辈、媒体和音乐商店来完成。构建话语体系的朋友应具有权威和声望。他们确定审美立场,作出评价,施加信息影响。朋友的影响既可以是暂时的,也可以是永久的。家庭中的长辈也会以同样的方式影响话语。媒体和音乐商店也是划分界限的例子。媒体在摇滚话语中具有设置议程的作用。形成议程的方法是事实提名和排名。音乐商店则组织摇滚文化不同参与者之间的对话。音乐商店的运作类似于媒体。它提供了积极的话语提名环节:所需商品创造了一定的语言系列,影响着商店的访客。来访者进入一定的语境,使他们将自己视为可以进一步扩充主题词库的指代产品。话语形成的结构是由在文化存在的公共和私人领域发挥作用的机构决定的。公共机构是媒体和音乐商店(或苏联文化现实中的市场)。因此,摇滚话语具有双重功能。它将主体引入社会和文化创新领域。同时,具有私人性质的摇滚乐又使人回归文化传统。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Instances of Delineation in Rock-Culture Discourse
The main concepts of the article are discourse and instances of delineation. This is a set of social institutions that can form the structure of discourse, identify its main and secondary segments. The aim of the research is identification of the instances of delineation in the discourse of rock-culture. The methods of this research included narrative interviews with agents of rock-culture and discourse-analysis. Agents of rock-culture are musicians, their close friends, collector of discs, fans. The research allows us to draw the following conclusions. In the discourse of rock-culture the role of such institutions is fulfilled by a friend, a senior member of family, media and music shops. The friend that structures the discourse should have authority and prestige. They define aesthetic positions, give assessments and exert informational impact. A friend can influence both temporarily and permanently. A senior member of the family affects the discourse in the same way. Other instances of delineation are media and music shops. Media has the effect in rock-discourse of setting the agenda. Methods of forming the agenda are nomination of facts and rankings. A music shop organizes conversation between different agents of rock-culture. A shop operates like media. It provides positive nomination segments of discourse: the demanded goods create a certain verbal series influencing a visitor of the shop. A visitor enters a certain context that leads them to perceive themselves as a referent product that can further the thesaurus of the subject. The structure of the discourse formation is determined by the institutions that act both in the public and in the private field of cultural being. The public instances of delineation are media and musical shops (or market in the reality of Soviet culture). So the discourse of rock performs a double function. It introduces the subject into the sphere of social and cultural innovations. At the same time rock that has a private character returns one to cultural traditions.
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