文化，如宗教或道德，長久以來常被認為不具有特定體系或形構的社會現象。正因如此，於現代社會中，文化現象乃與階級、地位、經濟，甚至社會組織，有著無可區隔、不易說明的關係。某一種經濟或社會決定論的說法，也於是成了過往研究中不能說的秘密。
然而，時至1980年代之後，特殊的時代、歷史變革使得舊有的社會體制面臨瓦解，某種根深蒂固的分析框架也從而經歷無法繼續的困境。階級、地位與經濟資本等概念，逐漸地消失於文化分析的研究之中。於此，文化似乎有了一個重獲新生的可能。正視文化現象，進入文化現象本身，成為相關研究者的重要呼求。
只是，這種新生的契機，卻揭露出兩個以往常為人們忽視的問題： 一是，文化概念即使有漫長的歷史根源，其歷經的社會變革也相當繁瑣，但今日所我們經常使用、論述的文化概念，卻可能不如想像的漫長； 其所涉入的社會、歷史背景雖屬繁瑣、複雜，但是相關的脈絡卻可能不依循著原有假定的理路。可以說，應對俗民的文化形式以及界定俗民的文化形式，才是現代社會中文化問題的真正起源（畢竟，所謂的俗民，在大多數的歷史時段裡，是與文化概念無甚關係的）。於是，順應著俗民文化的轉變以及大眾化的文化實作，文化的研究乃出現於現代學院。 其次，於漫長的西方歷史之中（甚至非西方的歷史），權力、金錢與文化三者一直都依著甚為緊密的方式，進行扣連。文化本身的理性化與體系化，更是早於權力與金錢等社會現象。 所以，當我們嘗試重新檢視文化現象所具有的特殊邏輯，”後於階級”與”後於階層”的分析方式似乎無法真確地引導著我們窺見文化的秘密。如何進行文化的研究，或許是一個需要認真思考的問題。
除卻上述兩個常為人們忽視的問題，當我們更加仔細考察文化現象所歷經的歷史、社會變革之時，則可發現，文化概念或文化現象之於人類本能之慾望/基本處境，似乎常呈現出一種必然且辯證之關係（無論這種必然且辯證之關係，是以規範或昇華的過程，定位之）。 也就是說，引導人們渡過生死愛惡欲所引致的總總苦痛與愉悅經驗，可能是文化現象的真正精神所在。因此，文化的作用/效果總是被歸類成具有教化、社會化、精緻化的社會活動。只是，上述這種看法是否已過度地簡化、窄化文化現象所能呈現的複雜度與鬥爭屬性？
著眼於上述，本課程依著三個主題/問題意識，簡介文化概念與現代社會之間的關係：一、於應對通俗文化的歷史轉變過程之中，文化現象如何被概念化？ 二、如果文化現象具有相對自主且特殊之運作邏輯，那麼何謂文化現象所相應的承載者、技藝與場域究竟指涉何物。 三、當日常生活成為文化現象所立基的社會場景，日常生活之中的瑣碎事物如何揭露出文化操作、文化競爭的若干跡証？
於實際課程規劃上，本課程將順著四個部分，同時依循著不同時代/時段，進行安排：19世紀的文化傳統，以及文化爭議的另一個歷史脈絡； 兩次大戰過程之中的文化轉折與大眾文化的爭議； 二戰之後，文化作為一個可受爭議的對象； 1980年代之後，文化研究歷經的興與衰，以及文化的社會研究如何興起於學院論述之中。Culture, such as religion or morality, has been often considered as social phenomena that do not have a specific system or form for a long time. Because of this, in modern society, cultural phenomena are inseparable and difficult to explain with respect to level, status, economy, and even social organizations. A certain economic or social decision-making theory has become a secret that cannot be said in previous research.
However, after the 1980s, special times and historical changes caused the old social system to collapse, and a deep-rooted analytical framework also survived the dilemma that could not be continued. Concepts such as level, status and economic capital have gradually disappeared from the research of cultural analysis. Here, culture seems to have a possibility of regaining new life. To correctly view cultural phenomena, enter the cultural phenomena themselves, and become an important call for relevant researchers.
However, this new era reveals two problems that people often ignore in the past: First, even if cultural concepts have long historical roots, their social changes are quite complex, but the cultural concepts we often use and describe today may not be as long as imagined; although the social and historical backgrounds they involve are complex and complex, the relevant constraints may not follow the original assumed principles. It can be said that the cultural forms of folk and the cultural forms that define folk are the real origins of cultural issues in modern society (after all, the so-called folks have nothing to do with cultural concepts in most historical periods). Therefore, cultural research appears in modern schools, in line with the transformation of folk culture and the popular cultural works. Secondly, in the long Western history (even non-Western history), power, money and culture have always been closely linked. The rationalization and systematicization of culture itself are earlier than social phenomena such as power and money. So, when we try to re-examine the special logics of cultural phenomena, the “later-level” and “later-level” analysis seems to be unable to truly guide the secrets of culture. How to conduct cultural research may be a question that needs to be seriously considered.
In addition to the above two problems that are often overlooked by people, when we examine the historical and social changes that cultural phenomena are more carefully, we can find that cultural concepts or cultural phenomena seem to often present a necessary and verified relationship (regardless of this inevitable and verified relationship, it is based on the rules or the process of success, and it is positioned). In other words, guiding people through the total pain and joy caused by the love of life and death may be the true spirituality of cultural phenomena. Therefore, the role/effect of culture is always classified as an educational, socialized, and refined social activities. However, has the above view been too simplified and narrowed the complexity and fighting properties that can be presented by cultural phenomena?
Focusing on the above, this course introduces the relationship between cultural concepts and modern society based on three topics/question concepts: 1. How can cultural phenomena be conceptualized in the historical transformation process of popular culture? 2. If cultural phenomena have relatively independent and special operating logic, then what exactly does the carrier, technology and field that cultural phenomena correspond to? 3. When daily life becomes the social scene that is based on cultural phenomena, how do the fragmented things in daily life reveal some of the consequences of cultural operations and cultural competition?
In the actual course planning, this course will be arranged in four parts, and follow different eras/times: the cultural tradition of the 19th century, and another historical structure of cultural disputes; the cultural transformation and the disputes between the general culture during the two major wars; after the Second War, culture as an object that can be argued; after the 1980s, the thrill of cultural research, and how social research of culture emerged in the academic discussion.
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| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 課堂討論課堂討論 Class discussion |
20 | 出席與上課之討論情況，將視為評分之指標。 |
| 指定讀本報告指定讀本報告 Specify to read this report |
20 | 針對課程指定讀本，以討論小組為單位，進行文本導讀，原則上，報告時間為20分鐘左右。每組原則上由五位至六位課程參與者組成，於第一次上課時，進行分組。 |
| critical memo的繳交critical memo的繳交 Critical memo's submission |
60 | 修課之學生至少繳交四次的critical memo，每份critical memo以2500字為限，分數占比為學期總成績的15%，此項評分以個人為單位。 |
