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香港在英治时期,由于政府不愿意培植主流文化,危及政府统治,故此在20世纪60年代之后实施的文化场地与艺术资助,采取政出多门、分而治之的策略,务求不出现主流意识形态以挑战殖民政府的管治权威,无论该等意识形态是来自传统华夏文化还是来自现代西方文化。政府鼓励带有中产阶级品位的经典西方艺术和现代艺术,鼓励外国作品的翻译和演绎,却不鼓励本土创作,体现出来的是消极的、各自表述而互不干涉的、平均光谱式的多元化,而不是汇成主流的、有主有次的多元化。政府宣称的多元化,是零散与失焦的委婉表达。
During the period of British rule in Hong Kong, due to the reluctance of the government to cultivate the mainstream culture and endanger the government’s rule, the cultural venues and arts subsidies implemented after the 1960s adopted a strategy of multi-pronouncing, dividing and governing politics so as to challenge the mainstream ideology. The governing authority of the colonial government, no matter whether these ideologies come from the traditional Huaxia culture or from the modern Western culture. The government encourages the classic western art and modern art with the middle class taste to encourage the translation and interpretation of foreign works, but not to encourage local creation. It shows the negative, the non-interference of each expression, the average spectral diversity , Rather than sink into the mainstream, there are times the main diversification. The diversification declared by the government is the euphemism of fragmentation and out of focus.