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二十世纪被称为“批评的时代”,于是,当下的某些批评家们似乎成了文学的主人,他们提着从“市场”上买来的“笼子”满街闲逛,他们正在寻找一只鸟。 这些批评家们虽然不是我们想象的“八旗子弟”,但也肯定有他们的骨血。他们对中国文学并不缺少责任心,其个人也不乏一种进取精神,但其中也有羞于启齿的隐私:只要自己笼子里装上一只时髦的鸟,或者用流行说法,把它“包装”后“炒”成一只“名星马”,玩鸟者就会身价倍增,誉满京华。九十年代以来,用此种方法“功成名就”者屡见不鲜,甚至是层出不穷。 这些批评家十分珍爱自己的笼子,他们从新时期以来的文学批评中获得了这个“法宝”,要想
The twentieth century was called the “era of criticism,” and some of today’s critics seem to have become the masters of literature, hanging out in “cages” bought from the “market,” who are looking for a Only birds. Although these critics are not the “Eight Banners” we imagine, they certainly have their own blood. They are not lacking in responsibility for Chinese literature. They also have an enterprising spirit, but they are also ashamed of privacy: as long as they have a stylish bird in their cage or “pack” them in popular terms, After the “speculation” into a “star horse”, birdwatchers will double the price, reputation Jinghua. Since the nineties, using this method “success” is not uncommon, and even after another. These critics have cherished their cage very much. They have gained this “magic weapon” from the literary criticism since the new era.