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本文将雷蒙德·威廉姆斯的文化霸权观与具身认知的概念相结合,提出认知文化霸权的概念;吸收了乔治·莱考夫与马克·约翰逊的认知语言学与哲学观点,以此来分析威廉姆斯对葛兰西所创术语的理解;借用认知人类学家布兰德·肖尔著作中的观点,用文化模型来解释外在的文化实践如何在内在的思想/头脑运作中加工与再生产,以获得对文化霸权的历史动力恰当的认知方式;最后,通过作者著作中的例子,探究对文化霸权的认知方法如何帮助研究剧院历史的学者理解20世纪50年代的美国百老汇剧院。
This article combines Raymond Williams’ concept of cultural hegemony and the concept of personal cognition to put forward the concept of cognitive cultural hegemony and absorbs the view of cognitive linguistics and philosophy of George Lakoff and Mark Johnson , In order to analyze Williams’s understanding of Gramsci’s creation of a term; borrowing the views of the cognitive anthropologist Brand Schole’s work and using a cultural model to explain how external cultural practices are based on internal thoughts Finally, through the examples in the author’s works, we explore how cognitive methods of cultural hegemony can help to study the history of the theater and understand the 20th century The United States of America Broadway Theater.