本文尝试分析新世纪以来赵本山的小品创作，通过剖析其小品转变的关键点来探讨这种转变的原因。同时，还将由此个案考察大众参与文化的方式，进一步对大众审美文化问题进行讨论。绪论部分交代研究的背景、现实意义及理论基础。正文由赵本山小品创作的文本分析、大众参与文化事件方式分析、“消费快感”文化分析等三节组成。第一节通过文本分析的方法，以新世纪为界，将赵本山小品创作中的符号进行提炼对比，考察其发生转变的美学特征及背后的深层原因。赵本山的小品自1990年第一次出现在央视春晚舞台，到现在已成为一个旗帜性的节目。纵观其21年的发展历程，可敏锐地捕捉到在进入新世纪以来，赵本山的小品由描绘农民质朴俗乐转变为描绘市侩哲学的拜金小品的轨迹。而这一轨迹与中国社会步入大众消费时代，政治、经济、文化等多个层面发生变革有着密不可分的关系。第二节将研究视角转向大众，考察在网络环境下受众在文化事件中所扮演的角色，进而上升到社会层面进行深度探讨。大众在互联网中，用分散、持续的“游击方式”颠覆文化文本中的霸权性符码，掌握了一定的话语权力，并创造自己的意义、快感和身份认同。第三节通过比较分析的方法，以消费时代的“物化”现象为切入点，兼及参照其它热门文化现象如热播的婚恋交友节目等，对大众审美文化问题进行研究。并指出我国进入消费时代后，一种以“快感”为指向，以娱乐为宗旨，注重生理欲望的满足，而非心理境界的提升的审美文化正在形成。结语中，提出当下遭遇的难题：文化如何抵抗“物化”，使文化能满足大众的精神性审美，以及培养健康的大众审美观是一个应该思索的问题。

This paper attempts to research the Zhao Benshan’s opusculum in the new century. By analyzing the key points of their changes, the author researches the causes behind those changes. Starting from this single case, the author expands the study to the ways that the public participate in cultural activities, so as to further discuss the public's aesthetic culture. The text is composed by three sections: the textual analysis of Zhao Benshan’s opusculum, the way of the public participate in cultural events, the analysis of Consumer Enjoyment Feeling In the first section the paper interprets the features of Zhao Benshan’s opusculum in the past 21 years by analyzing the text and discusses the cause of the change of aesthetic characteristics. In the 1990, Zhao Benshan appeared in the platform of “spring festival evening”,and became popular soon. It points out that, during those 21 years, the theme of his opusculum has transformed for 2 times. Firstly, it was transited from reflections on family to on society. After entering the new century, it fell into egoism. The reason of that is because consumption has become people’ main lifestyle and the time of its infiltration to culture has come.In the second section, the author turns the focus to the public, from their own perspectives, researching their boycott attitude towards the entertainment culture. The public take the advantage of internet, subverting the hegemonic codes of cultural text in a way of guerrilla, finding a meaning, pleasure and identity of their own.In the third section, by comparative analysis, the author compares the major culture events, such as the marriage show which is named “Fei Cheng Wu Rao”, of the year with Zhao Benshan’s opusculum so as to analyze and reflect the entertainment culture of the society. And pointed out that our country current culture tends to make the "pleasure" for the purpose of entertainment, focusing on the satisfaction of physical desires rather than enhance the aesthetic culture. In this section, the author concentrates on researching its cause and feature. In the conclusion, the author stresses that we should reflect on making culture resistible to materialism, satisfying the aesthetic spirit of the public and nurturing a healthy aesthetic of the public.