「念叨」與身分建構：文化工業視角下的《裝在口袋裡的爸爸》

"Chanting" and the Construction of Identity: Daddy in the Pocket in the Perspective of Cultural Industry

馬皓哲(Ma, Haozhe)

《竹蜻蜓．兒少文學與文化》 13期 (2024/12) Pp. 209-229

https://doi.org/10.6738/bdclc.202412_(13).0006

摘要

文化工業理論在面對兒童科幻文學《裝在口袋裡的爸爸》時， 囿於其精英主義的站位和忽略兒童的理論建構，其理論難以解釋兒童在文化場域中的特殊地位。楊歌媽媽無止境地「念叨」背後有更多維的解碼空間，問題的關鍵不在於媽媽在強調什麼，而是喋喋不休的念叨背後遮蔽了什麼。「念叨」是文化工業收編低領讀者的方式之一，市場通過同質化的情節產出不停散佈著某種帶有規定性的行為準則，從而給給意識形態控制留下了空間。但是，《裝在口袋裡的爸爸》又反過來佐證了文化工業理論的不足之處。面對兒童科幻小說，我們關注的重點應該在於邊界與題材的突破。

關鍵字

性別刻板印象 ； 自我概念 ； 圖像分析

並列摘要

When facing the children's sci-fi literature Daddy in the Pocket, the theory of cultural industry is confined to its elitist position and ignores the theoretical construction of children, and its theory can hardly explain the special status of children in the cultural field. Behind Yang Ge's mother's endless "recitation", there is room for a more multidimensional decoding. The crux of the matter is not what the mother is emphasizing, but what is being obscured behind her incessant recitation. "Chanting" is one of the ways in which the culture industry collects low-consumption readers. Through homogenized plots, the market keeps on spreading a certain kind of behavioral norms with stipulations, thus leaving room for ideological control. However, Daddy in the Pocket is another example of the shortcomings of the theory of the cultural industry. In the face of children's science fiction, the focus of our attention should be on the breakthrough of boundaries and themes.

並列關鍵字

Cultural industry ； Children's science fiction ； Daddy in my pocket ； Identity construction