Disney is more than just an example of physical control, it is also an exercise of moral regulation. "Disney culture presents the particular and historical form of white, capitalist society as the essential society of reason" (Rojek, 1993, p. 22). Disney is a reflection of middle-American attitudes and values, a strictly defined sense of normalcy. It’s a powerful cultural brew, a "smooth blend of sentimental modernism, sentimental populism, nostalgia, consumerism, family virtue and corporate abundance —an intoxicating experience for the millions of Americans who passed through its gates" (Watts, 1997, p. 396).
Nostalgia plays a dominant role throughout the Disney experience. Most visitors seem to embrace the park’s utopian vision of the past and the future. Everything is vaguely familiar, with many cultural icons to trigger the common heritage and myths of America. The stories told in and by the park are attractive versions of familiar tales and events, sometimes exaggerated to the point of parody (Van Manaan, 1992). Disney represents a return to the romantic familiar. This is not so much an accurate representation of how America once was. Rather, it is a picture of how we would like it to be remembered to have been. As with much of Disney, it is the care and attention to detail that hides the inauthenticity in the story that under pins the presentation. Unfortunately, as Bryman (1995) points out, it is a "view of history with which professional historians are unable to compete in terms of either the mode of presentation or the numbers of people touched by it" (p. 142). There is no way of knowing what’s missing, no way to know which social forms and behaviors have been left out (Willis, 1993). The original location or event struggles in comparison to the manageable, seductive, non-threatening version that Disney provides. It becomes increasingly difficult to repudiate the Disney approach — this is how many of us would wish things to be. Thus "Disneyland is more ‘real’ than
fantasy because it now provides the image, upon which America constructs itself" (Giroux (1995, p. 28). The more we trigger the association with Disney, the more dominant that view becomes.
As part of the moral sanitizing at Disney, visitors are encouraged to feel safe. The undesirable and threatening aspects of society are purged. Not only is dirt, crime and poverty removed, but social deviance is curtailed. Disney does not tolerate drug consumption, unrestricted free speech, gang paraphenalia or behavior, unusual religious practices or open displays of homo- or hetero- sexuality. People are not violent or sexual in Disney, unless that behavior has been incorporated into the officially sanctioned display.
迪斯尼不仅仅是身体控制的一个例子,它同时也是一种锻炼的道德规范。“迪士尼礼物和历史文化的特定形式的白色,资本主义社会的重要社会原因”(Rojek,1993,p。22)。迪斯尼反映一个人的middle-American态度和价值,严格界定意义上的自我。这是一个强大的文化化合物,“光融合现代,感伤的感伤,怀旧的民粹主义、消费主义、家庭美德和公司丰富的醉人的经历——数百万美国人经过城门”(美国瓦茨,1997,p)。 怀旧扮演一个主导的角色在迪斯尼的经验。大多数游客似乎抱着公园的乌托邦式的愿景的过去和未来。是有点熟悉的一切,有许多文化偶像,触发共同遗产和美国的神话。托尔的故事
只能到这儿了！！抱歉！！
Disney is more than just an example of physical control, it is also an exercise of moral regulation.
迪斯尼不仅仅是身体控制的一个例子,它同时也是一种锻炼的道德规范。
"Disney culture presents the particular and historical form of white, capitalist society as the essential society of reason" (Rojek, 1993, p. 22).
“迪士尼礼物和历史文化的特定形式的白色,资本主义社会的重要社会原因”(Rojek,1993,p。22)。
Disney is a reflection of middle-American attitudes and values, a strictly defined sense of normalcy.
迪斯尼反映一个人的middle-American态度和价值,严格界定意义上的自我。
It’s a powerful cultural brew, a "smooth blend of sentimental modernism, sentimental populism, nostalgia, consumerism, family virtue and corporate abundance —an intoxicating experience for the millions of Americans who passed through its gates" (Watts, 1997, p. 396).
这是一个强大的文化化合物,“光融合现代,感伤的感伤,怀旧的民粹主义、消费主义、家庭美德和公司丰富的醉人的经历——数百万美国人经过城门”(美国瓦茨,1997,p)。
Nostalgia plays a dominant role throughout the Disney experience.
怀旧扮演一个主导的角色在迪斯尼的经验。
Most visitors seem to embrace the park’s utopian vision of the past and the future.
大多数游客似乎抱着公园的乌托邦式的愿景的过去和未来。
Everything is vaguely familiar, with many cultural icons to trigger the common heritage and myths of America.
是有点熟悉的一切,有许多文化偶像,触发共同遗产和美国的神话。
The stories told in and by the park are attractive versions of familiar tales and events, sometimes exaggerated to the point of parody (Van Manaan, 1992).
这个故事在公园附近,有吸引力的版本的故事和事件的熟悉,有时夸张的模仿的观点(范Manaan,1992)。
Disney represents a return to the romantic familiar.
迪斯尼代表回到浪漫的熟悉。
This is not so much an accurate representation of how America once was.
与其说这是一个准确的代表性美国曾经的辉煌。
Rather, it is a picture of how we would like it to be remembered to have been.
相反,它是一幅画中,我们如何希望记得曾经的模样。
As with much of Disney, it is the care and attention to detail that hides the inauthenticity in the story that under pins the presentation.
作为迪士尼的多,它是护理和注重细节,藏起了不真实的故事,在销方式。
Unfortunately, as Bryman (1995) points out, it is a "view of history with which professional historians are unable to compete in terms of either the mode of presentation or the numbers of people touched by it" (p. 142).
不幸的是,随着Bryman(1995)指出,这是一个“对历史的看法与专业历史学家不能参加,提出一种基于演示或模式的人数感动”(p)。
There is no way of knowing what’s missing, no way to know which social forms and behaviors have been left out (Willis, 1993).
没有办法知道少了什么,没办法知道哪些社会形式和行为已经不在了(威利斯,1993)。
The original location or event struggles in comparison to the manageable, seductive, non-threatening version that Disney provides.
原位置或事件的斗争相比,便于管理,诱人的、毫无威胁的版本提供了。迪斯尼
It becomes increasingly difficult to repudiate the Disney approach — this is how many of us would wish things to be.
它越来越难以拒绝的迪斯尼的方法——这是我们当中有多少人希望的东西。
Thus "Disneyland is more ‘real’ than
因此“迪士尼乐园是更多的真实的
fantasy because it now provides the image, upon which America constructs itself" (Giroux (1995, p. 28).
幻想,因为它现在提供了图像,在此基础上构建”(吉鲁来说美国本身(1995,p。28岁)。
The more we trigger the association with Disney, the more dominant that view becomes.
我们越是触发协会和迪士尼,这种观点成为更有统治力。
As part of the moral sanitizing at Disney, visitors are encouraged to feel safe.
作为迪士尼乐园的道德消毒,游客们被鼓励去感到安全。
The undesirable and threatening aspects of society are purged.
并威胁方面的不良社会赦免了。
Not only is dirt, crime and poverty removed, but social deviance is curtailed.
不仅是污垢,犯罪和贫穷移除,但社会犯罪下降了。
Disney does not tolerate drug consumption, unrestricted free speech, gang paraphenalia or behavior, unusual religious practices or open displays of homo- or hetero- sexuality.
迪斯尼不能容忍毒品消费,自由言论自由,团伙paraphenalia或行为,不寻常的公开展示宗教行为或人类- - - - - - - - - - - -或同性恋性行为。
People are not violent or sexual in Disney, unless that behavior has been incorporated into the officially sanctioned display.
人不是暴力或性在迪士尼乐园,除非该行为被纳入正式批准的显示。
迪士尼不仅仅是一个例子，物理控制，这也是一个锻炼的道德规范。”迪士尼文化提出了具体的历史的形式，资本主义社会的基本社会原因”（罗杰克，1993，22页）。迪士尼是反映造出的态度和价值观，严格界定的正常的意识。这是一个强大的文化酿造，“顺利融入感性的现代主义，感性的民粹主义，怀旧，消费主义，家庭美德和丰富经验的醉人的数百万美国人通过其大门”（瓦，1997，396页）。怀旧起着主导作用，在整个迪士尼经验。大多数游客似乎拥抱公园的乌托邦式的理想的过去和未来。一切都不熟悉，有许多文化名人的触发共同遗产和美国神话。这个故事告诉和公园是有吸引力的版本熟悉的故事和事件，有时夸张点的戏仿（范manaan，1992）。迪士尼代表返回到浪漫的熟悉。这是不太准确的表示，美国曾经是多少。相反，这是一张我们如何将它记住了。与大部分迪士尼，这是照顾和对细节的关注，隐藏不真实的故事，介绍下销。不幸的是，当布里曼（1995）指出，这是一个“历史观与专业历史学家无法竞争，无论是模式的介绍或数人被它感动”（142页）。有没有办法知道缺少了什么，不知道哪些社会形态和行为已经离开了（威利斯，1993）。原来的地点或事件的斗争相比，可管理的，诱人的，不具威胁性的版本，迪士尼提供。它变得越来越难以否认迪士尼方法-这是许多人希望的事情是。因此，“迪斯尼乐园更真实比幻想因为它现在提供的图像，在美国建设本身”（吉鲁（1995，28页）。我们越是触发与迪士尼，更主要的是观成为。一部分的道德消毒在迪士尼，鼓励游客感到安全。不良和威胁社会方面被清除。不仅是污垢，犯罪和贫困删除，但社会越轨行为的限制。迪士尼不容忍毒品消费，不受限制的言论自由，帮派工具或行为，不寻常的宗教习俗或打开显示器的同质或异质性。人不是暴力或性在迪士尼，除非该行为已被纳入官方认可的显示
迪士尼不仅是一个例子，物理控制，这也是一个锻炼的道德规范。”迪士尼文化提出了具体的历史的形式，资本主义社会的基本社会原因”（罗杰克，1993，22页）。迪士尼是反映造出的态度和价值观，严格界定的正常的意识。这是一个强大的文化酿造，“顺利融入感性的现代主义，感性的民粹主义，怀旧，消费主义，家庭美德和丰富经验的醉人的数百万美国人通过其大门”（瓦，1997，396页）。
怀旧起着主导作用，在整个迪士尼经验。大多数游客似乎拥抱公园的乌托邦式的理想的过去和未来。一切都不熟悉，有许多文化名人的触发共同遗产和美国神话。这个故事告诉和公园是有吸引力的版本熟悉的故事和事件，有时夸张点的戏仿（范manaan，1992）。迪士尼代表返回到浪漫的熟悉。这是不太准确的表示，美国曾经是多少。相反，这是一张我们如何将它记住了。与大部分迪士尼，这是照顾和对细节的关注，隐藏不真实的故事，介绍下销。不幸的是，当布里曼（1995）指出，这是一个“历史观与专业历史学家无法竞争，无论是模式的介绍或数人被它感动”（142页）。有没有办法知道缺少了什么，不知道哪些社会形态和行为已经离开了（威利斯，1993）。原来的地点或事件的斗争相比，可管理的，诱人的，不具威胁性的版本，迪士尼提供。它变得越来越难以否认迪士尼方法-这是许多人希望的事情是。因此，“迪斯尼乐园更真实比
幻想因为它现在提供的图像，在美国建设本身”（吉鲁（1995，28页）。我们越是触发与迪士尼，更主要的是观成为。
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