CONSPIRACIES OF MEANING: MUSIC-HALL AND THE KNOWINGNESS OF POPULAR CULTURE
CONSPIRACIES OF MEANING: MUSIC-HALL AND THE KNOWINGNESS OF POPULAR CULTURE
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意义的阴谋：音乐厅和流行文化的认知
DOI：
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发表时间：
1994
期刊：
影响因子：
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通讯作者：
Peter Bailey
中科院分区：
文献类型：
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作者：
Peter Bailey
知识可以被定义为每个人都知道的东西，但有些人比其他人知道得更好。这种流行的表达方式既具有共谋性，又带有歧视性，经常被中产阶级评论家认为是19世纪英国音乐厅喜剧表演的一个独特而令人反感的特征。本文认为，对这一现象进行更具体、更清晰的描述，有助于对音乐厅如何与公众互动做出更令人满意的解释。将认知视为话语和实践，使我们能够深入到这种有影响力的现代文化形式的动态之中。它还表明，在构成日常生活的“无限移动的战术”中，口语（和非口语）语言是如何作为主要资源发挥作用的。
Knowingness might be defined as what everybody knows, but some know better than others. At once complicit and discriminatory, this popular mode of expression was frequently noted by middle-class commentators as a distinctive — and objectionable — feature of comic performance in nineteenth-century British music-halls. This essay argues that a more specific and articulated account of the phenomenon can contribute to a more satisfactory explanation of how music-hall engaged with its public. Treating knowingness as discourse and practice enables us to get inside the dynamics of this influential modern cultural form. It suggests too how spoken (and unspoken) language functioned as a prime resource in the "mobile infinity of tactics" that constituted everyday life.