本文立足于戈夫曼拟剧论，借鉴伯明翰学派“风格”理论，综合运用文本分析、互联网田野以及批判式话语分析的方法对网络空间中具有高度表演意味的“丧文化”话语特征 进行探究。青年群体利用新技术通过网络文本的拼贴、戏仿与同构，在网络空间的虚拟剧 场中以带有悲观消极意味的文字、图片、表情包、音乐等为舞台道具进行表演，以一种批 判的方式进行话语建构，是温和的抵抗和协商。丧文化解构了主流文化对年轻人奋斗进 取、积极向上的价值期许，重构出“积极向丧”的群体价值认同。他们用“丧格言”和 “反鸡汤”戏仿并消解了主流的“心灵鸡汤”，以“丧”或“佛”的态度传达了内心感受 与集体情绪。以精心设计后的“颓废无力、悲伤沮丧”的网络前台表演实现自我修复，从 而最终达到在现实世界的满血复活。可以说，丧文化是一场成功的“偷猎”，成为一种独 具风格的网络青年亚文化。

 In the transitional period of Chinese society, sang culture has become a pervasive youth subculture. From the online carnival of Ge You slouch to the popular life philosophy of Buddahalike, China’s young generation expresses their own culture in a unique way. By drawing on Erving Goffman’s dramaturgical theory and the Birmingham School’s interpretation on style, this paper adopts filed study, textual analysis, and critical discourse analysis to explore the nature of sang culture, which contains active performative characteristic in China’s online space. The changes of stage scene are conducive to the performance of sang culture and emotional vent. Through bricolage, parody, and homology, Chinese young generation achieves self and group identity. Young people are familiar with the performance rule of online theatre, and the subtle symbolized performance of sang culture presents reality. By performing sang, young people thus are able to reach a ‘self-idealization’ effect. This research found that the performance of sang culture in China’s online space actually is a kind of duplicity, which means the youth generation looks hopeless, but in fact their thoughts are positive. Hopeless people are positive could be an interpretation of the nature of sang culture. In the previous studies, scholars suggested that because the invisible power of discipline in commercial culture is massive, youth people have to adopt the strategy of keeping distance with commerce to maintain the independence of the youth subculture. This paper, however, attempts to challenge the view within the current context of cultural network.