Page 161 - 《社会》2021年第5期

社会·2021·5

concepts of “gender spectacle” and “mutual spectacle”. The paper finds that
construction and maintenance of gender spectacle are the core strategy of bar business
profitability and high capital investment return. By observing the mainstream gender
culture and skillfully managing time and space， businesses carefully orchestrate a
spectacle order in which women and men act respectively as producers and consumers
of pleasure experience. Differences and divisions within the same gender group are
created to form a “center鄄periphery” core order, as well as a partial order that subverts
the mainstream gender culture. It is a mutual spectacle through the cooperation of all
involved and together they contribute to the construction and maintenance of the bar
gender spectacle order while bar operators become invisible scenery setters. This paper
contributes to the micro empirical foundation of the spectacle theory. It opens up
discussion on the construction mechanism of spectacle and the subjectivity of agents,
and adds to the analysis of the development of gender culture in the context of consumer
society. In sum， this paper helps further the discussion on the logic of capital of
consumer capitalism.
Keywords：the society of the spectacle，gender spectacle，mutual spectacle，
consumerism

一、导论

1929 年的经济危机使发达资本主义国家意识到， 消费资本主义的
生产逻辑与工业资本主义的生产逻辑并不相同。 在马克思所处的工业
资本主义时代, 如何促使工人生产更大的利润是资本主义要解决的主
要问题；而到了消费资本主义时代，随着科技的发展、生产率的提高和
工人薪酬的增加，工人阶级获得了一定的闲暇时间和消费能力，如何促
进工人消费成为资本主义继续发展的关键问题（李长生，2018:111）。 事
实上，消费资本主义并未形成生产力上的革命性变化，但经济行为、精
神文化和社会形态发生了重大改变，商品的“有用性”也由满足生活基
本所需转向注重质量、强调个性化和追求精神满足（杨典、欧阳璇宇，
2018）。 这带来的一个转变是，生产不再完全由自然资源拉动，而是开始
面向人的需要，重视对人之感官与欲望的开发和管理，第三产业由此兴
起并迅速发展。 其中，休闲娱乐行为因具有生产性特征而被纳入消费资

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