The conflicts of narration and taste  between  old and new classes

Guest: Luo Gang
3:00 – 5:00pm, 09 July,  2016

Different from theory of general public culture research, the relationship between contemporary China’s “class” and “taste” is not like that “petty bourgeoisie” or “middle class” simply gains cultural leadership, or “grass roots” and “vulgar” culture deconstruct center from the edge……After the baptism of revolution, after 1949, China has shown the phenomenon of “elites duality”, namely desynchronized situation of political and cultural elite and Bifidobacterium situation:On the one hand, the class conflict will appear in political appearance, but the greater anxiety is often reflected that the political leaders are likely to lose leadership of culture and “taste”;On the other hand, with the gradual dissipation of class opposition, the new tension appears again in the field of culture and “taste”. Therefore, what “Aesthetics” appear in“photo studio”? What kind of “revolution” is made in culture? Why does the radical politics appear in the field of culture? The above can be explained from the relationship between the special class and taste in the revolution. And the mark of end to “class struggle” not incidentally comes from the “taste” field. “Common beauty” as the forerunner of reform ideology hopes to use “Humanitarianism” and “human nature” to bridge the “tension” of “class” and “taste”, but the suturing role of ideology cannot afford the impact of times changes. Thirty-year reform and opening up, though causes the exit of “class” in discourse level, yet the “class” situation actually reengineers the new class and class conflict in China:If the class consciousness in contemporary China is still in a spontaneous state, then the class conflict between culture and “taste” may become the opportunity to make it conscious. “Loser culture”, “Triste” and “New workers aesthetic” and other up and down cultural phenomenon are not just the trend of pop culture but also the class struggle of contemporary “taste”.

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