摘 要 本文以文化挪用问题为切入点，反思全球化引发的多重文化碰撞与融合现象及其在文艺创作中的体现。文化挪用的相关理论最早是从反思和批判的视角建构起来的。它遵循一条从现象到理论的生成路径，逐渐成为西方文化研究领域——尤其是北美和澳大利亚——所使用的新兴关键词。文化挪用问题涉及到了文化帝国主义、差异政治学和文化全球化等三重研究维度，这三重维度对应着人们看待文化挪用的三种认知偏向。它们分别是将文化挪用视为：自上而下的掠夺、自下而上的抵抗和平等对话下的融合。这些认知偏向基于不同的权力地位、行为目的和话语类型而形成。在笔者看来，三重研究维度和三种认知偏向是同时存在的，它们共同组成了本文分析文化挪用问题的三个层面。 第一章对文化挪用（cultural appropriation）概念进行总述。首先，笔者厘定了何为文化挪用。其次，在詹姆斯?O?杨观点的基础上，本文对文化挪用的类型进行了分类。第三节则对文化可适性与跨文化阐释的限度问题进行简要论述。 本文从第二章到第四章就三重维度展开了具体分析。 第二章讨论了文化挪用的文化帝国主义的研究维度，就此而言，文化挪用被认为是西方文化霸权建构和巩固文化帝国主义的重要手段。首先，全球化的时空压缩极大推动着这一手段的实现。西方资本主义的生产方式在全球范围内的扩张要求占有一切文化元素，将其转化为经济收益，并生产能够被广泛认可和接受的文化基因，这是文化帝国的挪用逻辑。其次，在具体表现上，这一逻辑导致了霸权文化不断僭越文化主权，占有他者并生产出凸显自己的“等级结构”和供自己支配的“异域景观”。这是文化帝国主义维度下文化挪用政治学的体现。与之相应地，在第三节，笔者讨论了文化挪用的修辞学问题。政治学与修辞学相辅相成。文化挪用修辞学充分地体现于斯图亚特?霍尔对于文化表征问题的认识。借用罗兰?巴特的神话修辞理论，笔者还将讨论弱势文化群体何以主动认可霸权文化对自己文化的加工，并追逐被赋予了浓重意识形态色彩的格调与风格。博物馆被视为能充分展示实体挪用和非实体挪用相结合的权力运作形态。 第三章讨论了文化挪用的差异政治学的研究维度。在这一章中，本文将站在弱势文化的立场，从差异政治学角度出发，将文化挪用视为弱势文化抵抗文化同质化的“清洗”的重要手段。为实现这一目的，弱势文化大量地吸收异质性因素，破坏、颠覆总体叙事，解构霸权话语赋予的既定身份，进而协商建构新的身份。不过，在笔者看来，这种对新身份的建构首先体现在建构融入性身份的尝试，它表现为“文化变装”（cultural cross-dress）。但在结合事实的基础上并依据阿尔都塞的观点，可以看到文化变装总是失败的，因为变装主体原有的主体性具有抵制询唤的本能，从而导致身份的挣扎。这体现在流散作家和流散文学上。挣扎的身份推动着后殖民主义理论家思考文化挪用在建构新身份中的抵抗潜能。笔者在第三节分别考察了反种族主义者、杂交性身份理论和“逆写帝国”主张对于文化挪用的推崇、实践及其效应问题。自下而上的抵抗式的文化挪用还充分展示于亚文化对抗主流文化的文化实践中，第四节分别讨论了青年亚文化和性别亚文化中的文化挪用，认为其具有打破刻板模型的意图。 第四章讨论了文化挪用的文化全球化的研究维度。文化挪用是可以回归到单纯的文化或审美的领域中的。第一节论述了文化挪用的美学价值，它分别体现为小说中的对话性诉求和艺术文本的生成策略，而这种美学价值可以超越域外者的局限性。第二节讨论了如何重构积极的文化挪用，包括挪用者与被挪用者在思维上的转变和在具体方法上的实践。本文的最后一节描绘了文化挪用的演化后果，那将是一个“克里奥尔化”的文化杂交的世界。它体现为和而不同、汇而有距。杂交的创作者将在这个世界里大显身手，创作出独具魅力的艺术作品。

This dissertation takes the issue of cultural appropriation as a breakthrough point in reflecting on the phenomenon of multicultural collision and fusion caused by globalization and its manifestation in artistic creation. The concept of "cultural appropriation" was first constructed from the perspective of reflection and criticism. It follows a generative path from phenomenon to theory and gradually becomes an emerging keyword in western cultural studies, especially in North America and Australia. The issue of cultural appropriation involves three research dimensions of cultural imperialism, politics of difference and cultural globalization. These three dimensions correspond to three types of cognitive disposition on cultural appropriation based on different power statuses, behavior purposes and discourse types. They respectively regard cultural appropriation as: top-down plunder, bottom-up resistance and fusion with equal dialogue. In my opinion, these three dimensions and types of cognitive disposition exist at the same time, which constitute the three aspects of our analysis of cultural appropriation. The first chapter makes an overview of the concept of "cultural appropriation". Firstly, I define what "cultural appropriation" is. Secondly, on the basis of James O. Young’s viewpoint, I classify the types of cultural appropriation. Thirdly, I briefly discuss the cultural suitability and the limit of intercultural interpretation. From the second chapter to the fourth chapter, the dissertation carries out a concrete analysis of the three dimensions. The second chapter discusses the study dimension of cultural imperialism of cultural appropriation. In this regard, cultural appropriation is considered to be an important means of western cultural hegemony to create and consolidate cultural imperialism. Firstly, the time-space compression of globalization has greatly promoted the realization of this approach. The global expansion of western capitalist production methods requires the possession of all cultural elements, turning them into economic gains, and producing cultural genes that can be widely recognized and accepted. This is the logic of appropriation of cultural empire. Secondly, this logic leads to the situation that hegemonic cultures continuously arrogate cultural sovereignty to “possess others” and produce “hierarchical structures” that highlight their own and “exoticism” that they control. This is the embodiment of the politics of cultural appropriation under the dimension of cultural imperialism. Correspondingly, in the third section I discuss the rhetorics of cultural appropriation. Politics and rhetorics complement each other. The rhetorics of cultural appropriation fully embody Stuart Hall's opinion of cultural representation. Using the mythical rhetoric theory of Roland Barthes, I also discuss why the weak cultural groups actively accept the hegemonic culture’s operation on their own culture and chase the strong ideological patterns and styles. The museum is seen as a form of power operation that fully embodies the combination of object appropriation and intangible appropriation. 阿瓦 2018/6/28 15:33:49 The third chapter discusses the study dimension of politics of difference. In this chapter, I stand in the position of weak culture. From the perspective of politics of difference, the dissertation regards cultural appropriation as an important means for weak culture to resist the “purge” of cultural homogenization. In order to achieve this goal, weak culture appropriates a large number of heterogeneous factors to destroy and subvert the grand narrative, smash the established identity given by the hegemonic discourse, and construct new identity. However, in my view, the construction of new identity is first embodied in the attempt to construct integrated identity, which is presented as "cultural cross-dress ". But, based on the facts and according to Althusser’s theory, cultural cross-dress always fails, because the original subjectivity of the cross-dresser has the instinct to resist the interpellation, which leads to the struggle of identity. This is fully reflected in diaspora writers and their works. The struggling identity promotes the post-colonial theorists to think about the resistance potential of cultural appropriation in building new identities. In the third section, I examine the anti-racist’s, hybridity theory’s and "the empire writes back" theory's praises for cultural appropriation and their practices and effects. The bottom-up resistance cultural appropriation is also fully reflected in the subculture’s cultural practice against mainstream culture. In the fourth section, I discuss the cultural appropriation in youth subcultures and gender subcultures and consider that they have the purpose of breaking stereotypes. The fourth chapter discusses the study dimension of cultural globalization. Cultural appropriation can return to cultural or aesthetic field. The first section discusses the aesthetic value of cultural appropriation, which is embodied in the dialogicality of novel and artistic text generation strategy. The aesthetic value can transcend the limitations of outsiders. In the second section, I discuss how to achieve positive cultural appropriation. It includes the change of thinking and practice of methods for both outsiders and insiders. In the last section, the dissertation describes the evolutionary consequence of cultural appropriation. It will be a world of Creolized cultural hybridity. It presents as harmony in diversity and fusion with distance. The hybridized creator will show their talents in this world and create unique charm artistic works.