【作者】 黎杨全；

【导师】 胡亚敏；

【作者基本信息】 华中师范大学 ， 文艺学， 2012， 博士

【摘要】 数字媒介深刻改变了文学的生产、传播、消费与评价模式。本文主要以传统的“专家批评”与新生的“草根批评”这两种批评类型作为研究对象,考察数字媒介提供的赛博空间给文学批评的场域、主体、方法与话语等方面带来的转型。全文分四章。第一章“数字媒介与批评场域的新变”从总体上考察了数字媒介带来的批评场域的结构性变化,分析了专家批评与草根批评之间的位置、关系,拥有的不同的资本、惯习,双方的斗争、共谋、互动及其困境。第二章至第四章则具体从主体、方法与话语三个方面分析了专家批评与草根批评在赛博空间中呈现的各种现象、规律与相应的转型。最后得出的是结论是“文学批评的空间转向与‘业余性’的生成”。第一章“数字媒介与批评场域的新变”从总体上考察了数字媒介带来的批评场域的结构性变化。数字媒介在让专业批评家能够进入赛博空间发言的同时,也带来了批评话语权的扩散,“草根批评”这种新的批评类型得以产生,批评场域形成了专家批评与草根批评并峙的新格局。专家批评主要与传统文学相联系,草根批评主要与网络商业写作相联系。专业批评家拥有文化资本与社会资本,侧重给传统文学提供合法性说明,草根群体则给商业写作带来了经济资本与“网络人气资本”。专家批评与草根批评拥有不同的批评惯习,数字媒介冲击或加强了这些惯习,批评者应增强对惯习的反思与调整。专家批评与草根批评为了争夺文学的合法性定义而展开斗争。在激烈反抗专家批评的表象背后,草根群体身上的符号暴力又使得他们在潜意识深处认同专业批评家对文学的合法性定义,与此同时,这种符号暴力还促使他们不自觉地成为专业批评家内部的正统派驱逐先锋派的共谋。在专家批评与草根批评的斗争中,媒体批评不断地介入、炒作。专家批评与草根批评也为了共同利益而尝试互动,专业批评家试图有限接纳网络商业写作,而传统作家也试图试水网络,与草根群体接触。这种互动陷入了困境,困境的根源在于场域中位置的错位。第二章“个体与人群：批评主体的精神分析”从“个体与人群的关系”这个角度入手分析了赛博空间对批评主体的精神症候与身份认同的影响。首先分析了专业批评家网络生存的精神症候。赛博空间带来了“凝视”目光的转换。在传统批评中,专业批评家行使“看”的权力,并保证作品居于“可见性”之中。数字媒介带来了作品的“不可见性”,同时让批评家“可见”了,他被赛博空间中的“人群”所凝视。这让批评家的权力走向了衰微。数字媒介让批评家的前台与后台的区分变成了“网上”与“网下”的区分。为了维系“专家”身份,他的言行成为一种“表演”,然而他在前台营造的理想自我不过是一种幻象。面对新的历史语境,批评家需要调整姿态,顺应数字文化,从立法者走向阐释者。其次分析了赛博空间带来的草根批评者的“群体性”现象。不管是向内的“追文”还是对外的“冒犯”,草根批评者都是群体性的存在,结成了狂欢的共同体,这种狂欢不乏革新意义,但最终陷入了困局与危机,它不是全民性的狂欢,而是变成了私人性的攻击；不是充满歧见与复数的对话,而是要求同质化的统一；不是取消了等级区分的理想人际交往,而是存在等级化、他者化的实质。草根群体在这种狂欢中所建构的种种理想自我也不过是一种幻象,他最终无法摆脱大他者的凝视。第三章“认知困境与批评方法、解读策略的设定”考察了赛博空间中的批评方法与解读策略。赛博空间的文本海洋形成了一个感觉超载的超空间,专业批评家难以把握总体的文学现实,面临“再现”困境；与此同时,它又形成了一个前所未有的规训空间,草根批评者深陷商业文学的规训之中而无法洞察资本的宰制,他同样面临“再现”困境。面对这种认知困境,专业批评家采取寓言式批评与整体研究的方法；草根批评者则采取各种“盗猎”、“挪用”的解读策略,进行抵抗。寓言式批评让批评家成为“潜水采珠人”,在文本海洋中去寻找杰作,既否定赛博空间中商业化的文学现实,也试图让文学的本真性得到救赎。整体研究则契合了网络文学的模式化、同质化特征,让批评家能够对海量的网络文学加以总体把握。寓言式批评让批评家能够发现那些散布在各种文学论坛的业余爱好者基于兴趣的写作,整体研究则对网络商业写作更为有效。草根批评者基于业余者立场与无功利心态而阅读盗版,把网络商业文学读作励志式作品以及写大量仿作,这些行为都在一定程度上表现了他们对商业规训的抵抗,使用价值反对了交换价值,但最终,无功利的业余者转换为赚钱的专职写手,使用价值重新转化为交换价值,草根批评者的抵抗陷入了困境。第四章“批评话语的转型与公共领域的建构”比较了专家批评与草根批评的不同话语风格,并在此基础上探讨了建构公共领域的可能。专家批评与草根批评形成了各自的行话,前者的术语化、专业化是学术共同体内部循环的产物,后者的口语化、具象化则是松散人群“在场”交互的结果；前者让解读作品、指导读者的传统批评功能趋于衰微,后者则让这种批评功能得以强化。赛博空间带来的人群“在场”的言说氛围提供了建构文学公共领域的可能,但也存在语言暴力、群体压力与符号权力的阻碍,然而采取某些适当的措施,也会有“龙空论坛”与“小众菜园”这样成功的尝试。在此基础上,由“文学”而致“社会”,批评家可以重建批评的公共性,借助网络实现专业性与公共性的结合,并结成普遍的法团主义与知识分子国际,从而介入现实,恢复与重建文学批评的公共关怀。本文的结论是“文学批评的空间转向与‘业余性’的生成”。数字媒介提供的赛博空间给文学批评带来了重大变化,形成了专家批评与草根批评为主的新的批评场域。文学批评的主体、方法与话语都面临着调整与转型。就批评的主体来说,他面临着从未如此突出的“个体与人群”的关系问题,专业批评家需要“走进”人群,从立法者转变为阐释者；草根批评者则需要“走出”人群,由沉浸于狂欢的共同体转向培植自我意识与理性反思：就批评的方法而言,它需要应对文学批评前所未有的难以“再现”文学现实的困境,专业批评家可采取寓言式批评与整体研究的方法,草根批评者则采取“盗猎”、“挪用”等各种“权且利用”的解读策略；在话语上,文学批评由传统的共同体的内部循环走向了在场的交互,在此基础上,批评者可以恢复文学的公共领域,重建文学批评的公共性。文学批评所遭遇的这种新的历史语境及相应的调整、转型可称之为“空间转向”。“空间转向”呼唤着批评的“业余性”。赛博空间带来了大量体制外的批评的“业余爱好者”,也为体制内的批评家由“专家”走向“业余者”提供了可能。专业批评家与草根批评者都需要保持“业余者”情怀。更多还原

【Abstract】 Digital media is profoundly changing the patterns of literature’s production, dissemination, consumption and evaluation. This dissertation, mainly taking two types of literary criticism, namely the traditional "expert criticism" and the newborn "grassroots criticism", as the research object, tries to examine the transformation, brought about by cyberspace, of the field, subject, method and discourse of literary criticism.The dissertation is divided into four chapters. Chapter I generally discusses the structural changes of critical field brought by digital media, and analyzes the positions of and the relationship between expert criticism and grassroots criticism by comparing their different capital and habitus as well as expounding the struggle, collusion, interaction between them and their own predicaments. Chapters Ⅱ to Ⅳ, from the three aspects of subject, method and discourse, discusses various phenomenon, laws and corresponding transformation presented by expert criticism and grassroots criticism in cyberspace. The conclusion is that "there is a spatial turn and a generation of’amateurism’ in literary criticism".Chapter Ⅰ,"digital media and the new changes of critical field", generally discusses the structural changes of critical field brought by digital media. Digital media enables professional critics to enter cyberspace speak, and causes the proliferation of critical rights."Grassroots criticism", a new criticism type, has thus emerged, and the critical field has then formed a new situation in which expert criticism and grassroots criticism are confronting each other. Expert criticism is mainly associated with the traditional literature, while grassroots criticism is associated with the network business writing. Professional critics have cultural capital and social capital, mainly focusing on providing legitimacy for traditional literature, while grassroots groups have brought business writing the economic capital and "online popular capital". In addition, expert criticism and grassroots criticism have different critical habitus, which have been impacted or strengthened by digital media. The critics should enhance the reconsideration and the adjustment of their habitus. Expert criticism and grassroots criticism also fight against each other in order to compete for the legitimacy of literature definition. But behind the appearance of intense competition with expert criticism, the symbol violence in the grassroots groups always lets them subconsciously identify with professional critics’ definition of literary legitimacy. At the same time, the symbol violence has prompted them to become unconscious conspirators of the orthodoxy who tries to expel the avant-garde in the internal struggle of professional critics. Media criticism constantly steps in and pushes forward the struggle between expert criticism and grassroots criticism. For their common interests, expert criticism and grassroots criticism attempt to contact and interact with each other, so professional critics try to show their limited acceptance for network business writing, and traditional writers also try to contact network and grassroots group. However, this interaction has fallen into predicaments which are rooted in the dislocation of their positions.Chapter II,"individual and crowd:the psychoanalysis of critical subject", discusses the impact of cyberspace on the spirit symptoms and identity recognization of critical subject from the perspective of "the relationship between individual and crowd". First, this chapter examines professional critics’ spirit symptoms of their surviving in the network. Cyberspace brings the conversion of "gaze". In traditional criticism, professional critics exercise the power of "look", and ensure that the works are "visible". On the contrary, digital media has brought the "invisibility" of works, and at the same time make the critics, who have been gazed by the "crowd" in cyberspace,"visible", which results in the decline of the authority of professional critics. Digital media has changed professional critics’ distinction between "front region" and "back-stage" into "online" and "off-line". In order to sustain the identity as "experts", professional critics’ words and actions become a "performance", but the ideal egos constructed by them in the front region are just illusions. Facing the new historical context, critics need to adjust their posture to adapt to the digital culture, and transform themselves from legislators to interpreters. Second, this chapter discusses the "group" phenomenon of grassroots critics caused by cyberspace. Whether it is inward "seeking-after-the-works" or external offense, the grassroots critics exist in groups, and form a carnival community. This carnival is revolutionary to some degree, but eventually it falls into a dilemma and has to face some crisis. It is not a universal carnival, but turns out to be a personal attack; not a dialogue full of different opinions, but a homogeneous unity; and not an ideal interpersonal association, but a hierarchical system. The various ideal egos constructed by grassroots groups in this carnival are merely illusions, which eventually could not escape the gaze from the Other.Chapter Ⅲ,"cognitive difficulties and the response of critical methods and reading strategies", inspects critical methods and reading strategies in the cyberspace. The sea of works in cyberspace has formed a hyperspace beyond people’s perception, and it is difficult for professional critics to grasp the overall literary reality, leaving them in a predicament of "representation". At the same time, an unprecedented disciplinary space formed by the works in cyberspace pushes grassroots critics so deeply into a discipline trap of commercial literature that they cannot perceive the domination of capital, thus they are also facing the predicament of "representation". To solve this problem, professional critics take methods of allegorical criticism and integral study while grassroots critics take some reading strategies of poaching and misappropriation. Allegorical criticism turns professional critics into some people who dive and pick pearls, in other words, who try to find masterpieces in the vast literature fragments. In doing so, professional critics can not only deny the commercialization of literature in cyberspace, but also try to save the authenticity of literature. The integral study is consistent with the modular and homogeneous characteristics of network literature, through which professional critics can grasp the variety of network literature in general. If the allegorical criticism is often used to discover and collect the works, which are scattered and lost in various internet forums, written just for interest by lovers of literature, the integral study is then more effective for those literary works which were written to make money on reading websites. Grassroots critics show their resistance to commercial discipline through reading piracy. They take online literature as inspirational works, and based on their amateur position and just for amusement write a lot of imitation, causing the use value to oppose the exchange value. But in the end, the playing amateurs turn into experts to make money, making the use value re-transform into the exchange value, then the grassroots critics’ resistance ultimately sinks into difficulty.Chapter IV,"the transformation of critical discourse and the construction of public sphere", compares the different discourse styles of expert criticism and grassroots criticism, and on this basis explores the possibility to construct public sphere. Expert criticism and grassroots criticism have both formed their own jargon. The terminological and professional features of the former are the products of internal circulation in academic community, and have brought a decline in the traditional critical functions of understanding works and guiding readers. The colloquial and visual features of the latter however, are the results of unconfined present crowd’s interaction, and have strengthened the traditional function of criticism. The talkative atmosphere brought by people present provides a possibility to construct literary public sphere, but there are also some obstacles such as verbal abuse, peer pressure, and symbolic power. Nevertheless, if we take some appropriate measures, there will be successful attempts like "LongKong Forum" and "Minority Garden". On this basis, critics can reconstruct the public concern of criticism from "literature" to "society", and by making use of the internet, they can achieve a combination of professionalism and publicity, develop some universal corporatism and intellectual-internationalism, then through which they can intervene social reality, recover and reconstruct the public concern of literary criticism.The conclusion of this dissertation is that "there is a spatial turn and a generation of’amateurism’ in literary criticism". Cyberspace provided by digital media has brought some revolutionary changes to literary criticism, which has formed some new field in which expert criticism and grassroots criticism are confronting each other. The subject, method and discourse of literary criticism are all facing some adjustment and transformation. As for the subject, literary criticism is facing the problem of relationship between individual and crowd, a problem which has never been so prominent. Professional critics need to "enter" the crowd and change themselves from legislators to interpreters; grassroots critics need to go out of the crowd and change themselves from immersing themselves in the carnival community to cultivating their self-consciousness and rational thoughts. As to the method, literary criticism has to deal with the unprecedented dilemma of "representation". Professional critics need to take the methods of allegorical criticism and integral study, and grassroots critics need to take reading strategies of poaching and misappropriation just for temporary use. With regard to the discourse, literary criticism has transformed from internal circulation of community to interaction of presence. On this basis, the professional critics can restore the literary public sphere, and reconstruct the publicity of literary criticism. This new historical context of literary criticism and its corresponding adjustment and transformation can be called a "spatial turn", which calls for an "amateurism" of criticism. Cyberspace has brought a large number of amateur critics beyond the present system, it has also offered possibility for professional critics within the system to change themselves from experts to amateurs. Experts and grassroots should both keep their "amateur" feelings.更多还原