我不是批评界的圈内人,但对理论和批评一向怀有浓厚兴趣。我以为,当代批评除了是种种观念、方法、论据和材料的相互交织,它同时也会形成某种特有的精神生活的节奏、韵律和氛围。因此,将九十年代的批评与九十年代的诗歌写作或小说写作放在一起考察也许更能说明问题,因为它们共同构成了在九十年代得了风气,形成了时尚的某种知识症候。我所说的时尚首先是指话语时尚,无论我们将其视为风格的标记还是更多地将其看作实践理性的产物,回响其中的都是拉康的著名断言——“现实既不是真的也不是假的,而是词语的。”这是一个得风气之先的,同时也是不祥的断言:词的及物性是如此迫切,以至我们已无法辨认词语世界与物质世界、写作与生存的真实联系。肉体 I am not a critic of circles, but I have always had a great interest in theory and criticism. I think contemporary criticism, apart from the intertwining of ideas, methods, arguments and materials, also forms the rhythms, rhythms and atmosphere of a particular spiritual life. Therefore, examining the criticisms of the nineties and poetry writing or fiction writing in the nineties may perhaps give a better explanation of the problem because they together constitute a certain intellectual symptom that gained popularity and fashion in the nineties. The fashion I’m talking about, first and foremost, speaks fashions, whether we treat it as a style tag or more as a product of practical reasoning, echoing Lacan’s famous assertion that “reality is neither true Is not a fake, but a word. ”It was a preposterous and ominous assertion that words and materialities were so urgent that we were unable to discern words and the material world, writing and surviving Real contact. flesh