論流行的社會基底

學年度:92
學期:2
校院:東吳大學
系所:社會學系碩士班
論文名稱(中):論流行的社會基底
論文名稱(英):On Social Foundation of Fashion
學位類別:碩士
語文別:chi
學號:90315009
頁數:187
研究生姓名(中):閻書孝
研究生姓名(英): Yen, Shu shau
指導教授姓名(中):劉維公
指導教授姓名(英):Liou, Wei-Gong
關鍵字(中):流行、文化媒介人、集體性、社會事實、雙重脈絡、漣漪效應、模仿、象徵權力
關鍵字(英):fashion, cultural intermediary, collectivity, social fact, double-context, ripple effect, imitation,
       symbolic power 


中文提要:

  本文乃藉社會學概念為基礎對流行此進行分析。

  首先,本文從反思開始,認為流行乃以文為其運作的基本根底,故流行是社會文化整體的表層,但是,流行有時候更改既有的文化底層,此屬於第二章範圍﹔而除了文化面以外,本文繼續對研究流行的方法進行反思,必研究認為必須先將流行對象及其理所當然的心態存而不論,以理念類型的方法對流行進行理論建構,此屬於本文第三章。

  至於如何分析流行?在第四章中,本文以效應力與施為者為分析的基本面向:關於效應力,在第六章裡先以Simmel與Blumer集體性概念開始,並結合Durkheim社會事實與宗教研究的概念再加以分析,本文認為,流行乃集體情感與力量的外現,同時,其抽象的集體情感也將會凝聚在某些中介的象徵上,這就是為何流行對象會又如此強大力量的原因。此外,延續Durkheim的宗教社會學研究基礎,本文繼續延伸分析到Barthes的流行體系上,認為流行的功能由於作為集體情感的中介,故它的符號價值遠超於其使用價值之上,統整而言,流行整體所展現的是「雙重脈絡」:兼具著對象本身的故事體系、以及滿足人際互動的體系。

  第七章以「時間」為分析主軸,討論流行盛衰的運作模式。除了以社會學概念為基礎理解盛衰漲退的流行外,本文對施為者歸納出:「創新者、媒介者、追隨者」三種基本類型,認為上述三者的數量乃由少到多,但對於對象的認識深淺卻是由深到淺,是故流行的散佈類似「漣漪」,在開始時能量強而範圍小,到了最後卻是能量弱而範圍大。

  在第八章,本文先從流行的模仿舉動開始,繼而結合著誇富宴的比較、展示心態,認為流行施展過程,乃建立以卡理斯瑪支配為基礎、並透過說服與信仰而來的象徵權力。除了討論此權力的構成元素外,本文繼續結合著文化場域鬥爭觀點,認為在流行的發展當中,媒介者們除了建立來自追隨者的象徵權力外,彼此亦會在詮釋與正當性之間進行不同策略的鬥爭,進而建立起暫時性的主流與非主流關係。

英文提要:

  This essay is analyzing fashion with Sociological concept.

  First, we reflect on the relation between fashion and culture, and we find out that fashion is based on the given elements of culture, however, fashion can change the given line of culture occasionally. Those are Chapter Two.

  In addition to reflection of culture and fashion, we also think the way of studying and discussing fashion by Sociological methodology. I point out that we need to keep fashion natural attitude which we usually take it for grant aside. Moreover, we construct our concept for research by Weber’s “ideal type”. Those are Chapter Three.

  As to how to analyze fashion? In Chapter Four, our analysis follow the next two aspects:
(1) Effect. Besides to the character of “collectivity” from Simmel and Blumer, we back to Durkheim’s sociological concept about “social fact” and “religion research” for understanding, and we think that the presentation of fashion in fact is presentation of social cult, because the real function of fashion is fulfilling common sentiment and consciousness ; that is, all basic elements-coercion、external, even totem cult、the dichotomy between sacred and profane… etc, all can help us to explain fashion deeper.

  Moreover, we combine the research of Durkheim and Barthes’ myth system and point out that even fashion changes it’s objects and signs continuously, it conclude a double function(I call it a double context)-“the system of sign story ”and “the system of interaction”. Those are Chapter Six.

(2) Agent Since fashion is a social fact, and needs people to create and maintain, in next two chapters, we not only discuss the effect between object/meaning、individuality/collectivity, but also extend it to the agency, and see the relation between all agent in the field of fashion production.

  In Chapter Seven, We analyze fashion in the aspect of ‘time’, and discuss the mode of fashion change with sociology、carnival and modernity . Moreover, from the aspect of agency, we generalize all agent into three basic types—innovators、intermediary、and followers(also from minority to majority); in the end of chapter, we also think fashion diffusion is like ripple—the wider it diffuse, the weaker the effect is.

  In Chapter Eight, We discuss the sociological meaning of imitation in fashion, and combine it with the conspicuous attitude of anthropological concept ‘potlatch’. We think fashion’s imitation is a social psychological phenomena, and the key is in constructing the relation and legitimacy of symbolic dominance (in Weber’s term is ‘charisma’) between imitator and the imitated. Moreover, we extend this relation to Bourdieu’s analysis of ‘field’ and ‘symbolic struggle’, and analyze the position and strategy between orthodoxy/unorthodoxy in the field of fashion production.