2020年6月, 由中国歌手费玉清演唱的《一剪梅》毫无征兆地风靡国际知名音乐共享平台“声破天”（Spotify）,这首创作于20世纪80年代的中国歌曲却在当下成为“现象级”流行文化符号。它的全球传播引起了众多学者对数字迷因这一概念的重新认知和考察。随着全球化进一步推进，西方文化中心主义一方面强调文化交流和文化多样性，另一方面则抱持“西方文化优越”的思想。文化帝国主义与文化世界主义两者的冲突日渐凸显。在新冠病毒全球大流行的挑战下，西方反华势力炮制的“中国病毒”、“东亚病毒”等数字迷因进一步加深了东西方社会的深层次割裂。 因此，学界开始对数字迷因传播带来的社会问题进行反思：如何超越数字迷因本身去理解其背后的传播逻辑，批判地考量当下文化传播是否回归文化本身，成为传播学学者们关注的议题。中国在世界中扮演越来越重要的角色，中国文化的全球传播却面临着诸多“意识形态陷阱”，而数字迷因的全球传播似乎给这一问题提供了新的视野。本文通过考察数字迷因的特征及其传播模式的三次迭代，以实践性的模式归纳与哲学性的文化批判为研究逻辑，从平台世界主义视角阐释“中国武侠网文”、“一剪梅TikTok版”等数字迷因的走红背后体现的传播逻辑，为解决当下全球传播困境提供了新的镜鉴和思考。 研究发现，数字迷因1.0和2.0没有摆脱传统跨文化传播和迷因传播所带有的强烈的文化、社会和政治经济资本属性。因此在探讨以人本主义为核心的平台世界主义实践时，本文根据最新的数字迷因传播案例提出了数字迷因3.0传播模式。这种基于文化杂糅的世界主义文化传播产物第一次跳脱了资本的束缚，为缔造以人为本位的、兴趣导向的标签式的数字社区身份提供了新的可能性。具体到中华文化走出去的实践中，通过以彰显中国人和国外的知华派主体性的数字迷因3.0模式，我们可以创造符合中华文化特色且符合世界文化趋势的数字迷因，并在数字迷因平台所构建的泛社区环境下进行全球传播。
In June 2020, “一剪梅”（also known as “Xue Hua Piao Piao”） sung by a Chinese singer called Fei Yuqing, suddenly dominated Spotify and soon spread virally on every social media platform especially on TikTok. This old Chinese song composed in the 1980s has become a popular culture icon which let scholars re-consult to the concept of “Digital Meme”. With the rise of the Internet, digital memes have gradually entered the academic vision of researchers. Globalization empowers western centralism, which emphasizes that the flow of global culture should promote cultural exchanges and ensure cultural diversity, yet the conflict between culture and capital has become increasingly prominent, especially in 2020, when the world saw how multiple forces use digital memes as tools to achieve political goals under the Covid-19 pandemic. Thus, the Internet becomes “splinternet”, which deepens the fragmentation between the East and the West. Therefore, we begin to reflect on the spread of digital memes, and try to find the communication logic behind the scene. China’s global communication is facing difficulties in uttering itself, especially when it faces ideological differences with western countries. However, the globally spread digital memes seem to provide new perspectives on the issue. The thesis will examine the characteristics of digital memes and the iterations of their communicative modes. Thus, it tries to interpret from a philosophical as well as a practical perspective to show how newly emerged digital memes get spread virally and how they show platform cosmopolitanism concerns.This research has found that global communication mode 1.0 and 2.0 of digital memes have not surpassed the strong cultural, social and political capitalistic attributes of traditional cross-cultural communication. Therefore, when presenting the new practices based on platform cosmopolitanism with humanism as the core, this article proposes a global communication mode 3.0 with the support of latest globally spread digital meme cases. This new communication mode, which holds culture hybridity as its methodology, for the first time breaks away from the shackles of Capitalistic Modernity, and provides new possibilities for creating a human-oriented, interest-oriented, label-oriented digital pan-community. Specifically, in the practice of Chinese culture going abroad, digital memes are perfect object which are conformable both to the Chinese culture and the global culture. Mode 3.0 demonstrates the subjectivity of the Chinese people and those foreign intellectuals who are familiar with Chinese culture, thus creates a brand-new global communication logic under the pan-community environment.
