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    <journal-meta>
      <journal-title-group><journal-title>新文科研究动态</journal-title></journal-title-group>
      <issn>3136-2265</issn>
      <publisher><publisher-name>求真学术出版</publisher-name></publisher>
    </journal-meta>
    <article-meta>
      <article-id pub-id-type="publisher-id">aec2b232-95b9-497a-885b-79a7e785f4cc</article-id>
      <article-id pub-id-type="doi">10.68249/jrtnla.2026.0021</article-id>
      <elocation-id>0021</elocation-id>
      <title-group><article-title>逆向的经典化：菲利普·迪克死后的声誉经济</article-title></title-group>
      <contrib-group>
        <contrib contrib-type="author" corresp="yes"><name><surname>吴嘉仪</surname></name><aff>湘潭大学</aff></contrib>
        <contrib contrib-type="author"><name><surname>唐慧丽</surname></name><aff>湘潭大学</aff></contrib>
      </contrib-group>
      <pub-date publication-format="electronic"><year>2026</year><month>8</month><day>29</day></pub-date>
      <volume>1</volume><issue>2</issue>
      <fpage>45</fpage><lpage>51</lpage>
      <abstract><p>美国科幻作家菲利普·迪克（Philip K. Dick, 1928-1982）生前虽获雨果奖，却长期被主流文学界忽视；其死后声誉的戏剧性逆转，使他成为“逆向经典化”的独特案例。借助《银翼杀手》等电影的改编效应，美国文库与企鹅经典等出版机构的收入再版，鲍德里亚与詹明信等学者的持续阐释，以及大众媒体的形象建构，迪克从边缘类型作家跃升为全球文化符号。以声誉经济理论为分析框架，探讨在迪克死后声誉的确立与传播过程中，电影工业、出版界、学术界与大众媒体如何将各类资本转化为迪克的象征资本，并最终实现其经济价值的持续增值。</p></abstract>
      <kwd-group><kwd>菲利普·迪克</kwd><kwd>声誉经济</kwd><kwd>跨媒介改编</kwd></kwd-group>
      <permissions><license><license-p>CC BY-NC-ND 4.0</license-p></license></permissions>
      <self-uri xlink:href="https://www.qiuzhenpress.com/articles/jrtnla-2026-0021" />
    </article-meta>
  </front>
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