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我们对于自己这一代人无力创造的传统、名著之类,不常常是先用它们来媚俗,然后再用它们来自媚的? ,使一个作品成为“名著”的,好像只能是一个社会的文学质量评价、鉴定机制,一种作品声望的统计、核算机构,一部书的销量、在媒体中被谈论的程度、获奖情况等实际就是我们判断它好不好的根据。“名著”就是一部持续地“好”的作品。在统计、评价、鉴定和判断的背后,是一个时代、一个社会的占统治地位的传统和意识形态,经济上具有优势地位的阶级的旨趣和偏好,文化特权阶层如知识分子的“终极关怀”等。由此可以得出一个惊人的结论:“名著”往往迎合了上述阶层的价值标准,往往是一部被收编、削去了其锋刃,而与社会达成和解,最终被体制化的作品。从作者这个有独创力
We are not often the first to use them to kitsur, for the traditions, classics, etc. that our own generation can not create, and then use them to enchantment, to make a work a “masterpiece,” as if it were only one society The literary quality assessment, appraisal mechanism, the statistics of a work reputation, the accounting agency, the sales volume of a book, the degree of being talked about in the media, the award winning fact are the basis for our judgment of whether it is good or bad. “Famous ” is a continuous “good ” works. Behind statistics, appraisals, appraisals and judgments, it is an era, the dominant tradition and ideology of a society, the interests and preferences of economically advantaged classes, the ultimate concern of culturally privileged classes such as intellectuals “Wait. From this we can draw an astonishing conclusion: ”classics " often cater to the above-mentioned values of the class, often a piece of work that has been compiled, cut off its vanguard, and reconciliation with society eventually institutionalized . From the author this is creative