本文關(guān)鍵詞： 文學(xué)批評(píng) 1990年代 變化 困境 批評(píng)主體　出處：《華東師范大學(xué)》2016年博士論文　論文類型：學(xué)位論文

【摘要】：回到“90年代”,即意味著如何將過(guò)去的“90年代”重新“問(wèn)題化”這不僅僅是關(guān)系到我們對(duì)“90年代”的認(rèn)知,更關(guān)系到如何理解當(dāng)下正在進(jìn)行中的文學(xué)批評(píng)。概括而言,本論文回避使用知識(shí)考古學(xué)式的研究方式,而是試圖回到歷史現(xiàn)場(chǎng),主要處理兩個(gè)問(wèn)題：其一是1990年代文學(xué)批評(píng)與權(quán)力場(chǎng)、經(jīng)濟(jì)場(chǎng)之間的關(guān)系,其二是批評(píng)家主體的思維局限問(wèn)題,也就是從內(nèi)、外兩個(gè)方面重新描述1990年代文學(xué)批評(píng)的新變,特別是新變中隱含的危機(jī)和困境。這其中既有對(duì)批評(píng)學(xué)術(shù)化乃至體制化的反省與批評(píng),也有對(duì)市場(chǎng)中文學(xué)批評(píng)諸要素流變的分析等等,希望通過(guò)這樣的研究為我們當(dāng)下的文學(xué)批評(píng)建設(shè)提供有益的借鑒。第一章主要討論1990年代“學(xué)院派批評(píng)”的批評(píng)形態(tài)、特征、產(chǎn)生的語(yǔ)境以及之相伴隨的國(guó)家學(xué)術(shù)體制與批評(píng)自身的制度化問(wèn)題。文學(xué)批評(píng)的學(xué)院轉(zhuǎn)向是在兩個(gè)層面同時(shí)進(jìn)行的,一個(gè)是在實(shí)踐意義上批評(píng)的學(xué)術(shù)化,二是“學(xué)院派批評(píng)”這個(gè)概念本身的話語(yǔ)生產(chǎn),二者存在互動(dòng)關(guān)系,或者說(shuō)互為表征。學(xué)院批評(píng)家往往與制度、規(guī)范聯(lián)系在一起。國(guó)家以一種項(xiàng)目合作的方式將批評(píng)家納入到日益規(guī)范化的體制之中,這種看似平等的合作關(guān)系,背后可能隱藏著意識(shí)形態(tài)訴求；此外“學(xué)院派批評(píng)”對(duì)學(xué)術(shù)規(guī)范和封閉的話語(yǔ)追求也可能成為自制的牢籠。第二章主要討論困擾1990年代文學(xué)批評(píng)家的觀念癥結(jié)——即“邊緣”與“中心”,不僅涉及地理空間意義上的邊緣意識(shí)、遭遇“身份危機(jī)”的邊緣意識(shí),還包括自由寫作意義上的邊緣意識(shí)。這種糾纏于“邊緣”與“中心”的觀念,幾乎像一個(gè)魔咒般籠罩于這個(gè)時(shí)代。當(dāng)然,這組概念的最初提出,確實(shí)是出于批評(píng)家對(duì)自身在社會(huì)空間所處位置的描述。但這種認(rèn)知被廣泛的傳播,乃至在很多批評(píng)家那里成了一種不可動(dòng)搖的事實(shí)和真理,從而影響到個(gè)體的心態(tài),限制批評(píng)家們對(duì)自身處境和出路的想象。第三章主要討論1990年代批評(píng)家對(duì)“道德”和“精神”絕對(duì)化的想象。如果說(shuō)1980年代是知識(shí)分子解放的時(shí)期,那么1990年代才是真正的社會(huì)解放,大眾對(duì)物質(zhì)和情感的需求空前的高漲,然而在文人知識(shí)分子中卻興起一種將“道德”和“精神”絕對(duì)化的思潮。從“人文精神討論”到“沸沸揚(yáng)揚(yáng)的《廢都》批判”再到“二張”的“道德理想主義”,無(wú)不如此, “道德”重新成為社會(huì)批判的工具。本章主要在這種思潮進(jìn)行梳理的基礎(chǔ)上,對(duì)其局限性進(jìn)行批判性的反思。第四章主要探討1990年代的文學(xué)批評(píng)如何受制于實(shí)用的邏輯,成為文化生產(chǎn)的一部分�！笆袌�(chǎng)”使批評(píng)場(chǎng)域的所有事物——批評(píng)家、期刊、批評(píng)方式、讀者等都產(chǎn)生了變化,并使其作出一定的應(yīng)對(duì)和調(diào)整。批評(píng)家不再單單追求自我表達(dá),他們成了市場(chǎng)上提供批評(píng)產(chǎn)品的職業(yè)人,對(duì)他們而言,重要的是如何讓自己成為明星批評(píng)家；媒體已經(jīng)不再單純是發(fā)表見解的公共空間,它們渴望占有聲望與市場(chǎng)份額,于是組稿成了“策劃”；而文學(xué)批評(píng)方式越來(lái)越依靠概念、命名、對(duì)話等來(lái)證明其“力量”和“有效性”。
[Abstract]:Back in the "90s", which means to move past "90s" to "the problem" which is not only related to our knowledge of "90s", but also related to how to understand what is going on in the present literary criticism. In summary, this thesis avoided using archaeological research knowledge type, but try to to return to the historical scene, mainly deals with two problems: one is the 1990s literary criticism and the relationship between power field, economic field, the second is the limitations of thinking is the main problem of critics, from the inside, outside two aspects to describe the new 1990s literary criticism, especially the new change in the hidden trouble and crisis. This is not only the reflection and criticism of criticism and academic system, but also on the market Chinese criticism analysis of elements of rheology and so on, hope that through this study to our current literary criticism Provide a useful reference for construction. The first chapter mainly discusses the 1990s "academic criticism" criticism form, characteristic, the context and the accompanying national academic system and criticism system itself. The school of literature criticism is to simultaneously in two aspects, one is the criticism in the practice. The two is "academic, academic criticism of the concept of the discourse production, there is an interactive relationship between the two, or are characterized. The college critics often associated with system specification together. Countries in a project cooperation way into the critics increasingly standardized system, this seemingly equal cooperation relationships may be hidden behind ideology; in addition to" academic criticism "may also become a self-made prison to academic norms and closed discourse pursuit. The second chapter mainly discusses the trouble of 19 90騫翠唬鏂囧鎵硅瘎瀹剁殑瑙傚康鐥囩粨鈥斺，

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