霸权的

In the introduction, the condition of the importation and research of romanticism in Chinese in the first 50 years of the 20th century is reviewed, and there exist two main evils: On one hand, Chinese theorists tend to have some priori knowledge before their study, they always compare the so-called"original state"of romanticism in the western with the modern Chinese romanticism, thus they deny the possibility of Chinese romanticism. Under such condition, no-theoretical system of romanticism appeared in China, we have neither broken away from the hegemony of the western literature, nor have we grasped the modern Chinese romanticism in a whole. On the other hand, we hold a mechanical idea that romanticism develops itself from the conflict with the classicism、the realism、the modernism, so the essence of the romanticism is subjectively and lopsidedly established, that makes the concept of romanticism lose its function as a symbol.

在绪论中，主要回顾了20世纪前50年我国理论界对浪漫主义的引进与研究状况，引出了我们面前对浪漫主义研究中出现的两大弊端：一是理念的先验性，以所谓西方"原汁原味"的浪漫主义理念来比照、言说中国现代浪漫主义文学，从而形成了一种否定现代中国浪漫主义存在的理论倾向，既没有形成象勃兰兑斯对欧洲十九世纪浪漫主义的"本土式"的言说，没有真正摆脱西方文学霸权话语的阴影，形成自己的浪漫主义理论体系，也没有完成对现代中国浪漫主义的整体把握；二是以一种"意图伦理"的姿态，机械地认定浪漫主义是从与古典主义、现实主义和现代主义的冲突中建立起来的，主观而片面地确认中国现代浪漫主义的内涵，使浪漫主义概念越来越混乱而空泛，已经停止履行一个词语符号的功能。

Fiske drawed a analogy between modern mass media and the bard of Middle Ages, then, pointed out that mass media has a function which moulds collective culture. Under the influence of Gramscis's theory of """" hegemony"""", he thinks that media text is open space with diverse meaning and regards media text as popular producerly text through using the concept of """"open/ciosed"""" text of Eco and """"writerly/readerly"""" text of Barthes. On the basis of inheriting the theory of """"encoding and decoding"""" of Hall, he also absorbs the theory of """"resisting"""" of Decerteacc. Then, he thinks that audience don't simply passively absorb while contacting media, but have a kind of strong positive initiative, can """"produce"""" and """"consume"""" the meaning from the text according to their own demand.

费斯克将现代的大众传媒与中世纪的&吟游诗人&进行类比，指出大众传媒具有塑造集体文化的功能；在葛兰西文化霸权理论的影响下，他将媒介文本视为一个意义开放的空间，并借鉴艾科的&开放式／封闭式&文本及巴特的&作者式／读者式&文本概念，进一步将媒介文本界定为一种&大众的生产者式文本&；他在继承霍尔编码／解码理论的基础上，又吸收了德塞图的&抵抗理论&，认为受众在接触媒介时不是一味消极被动的&吸收&，而是具有一种强烈的积极主动性，能够按照自己的需求从文本中&生产&和&消费&意义。

As a precursor to the study of these records, chapter four discusses the development of eastern trade routes - overland from Romania through the Greek Peninsula and the Aegean Islands, and by sea to the Levant, and explains how Venice systematically, through wars with Genoa, use of great galleys, cogs and other small ships, developed trade supremacy, the formation of partnerships and joint ventures.

作为对这些记录的研究来说的一个先驱者，它论述了发展的东部地区贸易通道-陆路从罗马尼亚通过希腊半岛和爱琴海岛屿，并在地中海东部海域，并解释了如何从威尼斯有系统地，透过对抗意大利西北部的州及其首都的战争、舰长用艇的使用和其他的小船，取得发达国家的贸易霸权，形成伙伴关系和合资企业。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。