CAJ | 학술논문

一直以来，对文化的社会研究不是被极端化为结构主义理论就是被极端化为实用主义理论，前者视意义为文本并注重探索提供相对自主性的模式，后者则将意义处理为由个人或集体行动之权变性的创发———即所谓的实践本身，并将文化模式作为权力和物质利益之反应加以分析。在本文中，我将阐述一个超越这种极化视野的文化语用学理论，以新的方式将意义结构、权变性、权力和实质性融为一体。我的论点是，实践的实质性可以由维度更多的表演概念所取代。通过对表演研究这一新领域的成果的吸收，文化语用学说明社会表演，无论个人还是集体的，是如何可能被系统地类推为剧场表演的。在定义了社会表演的要素之后，我认为，随着社会变得更加复杂，这些要素已经趋于“分解”（de-fused）。只有在能够将这些日渐离析的要素“再融合”的情况下，表演才会成功。在融合化的表演中，观众认同演员，且文化剧本通过有效的舞台布景达到逼真的程度。而当诸要素重新连接的过程并不完美时，表演就会失败：表演要素仍处于分离状态，社会行动看上去不但不够本真（authentic），而且显得造作和难以令人信服。与此相对，再融合能使演员成功地传达其行动的意义并有效地实现他们的利益。
일직이래，대문화적사회연구불시피겁단화위결구주의이론취시피겁단화위실용주의이론，전자시의의위문본병주중탐색제공상대자주성적모식，후자칙장의의처리위유개인혹집체행동지권변성적창발———즉소위적실천본신，병장문화모식작위권력화물질이익지반응가이분석。재본문중，아장천술일개초월저충겁화시야적문화어용학이론，이신적방식장의의결구、권변성、권력화실질성융위일체。아적론점시，실천적실질성가이유유도경다적표연개념소취대。통과대표연연구저일신영역적성과적흡수，문화어용학설명사회표연，무론개인환시집체적，시여하가능피계통지유추위극장표연적。재정의료사회표연적요소지후，아인위，수착사회변득경가복잡，저사요소이경추우“분해”（de-fused）。지유재능구장저사일점리석적요소“재융합”적정황하，표연재회성공。재융합화적표연중，관음인동연원，차문화극본통과유효적무태포경체도핍진적정도。이당제요소중신련접적과정병불완미시，표연취회실패：표연요소잉처우분리상태，사회행동간상거불단불구본진（authentic），이차현득조작화난이령인신복。여차상대，재융합능사연원성공지전체기행동적의의병유효지실현타문적이익。
From its very beginnings,the social study of culture has been polarized between structuralist theories that treat meaning as a text and investigate the patterning that provides relative autonomy and pragmatist theories that treat meaning as emerging from the contingencies of individual and collective action—so-called practices—and that analyze cultural patterns as reflections of power and material interest.In this article,I present a theory of cultural pragmatics that transcends this division,bringing meaning structures,contingency,power,and materiality together in a new way.My argument is that the materiality of practices should be replaced by the more multidimensional concept of performances.Drawing on the new field of performance studies,cultural pragmatics demonstrates how social performances,whether individual or collective,can be analogized systematically to theatrical ones.After defining the elements of social performance,I suggest that these elements have become “de-fused”as societies have become more complex. Performances are successful only insofar as they can “re-fuse”these increasingly disentangled elements.In a fused performance,audiences identify with actors,and cultural scripts achieve verisimilitude through effective mise-en-scène.Performances fail when this relinking process is incomplete:the elements of performance remain apart,and social action seems inauthentic and artificial, failing to persuade. Refusion,by contrast,allows actors to communicate the meanings of their actions successfully and thus to pursue their interests effectively.