教育與時尚：文化工業下的教育

ᓉەΓЎޗ཮Ꮲൔ 2010 ԃ 7 Д ಃѤڔಃΒය। 127-142

Providence Studies on Humanities and Social Sciences July 2010, Volume 4, No. 2, pp.127-142

௲ػᆶਔۘǺЎϯπ཰Πޑ௲ػ

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ᄔ! ! ा

ੌ۩֮֏܂੡ԫጟᄅᘋ֮֏Δא،ᗑڶऱݮڤΕធᨻऱ؆।ܮ֧ထᐖՕ ॹڣᖂ՗Δ௽ܑਢڇᅝזྤࢬլڇऱ໾᧯ႚᐾऱංंܗᣴՀΔ،ޓᨃ๺ڍᖂ ՗ިಮլբΖߪ੡ඒߛृ૿ኙᅝזषᄎऱழࡸੌ۩֮֏ຍጟ᝟Ⴈᚨᇠڶ۶ኪ ৫Δຍլႛਢ೚ԫଡඒߛृᚨᇠஞ஥ऱسࡎኪ৫ΔٵழՈ෡ࠥᐙ᥼ထᖂسΔ ੷۟ᅝඒߛृංڶਙ࿜ެࡳ౨ԺழΔ،Ոᣂএࠩᖞ᧯ඒߛࠫ৫ፖඒߛ঴ᔆऱ ߜⲀΖኙψඒߛፖழࡸωຍᑌԫଡᓰᠲΔء֮ൕऄᥞ܌壂ᖂ੔ΰThe Frankfurt Schoolαࢬ༼נऱψ֮֏ՠᄐωΰcultural industryαຍଡߡ৫ࠐ֘ઊڼԫᓰᠲΖ ψ֮֏ՠᄐωਐࠡ੡֮֏ፖ೸ᄐऱጹയ࿨ٽΔᎁ੡֮֏ขᄐਢᇷء׌ᆠࠫ৫ ऱፂᥨृΔץਔᖲඳ֏ऱ෻ࢤسขመ࿓ΕՕၦᓤ፹ᑑᄷ֏ऱ೸঴ΕႿທ֮֏ ᎁٵऱ۩ᔭץᇘ֫੄Δ໌ທԳଚऱ᝜၇ᐥඨΖʳ ᣂ᝶ဲΚඒߛΕੌ۩֮֏Ε֮֏ՠᄐΕऄᥞ܌壂ᖂ੔ * ᙩࡵՕᖂඒߛઔߒࢬඒ඄ଫԳ֮षᄎઝᖂೃೃ९

൘ǵ߻! ! ق

ڇπᙒۂඡ໴ρעሉԫঞᣂ࣍ળᕙՕᖂऱᄅፊΔ،ᎅΚ ΋ДۭǴӧओᎹεᏢҁࣽΕᏢҙፎޑ۔Бᆛઠ᜘่ύǴр౜Α΋ࢤ࠹໺ ຎᓎǶрΓཀ਑ޑࢂǴ೭٠όࢂ΋ࢤ΋ҁ҅࿶ޑǵᛥӈӜਠᅿᅿфӜޑǵ ໺಍Դ঺ޑቹႽϟಏǴԶࢂ΋ࢤߏၲ߈ 17 ϩដǴਔۘ೸ഗޑ MTVǼǾ ՠओᎹޑ೭ঁ MTVǴ߆ӝΑȸYoutube ΋жȹǴѬ׳ࢂӧӛШΓ৖ҢǴ ೭ঁԖ๱ 300 ӭԃᐕўޑђԴεᏢǴόѝ཮ᡣΓଯξһЗǶ࡞࡞࣬ϸǴ ओᎹࢂғ୏Ԗ፪ޑǼѬ҅ӧௗڙԃᇸΓ഻ᆪ኷ـޑࢬՉЎϯϡનǴкϩ сᡉओᎹΓૈᏢૈވޑ੝ᗺǼ1_! طՂ૪ᄅፊ᧩قΔੌ۩֮֏ۿ׏բਢ෼זس੒լױ։໊ऱԫຝ։Δ༉ຑ वټᖂࢌຟྤऄࢉ܍Δ௽ܑਢኙڣ᎘ԫזࠐᎅΔੌ۩֮֏ࠠڶીࡎऱܮ֧ԺΖ ෼ڇ೚׀ئऱ່Օऱܺឫհԫषᄎੌ۩չᏖΔ۞աऱ՛৘ঁܰထ૞Δࠃ ኔՂΔڶழຍଡړቝՈլ౨ݙ٤ࢡ৘՗Δڂ੡ႚᐾ໾᧯ऱཱྀ਩Ժኔڇ֜ՕԱΔ ੷۟๺ڍ׀ئՈլ۞ᤚچಳດੌ۩Ιڇ෼זৄؑس੒խΔੌ۩ழࡸޓਢ๯ݮ Ⴟګᢞࣔ۞աᏝଖऱ।ᐛΔټྨࣚ堸ቝ pradaΕgucci ࿛Ε၆ഡץΕ೏్ၒ߫Ε ᎌڛਢՂੌषᄎऱؘໂ঴Ζ࣍ਢ෼זषᄎՂՂՀՀଡଡግ߆چಳດழࡸΖ ੌ۩ழࡸ֮֏܂੡ԫጟᄅᘋ֮֏Δא،ᗑڶऱݮڤΕធᨻऱ؆।ܮ֧ထ ᐖՕॹڣᖂ՗Δ௽ܑਢڇᅝזྤࢬլڇऱ໾᧯ႚᐾऱංंܗᣴՀΔ،ޓᨃ๺ ڍᖂ՗ިಮլբΖ ߪ੡ඒߛृ૿ኙᅝזषᄎऱழࡸੌ۩֮֏ຍጟ᝟Ⴈᚨᇠڶ۶ኪ৫Δຍլ ႛਢ೚ԫଡඒߛृᚨᇠஞ஥ऱسࡎኪ৫ΔඒߛृऱߢඒΕߪඒٵழՈ෡ࠥᐙ ᥼ထᖂسΔ੷۟ᅝඒߛृංڶਙ࿜ެࡳ౨ԺழΔ،Ոᣂএࠩᖞ᧯ඒߛࠫ৫ፖ ඒߛ঴ᔆऱߜⲀΖڂڼΔψඒߛፖழࡸωຍଡᤜᠲଖ൓ܠԳᣂࣹΖ 1 τᖂس۞፹ MTV ৙ႚળᕙՕᖂυΔπᙒۂඡ໴ρΔhttp://www.sina.com.cn 2010 ڣ 02 ִ 20 ֲ 06:11

ມǵࢬՉЎϯբࣁ΋ᅿЎϯπ཰

ኙψඒߛፖழࡸωຍᑌԫଡᓰᠲΔݺؚጩൕψ֮֏ՠᄐωऱߡ৫ࠐᨠ઎Ζ ψ ֮ ֏ ՠ ᄐ ωΰ cultural industry α ຍ ଡ ᄗ ࢚ ਢ ط ऄ ᥞ ܌ 壂 ᖂ ੔ ΰ The Frankfurt Schoolαऱᙥ܌௧ᚈΰMax HorkheimerαࡉॳڍᘭΰH. Adornoαڇ πඔ፞ऱᙃᢞρΰDialectic of Enlightenmentαԫ஼խࢬ༼נऱΔਐࠡ੡֮֏ፖ ೸ᄐऱጹയ࿨ٽΔᎁ੡֮֏ขᄐਢᇷء׌ᆠࠫ৫ऱፂᥨृΔץਔᖲඳ֏ऱ෻ ࢤسขመ࿓ΕՕၦᓤ፹ᑑᄷ֏ऱ೸঴ΕႿທ֮֏ᎁٵऱ۩ᔭץᇘ֫੄Δ໌ທ Գଚऱ᝜၇ᐥඨΖ2_{ψ֮֏ՠᄐωڶழՈ๯ጠ੡ψ֮֏ขᄐωΔ௅ᖕᜤٽഏඒ} ઝ֮ิ៣ኙ֮֏ขᄐऱࡳᆠਢຍᑌऱΚψ࿨ٽ໌܂Εسขፖ೸ᄐऱփ୲Δٵழ ຍࠄփ୲ڇءᔆՂࠠڶྤݮᇷขፖ֮֏ᄗ࢚ऱ௽ࢤΔࠀᛧ൓ཕᐝತขᦞऱঅ ᥨΔࠡݮڤױאਢຄ঴ࢨਢࣚ೭Ζൕփ୲ࠐ઎Δ֮֏ขᄐՈױאီ੡໌რข ᄐΙࢨڇᆖᛎᏆ഑խΔጠհ੡آࠐࢤขᄐΰfuture oriented industriesαΙࢨڇ ઝݾᏆ഑խΔጠհ੡փ୲ขᄐΰcontent industries)ωΖ3

ൕ෻ᓵෘᄭࠐᎅΔψ֮֏ՠᄐωຍԫ෻ᓵऱ༼נਝ࠹ࠩᆼᥞ۫ΰAntonio Gramsciαψ֮֏᥹ᦞωΰcultural Hegemonyα෻ᓵऱᐙ᥼ΔՈޓࠠڶޅܒࢤΖ ௅ᖕᆼᥞ۫ऱᨠរΔᅝזਙएՂऱอएृլ౨໢ᔾࣳԺΰforceαፂ਍ࠡ ᦞԺΔהଚؘႊ૞ࠌԳاኙਝڶᦞԺ࿨ዌขسٵრΰconsentαΔ۞ᣋ൷࠹อ एΖอएृ੡ԱሒࠩຍଡؾऱΔהଚؘႊەᐞ๯อएृऱܓ墿Δᣂࣹהଚऱ ֮֏ΕᏝଖᨠΔኙԳا܂נᨃޡΰconcessionαΙอएृऱᨃޡਢڍֱ૿ऱΔ ܀ ਢ ່ ૹ ૞ ऱ ਢ ֮ ֏ Ղ ऱ ᨃ ޡ Ι ࠠ ᧯ ऱ ೚ ऄ ਢ ૞ ല ๯ อ ए ृ ऱ ֮ ֏ ܮ ౏ ΰculture incorporateαࠀףאૹิΔࠌհګ੡ኙอएृڶܓऱሐᐚᨠ֗׈੺ ᨠΖᆼᥞ۫ጠհ੡ሐᐚ֗वࢤऱᏆᖄΰmoral and intellectual leadershipαࢨ֮ ֏᥹ᦞΖຍᨠរᄕࠡૹ૞Δڂ੡،ਐנԱอएृؘႊܮ౏ޏທ๯อएृऱ֮ ֏ΙኙՀၸᐋԳاऱ֮֏ඈ؞ؚᚘ׽ᄎ൅ࠐޓՕऱ֘ݼΔٲ୭อएᦞԺऱإ ᅝࢤΙ࣍ਢΔڇຍᑌऱ֮֏᥹ᦞ෻ᓵխΔᆼᥞ۫ฆൄൎᓳֆاषᄎΰcivil

2

Martin Evan JayΔ໢׈ᜤ᤟Δπऄᥞ܌壂ᖂ੔׾ρΔᐖࣟΔԳاנठषΔ1996 ڣΖֱةੈΔτ֮֏

ՠᄐፖ֮֏එᦱЁॳڍᘭ֮֏ޅܒᨠរ֗ࠡભᖂრᆠυΔሉ࣍ാ٠ࡶΕࣥນᆁ׌ᒳΔπඒߛભ

ᖂρΔ؀קΚնতΔ2000 ڣΖ

3

societyαऱૹ૞ࢤΔࢬᘯऱֆاषᄎਢઌኙچᗑم࣍ഏ୮ᖲᕴ֗ᆖᛎऱΕᖑ ڶԫࡳ۞׌ࢤऱاၴิ៣ΖڇᅝזਙएอएृೈԱ૞༳༽ഏ୮ᖲᕴ؆ΔᝫᏁ ૞ᤢ൓ֆاषᄎΔངߢհΔ༉ਢ૞൓ࠩاၴิ៣ऱ֭਍Δ֘መࠐᎅΔ૞֘ݼ ᇷء୮֗ഏ୮᥹ᦞΔՠԳၸ్ՈؘႊڇֆاषᄎՀפ֛ΔીԺञ࠷اၴิ៣ ֭਍ΔႚᐾڶܓՠԳၸ్ऱ֮֏Ζ4 ௅ᖕॳڍᘭ৵ࠐࢬᎅΔהଚ଺ءࠌشψՕฒ֮֏ωԫဲΰmass cultureαΔ լመΔط࣍ψՕฒ֮֏ऱ৙ᖄृᎁ੡Δ،ਢຍᑌԫጟ֮֏Δُ۵ٵழൕՕฒ ءߪขسנࠐۿऱΔਢੌ۩ᢌ๬ऱᅝזݮڤΖݺଚ੡Աൕԫၲࡨ༉ᝩ܍ፖڼ ԫીऱᇞᤩΔ༉ආشό֮֏ՠᄐύזཙԱ،ωΖ5 ۖڇᅝזषᄎխΔ֮֏ՠᄐऱሉ᧯׌૞ਢႚᐾ໾᧯Δ໾᧯ՠᄐऱՕฒႚ ᐾ௽ࢤࠌ،ࠠڶൎՕऱᐙ᥼ԺΔषᄎᇷಛᆖመ༵ᙇፖᇭᤩࠌ൓໾᧯ᖑڶݮႿ ԳاრᢝݮኪΕؐ׳षᄎᝨᓵΕ੷۟׌ᖄਙएݝႨऱԺၦΖլመΔຍࠀլਢ ᎅ໾᧯໌ທԱ֮֏ՠᄐΔՈլਢᎅ໾᧯ڕڼ༉༳༽ԱਙएΕषᄎऱᦞԺԱΙ ᣂ࣍،ଚհၴऱᣂএΔॳڍᘭᎅ൓ৰ堚ᄑΔהᎅΚ ε౲൞ϟࢂ੝ձࣁЎϯπ཰ѺᑃрٰޑǴѬς࿶ע๱ख़ᗺᙯډΑค্ޑ ሦୱǶѬࡽόӸӧ२ӃᜢЈε౲ޑୢᚒǴΨόࢂ΋ঁ໺ኞמೌޑୢᚒǴ Զࢂ٬ε౲Ծךᑩ๞ޑᆒઓޑୢᚒǴࢂдॺޑЬΓޑᖂॣޑୢᚒǶЎϯ π཰ᒱᇤӦעѬჹε౲ޑᜢЈҔܭፄᇙǵமϯдॺޑᆒઓǴѬଷ೛೭ᅿ ᆒઓࢂ೏๏ϒޑǵόёׯᡂޑǶ೭ᅿᆒઓӵՖ೏ׯᡂޑୢᚒֹӄ೏࿼ϐ ό౛Ƕε౲όࢂЎϯπ཰ޑᑽໆЁࡋǴԶࢂЎϯπ཰ޑཀ᛽׎ᄊǴᏃᆅ Ўϯπ཰ҁيӵ݀ό፾ᔈε౲൩୷ҁ΢όёૈӸӧǶ6_! ॳڍᘭ௽ܑൎᓳڇહ৵֭಻ထ໾᧯Ε֮֏ՠᄐऱᑨ៲ԺၦΔ༉ਢψ،ଚ ऱ׌ԳऱᜢଃωΔࠃኔՂ༉ਢຍଡषᄎऱอएၸᐋΖ 4

Antonio Gramsci, Selections from the Prison Notebooks, Lawrence and Wishart, 1971. S. Hall, “The Rediscovery of 'Ideology': Return of the Repressed in Media Studies”. in M. Gurevitch, T. Bennett,J. Curran & J. Woollacott, (Eds.), Culture, Society and Media. London & New

York:Routledge.,1986,pp.83-85

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T.Adorno , The Culture Industry: Selected Essays on Mass Culture, London: Routledge, 1991

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T.Adorno , The Culture Industry: Selected Essays on Mass Culture, London: Routledge, 1991.ॳڍ

៭ਢհਚΔψ֮֏ՠᄐω଺ࠐਐ௫ऱਢषᄎऱՕฒ֮֏ፖੌ۩֮֏Δᙥ܌ ௧ᚈࡉॳڍᘭհࢬאᄎല᥆࣍Օฒऱ֮֏ጠ੡ԫጟՠᄐΔ߷ਢהଚᎁ੡ࢬᘯ Օฒ֮֏ࠀլ٤ྥਢటإࠐ۞࣍Օฒࢨជ᥆࣍Օฒ֮֏Δۖਢอएၸ్طՂ ࠩՀൎף࿯ՕฒऱΔࠡؾऱڇ࣍૞ᓤ፹Ε൳ࠫΕᏜ֏ᆢฒऱ֨෻Δאֱঁኙ Օฒၞ۩൳ࠫΖ7 ڂڼΔڇຍଡრᆠՂΔֱ۫षᄎᖂऱषᄎޅܒ෻ᓵխΔ֮֏ՠᄐբᆖլ ႛႛ௫֮֗֏Δۖ׊ਢல֗ᆖᛎΕਙएΔޓਢԳڇᅝזषᄎխऱژڇֱڤࡉ ژڇणኪΖषᄎޅܒ෻ᓵृڇ֮֏Ղऱഗءم໱ਢፂᥨ֮֏Εᢌ๬ऱ۞׌ࢤΔ ൎᓳ֮֏ᢌ๬ኙԳژڇऱრᆠΙषᄎޅܒ෻ᓵՈၞԫޡޅܒ֮֏ऱؑ໱֏Ε ೸঴֏Δ֘ኙ֮֏ፖਙएอए඀㾣Δܡࡳࠀޅܒ֮֏ՠᄐࢬທګऱԳऱฆ֏ णኪΖʳ

ୖǵЎϯޑѱ൑ϯᆶ୘ࠔϯʳ

षᄎޅܒ෻ᓵኙ֮֏ՠᄐऱޅܒ່׌૞ڇࠟଡ૿ٻΚ ಑Ιএ७ө࢐МϽޟѿൟϽڷ୦ࠢϽȄ ֮֏ՠᄐ܂੡ԫጟ௽௘ݮኪऱψՠᄐωΔ،ೈࠠໂԫ౳რᆠՂऱՕฒ֮֏ փො؆Δ،ᝫࠠࠠໂԱψՠᄐωऱ૞ైΔ،ଚਢΚ1.֮֏ऱขس။ࠐ။ᣊۿ ࣍෼זՕՠᄐऱسขመ࿓Ι2.֮֏ऱขسፖ෼זઝᖂݾ๬ऱ࿨ٽ။ࠐ။ጹ യΙ3.֮֏ऱ׌᧯။ࠐ။լਢ܂੡֮֏௣၄ृऱᐖՕԳاᆢฒΖ8 ֮֏ՠᄐᙟထؑ໱֏ፖ೸঴֏ࢬ൅ࠐऱ֮֏ऱψᑑᄷ֏ωࡉψೕଡࢤ֏ωΙ षᄎޅܒ෻ᓵृኙ೸঴ࢤΕؑ໱֏ऱ֮֏ՠᄐऱޅܒΔᄭ۞הଚኙ֮֏֠ࠡ ਢᢌ๬ऱءᔆऱᗑ௽෻ᇞΙ9_{הଚᤉࢭԱൈᐚऱભᖂ෻࢚Δഒ਍ભऱॺפܓࢤ} ௽ᐛΔᎁ੡ભڇਬጟრᆠՂਢԫጟ၌။פܓᏁ૞Ε޲ڶܓ୭ᣂএऱژڇΔ، ਢԳऱ۞ط۞ᤚऱढٙ֏ءᔆऱኔ෼ࡉᒔᢞΚྤᓵਢᢌ๬঴ऱ໌܂ᝫਢࣲ ᓾΔຟ୶قԱԳࢬ௽ڶऱءᔆ๵ࡳࢤΔܛ۞طΖڇᙥ܌௧ᚈ઎ࠐΔᢌ๬ਢ। ᐛ׌᧯ࢤऱᏆ഑ΔਢԳऱଡࢤऱ۞׌ऱ໌ທࡉᗑمܒឰΖᢌ๬ऱ۞ط၌။ࢤΔ 7

J. Storey, Culture theory and popular culture: An introduction. NewYork: Prentice Hall, 2001,pp. 101-103.

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ຫᖂࣔΔπ֮֏ՠᄐρΔ؀קΔཆཕנठषΔ଄ 19-21Ζ

9

ᝫრ࠺ထኙ෼ኔژڇࡉ࿯ࡳհढऱܡࡳࡉޅܒΖటإऱᢌ๬ਝਢԫጟ۞طऱ ໌ທΔՈਢԫጟ᧢଀෼ژऱԺၦΖኙڼΔᙥ܌௧ᚈਐנΔψ֘ݼऱ૞ైփڇچ ژڇ່࣍၌ྥऱᢌ๬խωΔψᢌ๬܂঴མᆖԫ৫༉ਢ૞ܘԺᎅࣔ׈੺ਢ৻ᑌ ऱΔࠀၞ۩່ึऱܒឰωΖ10 ॳڍᘭطࠡኙψ֮֏ՠᄐωऱޅܒΔޓ༼נኙ࣍ ᢌ๬ऱ઎ऄΚ ભࠠڶψॺٵԫࢤωΰnon-identityα

ᢌ๬ਢषᄎऱषᄎࢤኙمΰart is the social antithesis of societyα ᢌ๬ਢኙ࣍෼ኔ׈੺ऱܡࡳ ᢌ๬ڶࠡ۞׌ࢤΔ੡Աፂᥨࠡ۞׌ࢤΔ،ؘႊࢴ࿪०ٽՕฒऱՑ࠺ ᢌ๬ࠠඔ፞ፖඑᦱऱ܂شΖ ್஄ۥՈᎁ੡Δᢌ๬܂঴ז।ထኙԫ֊լ۞طऱژڇऱܡࡳࡉ၌။Ζ אڼۖᓵΔषᄎޅܒ෻ᓵᎁ੡Δᢌ๬ຍጟ֮֏ขढਢԳऱ۞ط໌ທ壄壀 ऱటኔ᧯෼Δ।෼ԱԳऱ۞ط۞ᤚऱ໌ທࢤءᔆΔٵழᢌ๬ՈਢআၞԳऱ۞ ߪݙ࿳Εං೯Գᣊषᄎၞޡऱૹ૞ऱᦀ೯ԺΖ່෻უऱൣቼᅝྥ༉ਢሒࠩ૎ ഏषᄎᖂ୮၄ᐚཎຏΰMike Featherstoneαࢬᎅऱψֲൄس੒ᐉભ֏ωΰthe aestheticization of everyday lifeαऱቼ੺ΔՈ༉ਢऴ൷ലψᐉભऱኪ৫ω֧ၞ ෼ኔس੒ΔՕฒऱֲൄس੒๯။ࠐ။ڍऱψᢌ๬ऱ঴ᔆωࢬךየΔᅝᐉભ௣ ၄ױאኔ෼ڇٚ۶ழ़խΔٚ۶ࣟ۫ຟױ౨ګ੡ᐉભ௣၄ढऱழଢΔ༉ਢֲ ൄس੒ᐉભ֏ऱᄕጤणኪΖ11 ྥۖΔᢌ๬ຍጟԳऱ۞ط۞ᤚऱ໌ທढΔڇᅝזՠᄐषᄎխΔথط࣍ՠ ᄐ֏Εؑ໱֏ᆖᛎԺၦऱឩ്ࡉઝݾ෻ࢤऱլឰ௦ෞΔբᆖ෠ᆵ੡ԫጟ೸঴Ε ௣၄঴Δګ੡ԳଚၵᄈழୡᑗΕ௣᎞ऱኙွΙᙥ܌௧ᚈᎅΚψ܂঴๯ढ֏ԱΔ ๯ݫګ໑ढ塢խऱ୶ᥦ঴ΖՂዝ܂঴᧢ګԱԫጟᄐ塒੒೯Δ᧢ګԱԫଡࠃٙΔ ԫଡፖࣔਣፋᄎऱړᖲᄎΔࢨृ᧢ګԱԫଡषٌፋᄎΔԫଡ૞ࠌ۞ա᥆࣍ਬ ଡቸ᧯ؘۖႊ೶ףऱፋᄎωΖ12 ଃᑗ܂঴ፖભړऱ壄壀س੒ྤᣂΔፖٚ۶ऱ壄 壀ऱࠆ࠹ࡉ᧯᧭ྤᣂΖڇຍᇙΔԳଚլᏁ૞แᦫΔլᏁ૞෻ᇞΔլᏁ૞ނ༽ ట෻Ζᙥ܌௧ᚈᎅΚψຍጟढ֏ਢ෻ࢤऱ׌ᨠ֏ࡉݮڤ֏ऱࠢীΖ،ނᢌ๬܂ ঴᧢ګ֮֏೸঴Δኙ،ऱ௣၄᧢ګԱԫߓ٨ೝྥऱტᤚΔԫጟፖݺଚऱటኔ ᣋඨࡉܘԺ։ါၲࠐऱტᤚΖᢌ๬ፖਙएࡉࡲඒԫᑌΔፖట෻໊ါԱၲࠐωΖ13 10

Max Horkheimer, Gesammelte Schriften, band 6, Fisher verlag, Frankfurt ammain,1991,s.58.

11

Mike Featherstone, Consumer culture and Postmodernism, London : Sage Publications,1991,p.65~72.

12

Max Horkheimer, Gesammelte Schriften, band 6, Fisher verlag, Frankfurt ammain,1991,s.58-59.

13

᜔հΔᢌ๬܂੡ՠᄐषᄎխऱ֮֏෼ွΔբᆖլ٦ਢԫጟ۞׌ࢤΕ۞৳ ࢤऱࣟ۫Δ،଺ء۞ط၌။ऱءᔆբྥໜ؈Δᢌ๬ױ༟෠੡नढΖ ط࣍ᇷء׌ᆠኙ֮֏ᢌ๬ऱ೸঴֏ࡉؑ໱֏ऱᏁ૞ΔՈط࣍࠹ࠩԱ෼זسข ݾ๬௽ܑਢՕฒႚ໾ݾ๬ऱ֭གΔᢌ๬঴ࡉ֮֏ش঴ऱޅၦسขࡉՕ๵ᑓᓤ፹լ ႛࠠڶԱؘ૞ࢤΔۖ׊ࠠڶԱױ౨ࢤΖࢬאΔᢌ๬঴Ո༉ࠠڶԱᑑᄷ֏Εޅၦ֏Ε ٵᔆࢤࡉᏘԫࢤऱॺଡࢤऱژڇݮڤΖ֮֏ՠᄐऱᑑᄷ֏ࡉᏘԫࢤऱऴ൷৵࣠༉ ਢటإऱᢌ๬঴ࢬᚨᤖܶऱ۞ط໌ທءᔆ௣؈ԱΔᢌ๬঴ګ੡ྤଡࢤऱᑓُࡉᑑ ᄷ֏ऱޅၦᓤ፹Ζ֮֏ऱ໌ທ᧢ګԱ֮֏ऱسขΖڇ֮֏ޅܒ෻ᓵृ઎ࠐΔڇ֮ ֏ՠᄐխΔྤᓵਢڇ֮֏ᢌ๬ऱ໌܂խΔᝫਢڇ֮֏ᢌ๬ऱࣲᓾխΔཏሙژڇထ ဠ೗ऱଡࢤΔటإऱ໌ທࢤऱ۞طଡࢤլ༚ژڇԱΖהଚਐנΔڇψ֮֏ՠᄐխΔ ଡࢤհࢬאګ੡ဠ֤ऱΔլႛਢط֮࣍֏ՠᄐسขֱڤऱᑑᄷ֏ΔଡԳ׽ڶᅝ۞ աፖཏሙऱषᄎݙ٤ԫીழΔהթ౨୲ݴଡࢤ๠࣍ဠ֤ऱຍጟ๠ቼωΖ14 ᇷء׌ ᆠऱ࿇୶ឈྥࠌଡԳ൓ࠩԱ࿇୶Δ܀ਢΔݾ๬ऱ࿇୶ࡉอएԾࠌଡԳऱޢԫጟၞ ޡຟאᥔ੪۞ߪऱଡࢤ੡זᏝΖۖኙ֮֏ՠᄐ਍ᑗᨠኪ৫ऱఄໃࣔՈམਐנΔط ࣍ᢌ๬঴۞ߪऱլឰ๯ᓤ፹ࡉᑑᄷ֏Δৰ᎘࣐چߨ२ՕฒΔᖄીᢌ๬঴ءߪ؈װ ԱመװࢬࠠڶऱᗑԫྤԲऱژڇݮڤΔᢌ๬঴ᗑڶऱψ壀ᣉω௣؈Ա֮֏ऱءᔆ ࿇سԱޏ᧢Κࠡு֨Ꮭଖطശਈ᧢ګԱ୶قᏝଖΖ15 ʳ

စǵЎϯπ཰բࣁ΋ᅿཀ᛽׎ᄊʳ

಑Πএ७ө࢐ᄇМϽώཾհ࣏Ιᆍཎᜋלᄘޟ׳րȄ षᄎޅܒ෻ᓵृհࢬאኙ֮֏ՠᄐၞ۩ڕڼ෡৫ऱޅܒΔ،ऱؾऱࠀլ ႛႛਢڇ஭ᓡ֮֏ᢌ๬ऱ۞׌ࢤΔۖਢൕޓ෡ᐋऱ֮֏ᐋ૿װ༿قΕ֘৸֮ ֏ՠᄐऱრᢝݮኪ᥆ࢤ֗ࠡਙएრᆠΖ ֮֏ՠᄐऱഗءቃ๻ঁਢຘመԫጟဠ೗ا׌ऱݮڤΔᨃԳଚ۞ᣋچ൷࠹ ،ऱᏝଖᨠΔൕۖচஇԳଚऱޅܒࢤ৸ፂΙڇՕڍᑇषᄎޅܒ෻ᓵृ઎ࠐΔ ֮֏ՠᄐፖઝݾ෻ࢤԫᑌբᆖګ੡อएृᄅऱრᢝݮኪᑓڤΖ 14 ᙥ܌௧ᚈΕॳڍዿᘭΔੋࠕᩀ࿛᤟Δπඔ፞᥯ᢞऄρΔૹᐜנठष 1988 ڣठΔ଄ 145Ζ 15

Walter Benjamin, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, (Frankfur am Main: Suhrkamp Verlag, 1963, 1977, S.34-35.ᣂ࣍ఄໃࣔऱ෻ᓵΔء஼ࢍՀലၞԫޡಘᓵΖ

ଈ٣Δݺଚ٣ࠐ઎઎،ऱا׌೗ွΙ֮֏ՠᄐऱ೸঴֏ࡉᏘԫࢤլႛ௣ ᇞԱᢌ๬ऱ۞ط໌ທءᔆࡉଡࢤ֏௽ᐛΔۖ׊ຏመ०ٽؑ໱௣၄ऱᏁ૞Ε० ٽڇᖲඳ໎೯խఒᖉऱԳଚऱᏁޣΔຏመ༼ࠎ။ࠐ။ڍऱࢭᘭࡉ။ࠐ။ړऱ ྤૻऱୡᑗ௣᎞Δ௣ᇞԱԳଚփڇऱ၌။ፂ৫ࡉ֘ݼፂ৫ΔࠌԳଚ؈װ৸უ ࡉ෡৫Δڇ෍጗ڤऱ֮֏ᑓڤխಲᝩ෼ኔΔިᄴ࣍լشՕᆰऱࠆᑗΔፖؓ൉ ऱΕ࿀ેऱ෼ኔઌᎁٵΔൕۖፂᥨᇷء׌ᆠऱอएΖֺڕ෼זषᄎٺۥٺᑌ ऱ௣᎞ࢤᆏؾࢨሽᐙྤլᄕጐᆪΕマΕۥհ౨ࠃΔຍጟ֫ऄፖ೸঴ءߪऱψױ ᨠࢤω٥ᘩΔ֧ᎈ௣၄ृࠐψ۞طᙇ᝜ωऱا׌೗ွΔ֮֏ՠᄐऱႚᐾՈᆖ طڼԫݾ๬ലޢଡԳᒳ៣ၞࠡ௽ڶऱრᢝݮኪૹૹᢅጻհխΔຘመᆏؾءߪ ऱࠨᖿװဠዌࢉ壂టኔऱუቝΔ៶אࠀ࢏ᥛ۞ߪऱ೸ᄐࢤࡎΖ16 ຍᇙଖ൓ఎრऱਢΔॳڍᘭᝑ֮֏ՠᄐຘመႚᐾઝݾലޢଡԳᒳ៣ࠩრ ᢝݮኪऱጻᢅհխΔຍଡᨠរൎᓳԱ֮֏ՠᄐऱݾ๬Ιڇॳڍᘭ઎ࠐΔ෼ז ႚᐾઝݾऱ೏৫࿇ሒྤጊਢ֮֏ՠᄐᆥྤݲᐫᖩ۩ऱ່Օᚥ١Δᅝזऱٺጟ ႚᐾ໾᧯ጹയچፖ֮֏ՠᄐऱֱֱ૿૿ᥚ៥ڇԫದΖՈ༉ਢᎅΔ׽ڶຏመՕ ฒႚᐾ໾᧯Δ֮֏ՠᄐ۞ՂۖՀऱᖞٽթጩటإᆵኔΔ܂੡ԫጟⲯ֚።چऱ რᢝݮኪᢅጻթጩటإݮګΖ17 ຍঁਢ֮֏ՠᄐࢬࠠڶऱփڇུᣑࢤΖ֮֏ՠᄐຏመຍጟུᣑࢤΔᖙ᜕ ፖ൳ࠫထՕฒΕኙ๯อएၸ్ਜאಮ༝ΔൕຍଡრᆠՂΔ֮֏ՠᄐ࿇ཀထრ ᢝݮኪऱਙएอएפ౨Ζ ॳڍᘭ༉ᎅޅܒຍጟრᢝݮኪΚ ճዎଓ؃ςฅӧЎϯπ཰ޑཀ᛽׎ᄊ္ނϯǴࣗԿό໪଺ҺՖ௢ᎍǴε ৎ೿ளाௗڙǶЎϯπ཰འيᡂԋϦᜢᏱៈޣǴᇙ೷܌ᒏȨޗ཮Ϧ੻ȩǴ ԶόҔ៝ቾࢂցࣁࢌঁϦљ܈ࢌ٤ౢࠔ௢ᎍǶाεৎௗڙޑࢂѤೀࢬ ೯ǵόуుزޑӅ᛽Ǵࢂࣁ᏾ঁШࣚຊᇙޑቶ֋ǴӢԜЎϯπ཰ޑ؂ኬ ౢࠔ೿ԋࣁѬҁيޑቶ֋Ƕ18_! 16_ʳ ພݛࣙΔτൕ֮֏ՠᄐߡ৫઎ֲء A ׂڇ؀᨜υΔπጻሁषᄎᖂຏಛཚעρ2005 ڣร 44 ཚΖ www.nhu.edu.tw/~society/e-j/44/44-32.htm 17 ᄘՅΔτॳڍᘭऱՕฒ֮֏ޅܒ෻ᓵऱ٦৸ەυΔ֧۞ blog.sina.com.cn/s/blog_48d20f1601007pmi.html 18

Theodor W. Adorno, Negative Dialektik, in Gesamelte Schriften, Bd. 6, Suhrkamp Verlag . 1997. S. 320.

ࠡڻΔ֮֏ՠᄐ܂੡ԫጟრᢝݮኪΔൕ،ऱୡᑗ௣᎞פ౨ຯߛԱԳଚऱ ಲᝩ৸უΕሜ׈ኪ৫ױߠጤଧΖ ।૿ՂΔ֮֏ՠᄐړቝటऱ੡षᄎՕฒ༼ࠎ။ࠐ။ڍऱ֮ୡ௣၄܂঴Δ ൕۖ࿯Գଚ൅ࠐࠆᑗࡉየߩΖኔᎾՂΔࠆᑗਢԫጟಲᝩΔܛಲᝩኙ෼ኔऱ༞ ٭৸უၞ۩֘ݼΖࠏڕΔሽᐙ༉ڶထຍጟུᣑפ౨Δڇ෼זषᄎխΔᖞଡ׈ ੺ᆖመԱ֮֏ՠᄐຍଡᗴᙇ࿓ڤऱመៀΔ࿨࣠ਢԳଚຏൄڇኙሽᐙऱࣲᓾխ ؈װԱᗑمऱܒឰΔ࢓࢓ᎁ੡ሽᐙ༉ਢ؆૿ՕဩՂ࿇سऱൣउऱ٦෼Δࢨृ ؆૿ऱ׈੺ਢԳଚڇሽᐙխࢬ઎ࠩऱࠃൣऱዝᢂΙሽᐙᑓᒫԱటኔፖဠዌհ ၴऱ೴ܑΔލࠫԱᔹᦫԳऱܒឰ౨ԺΔൕۖڇຍٵழՈ௣ᇞԱԳଚኙ෼ኔऱ լየΖլႛڕڼΔॳڍᘭᝫ࿇෼Աඡཚᇷء׌ᆠषᄎയႃچሎش࿇ሒऱီᤚ ข঴ཙזԱ౐ᔆ֮֏Δൕۖࠌ֮ᖂऱسژ࠹ࠩ৖ౡΖהൕ۵੖ࠉᐚऱ֨෻։ ࣫ऱߡ৫։࣫Աီᤚ֮֏ၞԫޡ௣ೈԱՕฒಳޣ֨ᨋި৸ऱ෼זભტऱױ౨ ࢤΔشီᤚཙזԱᦫᤚΔݙګԱኧࢍऱኙՕฒऱਜ૘Ζ19 ݺଚ٦ൕᐖܫᢌ๬ऱ෼ኔפ౨ࠐ઎Δڇ֮֏ՠᄐ᧯ߓխΔᐖܫ֭ᐶထ֮ ֏ش঴ऱլឰسขΔፂᥨထ֮֏ᇷءऱܓ墿ࡉᡐឰऱᦞԺΖ֮֏ᇷءଗܗ࣍ ᐖᐾΕሽီ࿛෼ז໾᧯ၞ۩ᐖܫ৙ႚΔࠌ֮֏ՠᄐข঴լឰچঅ਍ထ،ऱؑ ໱Ζᐖܫࡉ֮֏ՠᄐྤᓵڇݾ๬ՂᝫਢᆖᛎՂຟᘜ੡ԫ᧯ԱΖऄഏषᄎୃᖂ ୮٨ဗٗዿΰHenri Lefebvreαല෼זᇷء׌ᆠषᄎጠհ੡ψ൳ࠫ௣၄ऱࡴቛ षᄎωΔ20 ຍਢط࣍ढᔆس੒ֽᄷऱ༼೏Δ௣၄ऱ࿇୶Δࠌषᄎ᧢ګ൳ࠫ௣၄ ऱࡴቛषᄎΔଡԳس੒ݙ٤๯षᄎࢬ൳ࠫΔຍଡषᄎլឰچسขࡉ໌ທᄅऱ ೸঴Δࠀຏመᄅ࡛ऱᐖܫ৙ႚլឰچࠨᖿԳଚऱ௣၄඿ඨΚψ৙ႚլႛႛ༼ࠎ Աԫጟ௣၄ऱრᢝݮኪΔۖ׊ޓ׌૞چਢ໌ທထόݺύຍᑌթਢ۞ݺኔ෼ऱ ௣၄ृݮွΔڇຍᑌऱ۩੡խ௣၄ृᎁᢝࠩ۞աࠀፖה۞աऱ෻უઌԫીωΖ21 19 ᄘՅΔτॳڍᘭऱՕฒ֮֏ޅܒ෻ᓵऱ٦৸ەυΔ֧۞ blog.sina.com.cn/s/blog_48d20f1601007pmi.html 20 Henri Lefebvre ထΔٛ௧୽᤟Δτ௣၄๯൳ࠫऱࡴቛषᄎυΰπ෼ז׈੺ऱֲൄس੒ρรԲີαΔ گ്࣍ԫ܎׌ᒳΔπषᄎޅܒ෻ᓵધࠃρΰรԫᙀαΔקࠇΔխ؇ᒳ᤟נठषΔ2006 ڣΖ 21 Henri Lefebvre ထΔٛ௧୽᤟Δτ௣၄๯൳ࠫऱࡴቛषᄎυΰπ෼ז׈੺ऱֲൄس੒ρรԲີαΔ گ്࣍ԫ܎׌ᒳΔπषᄎޅܒ෻ᓵધࠃρΰรԫᙀαΔקࠇΔխ؇ᒳ᤟נठषΔ2006 ڣΖࠃኔՂΔ 1968 ڣऱψնִଅᑊω༉ਢڇຍࠄٲᖲऱٌ៣խᡨ࿇ऱΖطॹڣᖂس࿇ದΕ৵طՠԳڃᚨΔ ڇԫଡೋᖑڶնՏᆄԳՑऱഏ৫խՕપڶԫՏᆄԳՂဩሏ۩ق৖Δ੷۟ଥᗰဩឤࡉਙࢌ૨ᤞ ჻೐Δຍጟ٤ഏࢤऱଅᑪࠌऄഏԫ৫ະԵ᧻ጏΔࠀኙᖞଡֱ۫षᄎขسԱൎ௺ऱᔼᖔΖຍ໱ ᜢႨ௯Օऱਙएሎ೯༉ਢ૞֘ኙՠᄐ֏षᄎࢬขسऱषᄎฆ֏෼ွΔא֗լإൄऱس੒ֱڤ ࡉषᄎ࿨ዌΔૹᄅࡅ໦Գऱ۞طࡉᇞ࣋Ζ

ᇷء׌ᆠषᄎऱ௣၄൳ࠫࡉ֮֏ՠᄐᖄીԱֲൄس੒ऱ֭ᠦధᅷΔՈݮ ګԱຍᑌԫጟ۞ઌؿએऱฆ֏Κس੒ֺא࢓ٚ۶ழଢຟငࣚΕ۞ڇΔ܀ٵழ Ոֺመװٚ۶ழଢຟޓᜊᗶΕޓחԳે༪Ζֲൄس੒ऱฆ֏ขسԱԫጟᖵ׾ ࢤऱ৵࣠Δຍ༉ਢൽ።Աᇷء׌ᆠऱଷচࡉᚘ૰ΔচஇԱԳଚऱ׌᧯ࢤࡉ଀ ࡎࢤΔڂۖፂᥨԱᇷء׌ᆠऱ෼णΖ22 ٦ൕ֮֏ՠᄐᖙ൳ऱრᢝݮኪࠐ઎Δ֮֏ՠᄐຏመୡᑗ௣၄঴ऱᄭᄭլ ឰऱسขא֗ᐖܫऱլឰ๺ᘭΔᖙ൳Ε֭಻ࡉུᣑထ܂੡௣၄ृऱՕฒΖอ ए᧯ߓຏመ֮֏ՠᄐข঴੡۞ա৬ທԱഒࡐऱ߻ᥨՠࠃΔଗڼᕁࡐ௣၄ृፖ ᆖᛎᡐឰႃቸհၴऱᜤᢀΖ֮֏ՠᄐࠌ௣၄ृઌॾ،ऱུᣑ༉ਢኙ௣၄ृᏁ ޣऱየߩΔࠀ׊ࠌ௣၄ृྤᓵڕ۶ຟڜ࣍ຍጟየߩΖ23 ኙ֮֏ୡᑗข঴ऱࠆ ࠹আၞԱ઎ధદቺࡉᦫ֚طࡎऱ৸უΖ֮֏ՠᄐΔ׽ਢᨃԳଚݴ࠹ྲྀᎩس੒ ᄾᑶऱයٙΖطڼΔ֮֏ՠᄐךᅝԱԫጟܶᒫऱრᢝݮኪΔຍጟრᢝݮኪ๯ ڶૠቤچᓤ፹Ա෼ژऱषᄎ఼ݧΖᅝྥ֮֏ՠᄐೝዿՈᄎኙ෼ژࠫ৫࿇ਜ਼ԫ Հᐬ৷ࡉլየΔ܀ຍጟᐬ৷ऱ࿇ਜ਼๯ᣤ௑൳ࠫڇԫࡳऱᒤ໮փΔࢬא֮֏ՠ ᄐխࢬᘯऱ֘ݼრᢝլ܀լ౨ൕ௅ءՂዌګኙᇷء׌ᆠࠫ৫ऱ৖ౡΔ֘ۖຏ መຍጟඈ௛Ꮊऱ܂شΔ࢏ᥛԱอए఼ݧΖຍ༉ਢՠᄐ֏֮֏ऱ٤ຝኔᔆΖ֮ ֏ՠᄐຏመ֮֏ऱݮڤኔਜऱኔ੡ᦞԺრݳኙԳऱ൳ࠫΔڇڼ֮֏ՠᄐګ੡ ᐶದอएၸ్ഏ୮ᖲᕴऱ׌૞࿨ዌΔൕຍԫᎁᢝנ࿇Δᙥ܌௧ᚈΕॳڍᘭނ ֮֏ՠᄐီ੡อएၸ్ᕁࡐ෼۩఼ݧऱψषᄎֽࣽωΰsocial cementαΖ24 طڼ઎ࠐΔ֮֏ՠᄐऱུᣑࢤΕᖙ൳ࢤΕრᢝݮኪࢤኙ࣍ፂᥨ෼ژऱᆖ ᛎΕਙएࡉषᄎ఼ݧڶࠡᣂ᝶ࢤऱ܂شΔ،ທګԱ෼זԳܛࠌ૿ኙլٽ෻ऱ ᄕᦞषᄎথྤԺ֘ݼऱᖵ׾ݝ૿Ζ֮֏ՠᄐኙ೸঴ऱࡹൕΕኙᆖᛎܓ墿ऱࣚ ൕΕኙԳऱტࡴᣋඨऱࠉൕΕኙ෼ژਙएอएऱႉൕΔฆൄធࣔچਐقထ෼ זᇷء׌ᆠ࿇ሒषᄎխ֮֏ءߪࢬנ෼ऱᣤૹฆ֏Ζ 22 ׆ᖠࣟΔτ್ֱ۫܌৸׌ᆠऱՕฒ֮֏ޅܒ෻ᓵ֗ࠡඔقፖૻ৫υΔ philosophy.cass.cn/chuban/zxyj/yjgqml/03/0309/07.htm 23

Theodor W. Adorno, Aesthetic Theory, Routledge & Kegan Paul, 1984. ຍጟषᄎֽࣽψ،ԫֱ૿ࠠ ڶ෼ז֮֏ဠ೗ᇞ࣋ऱ௽ࢤࡉ֘ا׌ऱࢤᔆΔፖᗑဪ׌ᆠᑨڇچᜤᢀڇԫದΔਢྗس،ऱᄵ ݩΙ׼ԫֱ૿ዌګଡԳऱུᣑፖኙݶᑗऱܡࡳΖຍጟᖙ᜕რᢝ࠷זԱ್܌৸׌ᆠࢬࣹૹऱਙ एᆖᛎݮႨۖګ੡ᅝזᇷء׌ᆠऱอएݮڤωΖ 24 ᙥ܌௧ᚈΕॳڍዿᘭΔੋࠕᩀ࿛᤟Δπඔ፞᥯ᢞऄρΔૹᐜנठषΔ1988 ڣΖຫᖂࣔΔπ֮֏ ՠᄐρΔ؀קΔཆཕנठषΔ1996 ڣΔ଄ 78ΖAdorno,1984

֮֏ՠᄐऱᘋฐΔრ࠺ထ֮֏ᢌ๬ऱ۞ط໌ທءᔆऱໜ؈Δᑑ፾ထԳऱ׌᧯ ࢤΕ֘ݼࢤऱໜ؈ΔՈᑑ፾ထᇷء׌ᆠषᄎऱܡࡳࢤऱ֘ݼԺၦऱᢉஇΔીࠌᇷ ء׌ᆠषᄎ๠࣍ԫጟլٽ෻ऱΕ໢ٻ৫ऱᄕᦞणኪΔԳ๠࣍ԫጟլ۞طऱড়᧯ࢤ ऱฆ֏णኪΔՈ༉ਢ್஄ۥࢬᎅऱψ໢ٻ৫ऱԳωΖ25 षᄎޅܒ෻ᓵലຍԫषᄎ ෼ኔូڂ֮࣍֏Δᇢቹൕ֮֏ՠᄐऱ࿇୶խ༈ބਬጟ࿠ூΔຍՈإਢޅܒ෻ᓵऱ ׌ᠲࡳۯ֮࣍֏ᐋ૿ऱ௅ء଺ڂհࢬڇΖʳ

ҴǵЎϯπ཰ޑᑈཱུሽॶʳ

լመΔଖ൓ࣹრऱਢΔᅝזषᄎխ֮֏ՠᄐਢլਢ༉ڕٵՂ૪षᄎޅܒ ෻ᓵᖂृࢬᎅऱ߷ᑌԫྤਢ๠ࡋΛ ࠃኔլྥΖ ऄᥞ܌壂ᖂ੔׼ԫۯᖂृఄໃࣔΰWalter Benjaminαঞ׼ԫଡߡ৫ࠐ઎ ᅝזऱ֮֏ՠᄐΔהൕ֮֏—ᢌ๬ࡉسขԺ—ݾ๬֫੄ऱᣂএ֊ԵΔᒔمψᖲ ඳᓤ፹ωΰMechanical Reproductionαᄗ࢚Δࠀش٤૿ऱᖲඳᓤ፹܂੡෼זᇷ ׌ᆠषᄎ֮֏Εᢌ๬ऱழז௽ᐛΔהشψᖲඳᓤ፹ω֮֏ࠐጠ֮֏ՠᄐΙ26_ఄ ໃࣔא௡ደ׌ᆠऱ壄壀ޅܒᇷء׌ᆠऱ֮֏ՠᄐΔࠀ।قԱኙႚอऱ෼זᢌ ๬խψ壀ᣉωΰAuraαੌ؈ऱტ႞ፖ৸ᐠհൣΔ27 ᖲඳᓤ፹ኻᄤԱᢌ๬܂঴ऱ ψ壀ᣉωΔڂڼΔ଺܂ፖᓤ፹঴հၴऱ׌૞஁ฆբ๯ኻᄤΔຍጟመ࿓ጠ੡ψᚵ ቝωΰSimulacraαΔᚵቝਢא޲ڶᄭᙰࢨ෼ኔऱటኔ੡ᑓীۖขسऱΔՈ༉ਢ ၌టኔΰhyper realαΖ28_{࣍ਢψటኔωፖუቝլឰچഽᇞ࣍࢖ڼհխΔ࿨࣠Δ} 25

Herbert Marcuse, One-dimensional Man, Boston, 1964.

26 ຫᖂࣔΔπ֮֏ՠᄐρΔ؀קΔཆཕנठषΔ1996 ڣΔ଄ 44-48Ζ 27 Aura ՈڶԳ៬᤟ګψᨋᣉωࢨψ٠ᄉωΔڇπᖲඳᓤ፹ழזऱᢌ๬܂঴ρխΔఄໃࣔ।ሒԱה ኙψ壀ᣉωऱᨠរΔהᎅΔ壀ᣉຍጟ壀ఽტױאଗشԳፖ۞ྥհढऱᣂএࠐףאᎅࣔΔה༼ נΚψݺଚނছृࡳᆠ੡ԫࡳ၏ᠦ؆ऱᗑԫྤԲऱ᧩෼——ྤᓵ،ڶڍ२Ζ୙ֲ֑৵Δ൝ၵچ ᨠኘچؓᒵՂऱ՞ᦚದٗࢨԫ௅ᦠՀጸᓌऱᖫࣤ——ຍঁਢࡅܮຍࠄ՞ࡉຍԫᖫࣤऱࣷ໮ܛ ء֮ࢬਐऱ“壀ᣉ”ωΖൕຍ੄༴૪ࢤऱ֮ڗխΔݺଚױא઎ࠩ壀ᣉࠠڶᗑԫྤԲࢤऱ௽ᐛΔࠀ ׊૞ޣᨠᓾृආ࠷ԫጟ൝ၵऱኪ৫Δԫጟറࣹऱ壀ൣΖՈ༉ਢᎅΔ壀ᣉױאࠌ܂঴ࡉ׌᧯ข سյ೯ΖWalter Benjamin, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, (Frankfur am Main: Suhrkamp Verlag, 1963, 1977, S.440Ζ

28_ʳ ؒݦࠅΰJean Baudrillardαڇࠡψ٦෼෻ᓵωΰrepresentationαಾኙฤᇆፖࠡਐ௫ढΰటኔα հၴऱᣂএΔؒݦࠅא؄ଡၸ੄ᎅࣔΚ˄ˁ،ਢഗءటኔऱދᐙΖ˅ˁ،ᔟ።ࠀฆᔆ֏ഗءటኔΖ ˆˁ،៶طᔟ።ࠌഗءటኔ֏੡௻ڶΖˇˁ،ࡉٚ۶ऱటኔຟ޲ڶᣂএΔ،ਢ۞ߪ່ొጰऱᚵُ ढΖࠡխऱร؄ڻ٦෼ܛᚵွਐנΚψᚵቝωΰSimulacraαլਢኙԫਐ௫ࢤژڶΰreferential beingα ࢨኔ᧯հᑓᚵ ΙۖਢאᑓীขسנటኔΔԫጟ၌టኔΰhyper realαΔֺటኔᝫటΖהऱᨠរ ਢፖఄໃࣔԫીऱΖJean Baudrillard ,”Simulacra and Simulations”᧨Jean Baudrillard᧶Selected

టኔፖᚵቝऱᆖᖵࠀྤ஁ܑΙᚵቝऱᆖᖵൄֺటኔऱᆖᖵᝫ૞టኔΔ੷ֺ۟ టኔޓཧΖהਐנΔԫ؟ᖲඳᓤ፹ࠌట঴ፖُ঴ऱ೴։լ٦ڶயΔءటࢤऱ ܒܑᑑᄷՈ༉լ٦ᔞشΖᢌ๬ऱ٤ຝפ౨ঁᣌଙመࠐΔ،լ٦৬مڇ៖Ꮪऱ ഗ៕ՂΔۖၲࡨ৬مڇ׼ԫጟኔᔌ—ਙएऱഗ៕ՂΖ29 ᣂ࣍ᢌ๬Δఄໃࣔᎁ੡ႚอᢌ๬ೡૹᢌ๬঴ऱᓂਈᏝଖΔ෼זᢌ๬܂੡ ᖲඳᓤ፹ழזऱขढೡૹ࣍୶قᏝଖΖڇఄໃࣔ઎ࠐΔڇᖲඳᓤ፹ழזΔᢌ ๬ط࣍ፖՕฒऱ၀२Δլ٦ࠠڶᖵ׾ტΕ၏ᠦტΔլ٦ᓿղറࣹڤऱި৸Δ ᢌ๬܂঴଺ڶऱ壀ఽࢤࡉശਈᏝଖլ༚ژڇΖᢌ๬ߨٻՕฒΔ᧢ګୡᑗࡉ༈ ၲ֨ऱढٙΔขسԱԫጟ໛ፊᑗߠऱຒଇীऱ֮֏௣၄Ζ ྥۖΔఄໃࣔࠀլݙ٤ܡࡳ֮֏ՠᄐΔۖਢઌኙچΔڇਬጟრᆠՂΔࢭ ᎁ੷۟׌്֮֏ՠᄐڶࠡᗨᄕᏝଖࡉᖵ׾რᆠΖ ڇఄໃࣔ઎ࠐΔԫ֊ᢌ๬܂঴଺ঞՂຟਢױאᓤ፹ऱΔᢌ๬܂঴ऱᖲඳ ᓤ፹ڇᖵ׾࿇୶ՂࠠڶؘྥࢤΔᢌ๬ݮڤؘྥ૞ᙟထݾ๬ऱ࿇୶ۖլឰ࿇س ᧢֏Ζؓا֏ऱ֮֏ՠᄐΰڕሽᐙᢌ๬Εᅃઌαऱขسፖ࿇ሒإਢݾ๬࿇୶ ऱ֮֏࿨࣠Ζהᎁ੡ሽᐙֺದႚอऱᢌ๬।෼ݮڤ—ᢄ྽ࡉᚭᏣΔڶထޓ੡ 壄ᒔຫ૪ፖ։࣫Գଚ۞ݺسژᛩቼऱ଀ࡎࢤ௽ᔆΔ،෡֏Ա៱ᢌ๬ᆖ᧭ࢬ඿ ႚሒऱტࡴಛஒΔٍܛψอᤚωΰdie ApperzeptionαΔۖࠡૹ૞ࢤܛࠐ۞࣍ᢌ ๬ፖઝᖂઌյዶຘऱ᝟ႨࢨႜٻΖ30 ᖕڼΔఄໃࣔլᎁ੡֮֏ՠᄐ׽ڶ௣ᄕ܂شΔڂ੡֮֏ՠᄐֺڕሽᐙڇ ড়ᨠՂᒔኔࢷ୶ԱԳଚऱီມࡉณ੺Δൕ֧ۖದԳଚऱტवֱڤ࿇س᧢֏Ζ ᖲඳᓤ፹֮֏ழזऱᢌ๬঴ڕሽᐙΔ᠏ٻ௣᎞ऱ൷࠹ֱڤ᠏᧢ΔਢຘመီΕ ᤛᤚࡉ฾ክऱ෗ٽނ܂঴ܮگ२ࠐΔኙ܂঴ऱ֘ᚨਢᗨᄕऱΔਢאႃ᧯ऱֱ ڤኔ෼ΔڇڼΔᖲඳᓤ፹ऱᢌ๬౨ജګ੡ԫଡٵழऱႃ᧯ᆖ᧭༼ࠎኙွΖإ ڂ੡ڕڼΔఄໃࣔא੡Δᖲඳᓤ፹֮֏౨ജࠀ׊ᚨᇠࢭᖜޏທषᄎऱ଀ࡎפ ౨Ζ31 29 ʳຫᖂࣔΔπ֮֏ՠᄐρΔ଄ 52-57Ζ 30

Walter Benjamin, Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit, (Frankfur am Main: Suhrkamp Verlag, 1963, 1977, S.34-35.

31

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༉ऄᥞ܌壂ᖂ੔ऱषᄎޅܒ෻ᓵࠐᎅΔᅝזऱੌ۩ழࡸ֮֏຾ᅤԳଚ৸ ەΕᨃԳଚިಮ࣍ၝᑗΕࠀڂۖໜ؈Աኙᇷء׌ᆠޅܒΕࣂݼऱ౨ԺΔڇה ଚ઎ࠐΔੌ۩ழࡸ֮֏ຍଡ֮֏ՠᄐਢՕٞᄐ୮Εᇷء୮ࢨृ߷ࠄอएृኧ ᙰኧݠऱອᘩΕུᣑΔ،լ׽ሔહԱႚอאࠐ֮֏Εᢌ๬ऱᐉભΕᗑ௽ፖ໌ ທऱભᖂ௽ᔆΔՈ໌ທԱԫߓ٨೗ઌಮ༝ԳଚᨃԳ؈װԱ৸ەፖ໌ທऱ౨Ժ ࡉױ౨Ζ ྥۖΔݺଚؘႊԱᇞऱਢΔऄᥞ܌壂ᖂ੔ऱषᄎޅܒ෻ᓵऱભᖂᨠរਢ ઌᅝႚอۖ׊অښऱΔൕਬጟრᆠՂࠐᎅΔຍጟભᖂᨠរਢဍ૎ڤऱભᖂΔ ڇ،હ৵ឆ៲ۖآঁߢࣔऱૹរਢΚભऱᗑ௽ࢤڇ࣍،ऱ೏լױᡙΔإڂ੡ ،೏լױᡙΔࢬא،ഄԫΕ،࿕ڶΕ،ᣄ൓ΔՈ༉ਢᎅΔભլਢԫ౳Գࢬ౨ ෻ᇞΕࠆ࠹ऱΔભؘႊਢ࠹መറᄐۖ९ཚऱಝᒭթڶ߷ጟ౨Ժװ෻ᇞΕװ໌ ທΕࣲᓾऱΔ࣐ߢհΔભਢဍ૎၆ගऱ௽ᦞΖ ൕຍଡᨠរࠐ઎ᅝזੌ۩֮֏ፖழࡸΔऄᥞ܌壂ᖂ੔ऱᖂृᅝྥ෡ტ؈ ඨፖஎჩΔڂ੡Δᅝԫ౳ऱൊاຟ౨൷२ᢌ๬Εࠆ࠹ભᖂழΔભլ٦ਢ၆ග ଚऱ௽ᦞፖറܓΔᅝᢌ๬ၦข৵ࠀګ੡ກ֛ߨ࠯ຟ၇൓ದऱ೸঴ழΔ،բໜ ؈،ऱᗑ௽ࢤፖ࿕ڶࢤΔՈ༉ਢᎅΔᅝ،๯ກ֛ߨ࠯ނनੰ㢡ԱΔ،༉ໜ؈ Ա،܂੡ભऱᏝଖԱΖ ݺ૞ᎅऱਢΚ߷ਢԫଡբຓװऱײ۔ழזΖݺଚࡐྥᡖუ߷ଡڣזΔ܀ ߷ਢԫଡլֆؓΕլؓ࿛ࡉط֟ᑇ၆ගࢨवᢝဍ૎ᡐឰ௽ᦞऱڣזΖڇԫଡ ၲ࣋ۖؓ࿛ऱषᄎᇙΔભլ٦ਢ֟ᑇԳऱ௽ᦞፖറܓΔભ଺ء༉ژڇ࣍ޢଡ ԳऱߪՂࡉ֨խΔޢଡԳຟڶ౨ԺࡉᦞԺװࣲᓾࡉࠆ࠹،Ζ௽ܑਢڇᅝזष ᄎխΔඒߛբਢઌᅝཏ֗ԱΔ֠ࠡਢ؀᨜ऱඒߛֽᄷԾ᎛೏࣍׈੺ࠡ،ഏ୮Δ ԫ౳ऱഏاຟڶՕറאՂऱᖂۯࡉᖂ塄ԱΔኙ࣍ભऱࣲᓾࡉނ༽ڰբլ᎝࣍ ײזऱ၆ගΖڂڼΔൕᅝזऱඒߛࠐ઎ࢬᘯऱੌ۩ழࡸ֮֏ΔࠃኔՂਢઌᅝ ଖ൓ᨬ๺ऱ֮֏࿇୶ፖංᐖΔլᚨ໢໢ൕ૤૿ऱΕढ֏ऱߡ৫װ෻ᇞΖ ൕຍଡრᆠՂࠐᎅΔఄໃࣔኙ֮֏ՠᄐإ૿ऱ઎ऄਢీڇழזڞጤΕ֧ ᏆழזছၞऱᨠរΖ

ഗءՂΔݺഏऱඒߛ᧯ߓኙ֮֏ՠᄐऱᨠរՈՕڍൕᗨᄕΕإ૿ऱᏝଖ ࠐ઎ৱΔլመΔݺഏՕڍ࢏شᜤٽഏඒઝ֮ิ៣ऱψ֮֏ขᄐωຍଡټጠΔ լႛਙࢌຝ॰ՕԺቔܬ֮֏ขᄐΔނ،೚੡ጸۥขᄐא֗ةᥛ࿇୶ऱؘ૞៴ ቹΔمऄຝ॰ࠀ׊ނ֮֏ขᄐઌᣂࠫ৫ղאمऄ৬ዌದࠐΔڇٺՕᖂխΔՈ ڶլ֟ߓࢬດዬ᠏ٻ֮֏ขᄐΔࢨृ೓౤ࡳټ੡ψ֮֏໌რขᄐ࿇୶ᖂߓωΖ طڼױߠΔભᖂऱཏ֗֏ፖ೸঴֏լႛਢՕႨࢬ᝟Δ،ޓၞԫޡՈၞԵ ᖂ๬ᄥഘΔ܂੡Օ୮ᖂ฾ΕઔߒऱኙွΔຍኙભᖂऱංᐖࠐᎅΔਢઌᅝᣄ൓ ऱৈᖲΔݺଚլᚨ٦ওૻ࣍ײࠢભᖂऱᨠ࢚Ζ ݺ່२઎ࠩਬՕᖂऱભ๬ߓլࣂழזᑪੌΔإڇઔᤜ᠏ীΔݦඨނא࢓ ႚอऱඒߛࡲڱܛഛ塄ભ๬໌܂ԳթΕೡૹᢌ๬ᗑم໌܂Εݾऄᖂ฾ፖ໌ᄅΔ ᓳᖞ੡ᐖܫΕནᨠፖຟؑ๻ૠ࿛ֱٻΔڂ੡ழՀऱᖂسۿ׏լર߷ጟᏁ૞९ ሒ༓Լڣऱᢌ๬ಝᒭթ౨ګ༉ऱᢌ๬ࠃᄐΔ່ૹ૞ऱਢΔᆖመ༓Լڣऱಝᒭ հ৵ΔՈ޲ᙄऄڇषᄎՂسژΔࢬאڇ༉ᄐؑ໱ᣤ૆ऱਗᖏՀΔኔڇڶؘ૞ ᓳᖞભ๬ߓऱ࿇୶ֱٻࡉඒߛؾᑑΖ ᅝছᢌ๬ઌᣂߓࢬऱ࿇୶ֱٻᓳᖞΔຘ᥻נࠄ๺ྤ࡜ΔথՈડ᧩֮֏ՠᄐழ זऱࠐᜯΖ

ЇҔਜҞ

Martin Evan JayΔ໢׈ᜤ᤟Δπऄᥞ܌壂ᖂ੔׾ρΔᐖࣟΔԳاנठषΔ1996 ڣΖ ാ٠ࡶΕࣥນᆁ׌ᒳΔπඒߛભᖂρΔ؀קΚնতΔ2000 ڣΖ ຫᖂࣔΔπ֮֏ՠᄐρΔ؀קΔཆཕנठषΔ1996 ڣΖ ്ԫ܎׌ᒳΔπषᄎޅܒ෻ᓵધࠃρΰรԫᙀαΔקࠇΔխ؇ᒳ᤟נठषΔ2006 ڣΖ ᙥ܌௧ᚈΕॳڍዿᘭΔੋࠕᩀ࿛᤟Δπඔ፞᥯ᢞऄρΔૹᐜנठष 1988 ڣठΖ τᖂس۞፹ MTV ৙ႚળᕙՕᖂυΔπᙒۂඡ໴ρΔhttp://www.sina.com.cn 2010 ڣ 02 ִ 20 ֲ 06:11 ׆ᖠࣟΔτ್ֱ۫܌৸׌ᆠऱՕฒ֮֏ޅܒ෻ᓵ֗ࠡඔقፖૻ৫υΔ philosophy.cass.cn/chuban/zxyj/yjgqml/03/0309/07.htm ॳڍᘭΔ೏ׇխ᤟Δτ֮֏ՠᄐ٦৸ەυΔ֧۞ rirt.cuc.edu.cn/bbs/simple/index.php?t8.html

ᄘՅΔτॳڍᘭऱՕฒ֮֏ޅܒ෻ᓵऱ٦৸ەυΔ֧۞ blog.sina.com.cn/s/blog_48d20f1601007pmi.html ພݛࣙΔτൕ֮֏ՠᄐߡ৫઎ֲء A ׂڇ؀᨜υΔπጻሁषᄎᖂຏಛཚעρ2005 ڣร 44 ཚΖ www.nhu.edu.tw/~society/e-j/44/44-32.htmdefine.cnki.net/WebForms/WebDefi nes.aspx?searchword=֮֏??

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Education and fashion: education in cultural industry

Chen-Hui Wang

Abstract

Popular culture as a new culture, with its unique form and bright costume, attracted the majority of young people. It also indulged many students, especially the contemporary ubiquitous media disseminate the culture. As an educator, what attitude we should be in the face of trend of contemporary popular culture, it not only to do with an educator’s life attitude, but also influence student profoundly. Even when educators having ability of policy decision making, it also relates to the whole education system and the quality of education. On "education and fa-shion" such a subject, this article will reflect from "cultural industry" of the Frankfurt School, which the "culture" to refer to it as a cultural and commercial ties. It is the viewpoint that cultural industries is the maintainer of the capitalist system, including the mechanization of production process, a large numbers of replicating standardized commodity, shaping the cultural identity of marketing packaging means, and creating people's desire to purchase.

KeyWords: education, popular culture, cultural industry, the Frankfurt School