九十年代美國(guó)情景喜劇中的種族性再現(xiàn)

前言

The basic editorial strategy of the series New Topics in Cultural Studies is to present a broad yet focused spectrum of thinking on contemporary literary/cultural studies and to challenge our conceptions of what postcolonial and feminist cultural studies in China and the West is and how we should think about it in the age of "glocalisation" —— the dual process of globalisation and localisation. By presenting as many voices as possible, one of our major aims is to create a discursive space for （re）viewing and （re）writing about linguistic, literary and cultural texts in relation to our changing social, historical and ecological environment. Indeed, we want the series to open up our readers' mind about cultural studies beyond the confines of its linguistic and literary origins. This group of research projects reflects our concerted efforts in critiquing and combining certain insights of poststructuralism with certain insights of postmodernism, feminism, psychoanalysis, semiotics, and postcolonialism.

內(nèi)容概要

情景喜劇是美國(guó)經(jīng)久不衰、最受歡迎的電視節(jié)目之一。盡管如此，情景喜劇卻沒(méi)有受到評(píng)論界足夠的重視。本書(shū)從后殖民的視角，綜合話語(yǔ)分析及符號(hào)學(xué)理論，定量分析與定性分析相結(jié)合，對(duì)20世紀(jì)90年代一些最有影響的黑人情景喜劇、亞裔人情景喜劇、白人情景喜劇進(jìn)行了深入的探討。研究發(fā)現(xiàn)，90年代情景喜劇中的種族性再現(xiàn)是各種社會(huì)力量角逐的結(jié)果，是多種不同聲音競(jìng)爭(zhēng)話語(yǔ)權(quán)的產(chǎn)物。90年代情景喜劇深深地打上了白人至、父權(quán)為中心、資本主義的主流意識(shí)形態(tài)的烙印。情景喜劇是不同種族再現(xiàn)其存在、爭(zhēng)奪其意義與快樂(lè)的空間、場(chǎng)所。

作者簡(jiǎn)介

彭啟貴，博士，副教授。四川安縣人。廣東外語(yǔ)外貿(mào)大學(xué)國(guó)際商務(wù)英語(yǔ)學(xué)院教師。1987年畢業(yè)于西南師范大學(xué)外語(yǔ)系，獲學(xué)士學(xué)位。1992年畢業(yè)于廣州外國(guó)語(yǔ)學(xué)院，獲碩士學(xué)位。2008年畢業(yè)于廣東外語(yǔ)外貿(mào)大學(xué)，獲博士學(xué)位。研究方向包括比較文化、大眾文化、英語(yǔ)教學(xué)。曾在《四川師范學(xué)院學(xué)報(bào)》、《中國(guó)電視》、《廣東外語(yǔ)外貿(mào)大學(xué)學(xué)報(bào)》等發(fā)表論文十余篇，編寫(xiě)教材兩部。

書(shū)籍目錄

Chapter 1  Introduction: Approaching Sitcom Representation  1.1  Taking Sitcoms Seriously  1.2  Theoretical Framework    1.2.1  Televisual Text, Audience and Discourse    1.2.2  Theories of Comedy: Aristotle, Kant and Freud    1.2.3  Representations of Ethnicity  1.3  Methodology  1.4  Structure  1.5  Selection of TextsChapter 2  The Making of Sitcom  2.1  What is Sitcom?  2.2  Characteristics of Sitcom  2.3  Types of Siteom    2.3.1  Domestic and Non-domestic Sitcoms    2.3.2  Family and Workplace Sitcoms    2.3.3  Actcom, Domcom and Dramedy  2.4  Ideology in SitcomChapter 3  Ethnicity in American Sitcoms from 1950s to  3.1  Colors in Siteom    3.1.1  1950s: Appearance of Colors    3.1.2  1960s: Dis-appearance of Colors    3.1.3  1970s : Return of Colors    3.1.4  1980s: Celebrating Color Black  3.2  Major Features of Representations in Siteoms    3.2.1  Domination of Whiteness    3.2.2  Black and White Binary    3.2.3  Negative Images    3.2.4  Ambivalence in Ethnic Discourse  3.3  Politics of Representation    3.3.1  Constructing Positive Images    3.3.2  (Cultural) Assimilation    3.3.3  Living with DifferencesChapter 4  Representing Ethnidty in Non-white American Sitcoms in the 1990s  4.1  The 1990s: A Different World?    4.1.1  General Social Political Context    4.1.2  Demographic Growth and Non-white Spending    4.1.3  Television Industry  4.2  Representations of Ethnicity in Non-white Sitcoms    4.2.1  Black Sitcoms      4.2.1.1  Commercial Networks Vying for the Market      4.2.1.2  Black's Presence and Portraits      4.2.1.3  Multiplicity/Diversity/Heterogeneity in Representing Blackness    4.2.2  Asian American Sitcoms      4.2.2.1  Asian Americans in the 1990s      4.2.2.2  Televisual Representations of Asian Americans      4.2.2.3  All-American Girl    4.2.3  Invisibility of Hispanic and Native American SitcomsChapter 5  Representing "the Other" in White Sitcoms: A Quantitative Study of Seinfeld and Friends  5.1  Stories of the Whites: Plot Summary of Seinfeld and Friends    5.1.1  Seinfeld: A Show About Nothing    5.1.2  Friends : A Story of Friendship and More  5.2  Methodology  5.3  Categorization    5.3.1  Race    5.3.2  Gender    5.3.3  Profession    5.3.4  Class    5.3.5  Name and Articulation    5.3.6  Personal Relations  5.4  Results and Discussion    5.4.1  White Domination    5.4.2  Unbanlaced Presence Among Peoples of Color    5.4.3  Difference in Gender Casting    5.4.4  Wide Range of Professions    5.4.5  Middle Class Privileged    5.4.6  Unnamed and Inarticulated    5.4.7  Extensive Inter-racial ContactChapter 6  Representing "the Other" in White Sitcoms: A Qualitative Study of Seinfeld and Friends  6.1  White Skin Black Masks: Representations of Jewishness  6.2  Perfect "Bitch" : Women of Color  6.3  Winner or Loser: Colored Men  6.4  Witch Girl and Clown Boy: Colored Children  6.5  Normalcy, Stereotyping, and RacismChapter 7  Conclusion: Sitcom Situates Ethnidty  7.1  Knowledge Derived From the Study  7.2  Sitcom Situates Ethnicity  7.3  Implications for Future Sitcoms  7.4  Further ResearchBibliographyAppendix ⅠAppendix Ⅱ

章節(jié)摘錄

Gramsci' s theory of hegemony is also concerned with the process of ideology. Hegemony refers to the way that a nation could exert ideological and social, rather than military or coercive, power over the other. Like Ahhusser' s theory of ideology, Gramsci' s hegemony is not a static power relationship, but a constant process of struggle in which a dominant class wins the willing consent of the subordinate classes to the system that ensures their subordination. However, this consent must be constantly won and rewon, for people's material social experience constantly reminds them of the disadvantages of subordination and thus poses a constant threat to the dominant class. The theory of hegemony foregrounds the ideological struggle much more than Althusser's ideological theory does, which at times tends to imply that the power of the ideology or the ISAs of the dominant class is almost irresistible. Hegemony, on the other hand, posits a constant contradiction between ideology and the social experience of the subordinate that makes this interface into an inevitable site of ideological struggle. Consequently, this constant struggle from the subordinates has not only manifested its resistance against domination but also expanded its power and territory （Storey 1994:215 - 221 ）.

編輯推薦

《九十年代美國(guó)情景喜劇中的種族性再現(xiàn)》是中山大學(xué)出版社出版的。New Topics in Cultural Studies Series include the following titles:1.Literature. Culture and Postmodern Transformations: Eight Case Studies from William Shakespeare to James Bond by Mao Sihui. Wang Hong and Chert Xiangyang.2.Representations of "Otherness" in Disney Animated Films by Peng Baoliang.3.The Construction of Meaning: A CulturaI Study of Female Representation in American Magazine Advertising by Ding Shaoyan.4.Reconstructing Images of Chinese Peasantry: A Cultural and Linguistic Study of Zhao. Benshan's Comic Sketches 1995-2000 by Chen Kaiju.5.The Other Looks: Interrogating Chineseness in Hollywood Cinema 1980-1999 by Li Yufeng.6.Representations of Ethnicity in American Sitcoms in the 1990s by Peng Oigui.

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