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本文运用雷蒙·威廉斯的文化唯物主义概念,分析英国两个后朋克乐队“四人组”和“斯克利蒂·波利蒂”的反霸权的艺术实践过程。他们在20世纪七八十年代很有影响,但至今尚未得到充分的分析和讨论。文章首先总结乐队出现以及了解并熟悉霸权概念的历史条件,其次通过分析他们挑战政治与音乐主流观念的歌曲,考察两支乐队相关音乐实践的反霸权意义。文章还指出乐队在用作品表达激进性的同时也与当时的音乐产业做出了一定程度的妥协。与此前研究不同的是,这篇文章没有局限在“基础/上层建筑”的静态模式,而是把乐队的作品置于音乐产业的发展轨迹中进行动态地讨论,深入地剖析了他们与社会现实互动的非常复杂又充满矛盾的过程。
This article uses the concept of cultural materialism of Raymond Williams to analyze the artistic practice of the anti-hegemony of two post-punk band “The Four” and “Skitty Politi” in England. They were influential in the seventies and eighties of the 20th century, but so far they have not yet been fully analyzed and discussed. The article first summarizes the band’s emergence and the familiarity with the historical conditions of the concept of hegemony. Secondly, it analyzes the anti-hegemony significance of the two music-related musical practices by analyzing the songs they challenged in the mainstream concepts of politics and music. The article also points out that the band used the works to express its radical nature and at the same time made some compromises with the music industry at that time. Different from previous studies, this article is not limited to the static model of “foundation / superstructure”. Instead, it puts the band’s work in the development track of the music industry for dynamic discussion and analyzes in depth The complex and contradictory process of social reality interaction.