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在中国的审美文化中,流行文学作为一个新的文学形态,近20年来发展极为迅猛,它不但在其生产和流通的规模上超过了任何文学,而且还以各种“文化暴力”的方式掠夺其他文化资源。这就造成了流行文学对精英文学甚至主流文学的“殖民化”。所谓“殖民化”,在这里主要是指流行文学以各种方式利用来自其他文学的资源,并把这些资源最终改造为适合于流行文学逻辑的共享性的文学。主流文学的生产者反复地强调主旋律,强调社会主义文艺的引导功能,而精英文学的生产者则关注艺术的美学价值和创造性,常常以一种先锋的面目出现,以此来抗拒其他文学的冲击和压力。相比之下,流行文学似乎缺少一种“实”的形态,来表明自己和主流文学以及精英文学的根本区别。流行文学的娱乐性、商业价值以及蕴含其中的消费主义和享乐主义,显然不同于主流文学和精英文学。
In Chinese aesthetic culture, as a new literary form, popular literature has developed extremely rapidly in the past 20 years. It not only surpassed any literature in the scale of its production and circulation, but also plundered by various ways of “cultural violence” Other cultural resources. This has caused popular literature to “colonize” elite literature and even mainstream literature. The so-called “colonization” here mainly refers to popular literature in various ways to use resources from other literature, and eventually transform these resources into a common literature suitable for popular literary literature. Producers of mainstream literature repeatedly emphasize the theme and emphasize the guiding function of socialist literature and art while the producers of fine literature pay attention to the aesthetic value and creativity of art and often appear as a vanguard to resist the impact of other literature And pressure. In contrast, popular literature seems to lack a “real” form to demonstrate its fundamental distinction from mainstream literature and elite literature. The entertaining, commercial value of pop literature, as well as the consumerism and hedonism contained in it, are obviously different from the mainstream literature and elite literature.