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大众文化批判是法兰克福学派的核心理论之一。法兰克福学派的批判理论在1990年代初进入中国,曾一度受到追捧但旋即遭到冷落。法兰克福学派对于大众文化/文化工业的批判,往往是出于历史的惨痛记忆而作出的过激反应和过度阐释,妨碍了对于大众文化/文化工业的公允评价。这就导致其理论存在明显的盲点和缺环,也使得对其进行“症候解读”成为必要。其实,法兰克福学派的大众文化批判至今仍不失为一种思想资料和历史借镜,但用以匡范现实问题则不足为训,当今中国的市场经济条件下大众文化和文化产业的发展方兴未艾、如火如荼,对其正能量,我们理应突破以往的思想局限和理论误区,给予充分的估量和积极的倡扬。中国文学理论话语的建构有自己的特定模式,必须立足于中国,立足于当代,立足于当下转型期的现实发展,而在学术上与之相匹配的,则是由思维水平、价值观念和中国特色构成的平台。
Criticism of popular culture is one of the core theories of the Frankfurt School. The Frankfurt School’s critical theory entered China in the early 1990s and was once sought after but soon left out. The Frankfurt School’s critique of popular culture / cultural industries is often overreaction and over-interpretation out of the bitter memory of history, hampering a fair assessment of the mass culture / culture industry. This leads to the obvious blind spots and lacking of its theory, which makes it necessary to interpret it. In fact, the criticism of the mass culture of the Frankfurt School remains an ideological data and a historical mirror to this day. However, it is not enough to use the real problems of the Frankfurt School. In today’s market economy, the development of mass culture and cultural industries is in full swing. Its positive energy, we should break through the limitations of the past and theoretical errors, give adequate estimates and positive advocacy. The construction of Chinese literary theory discourse has its own specific mode, which must be based on China, based on the contemporary era and based on the realistic development of the current transitional period. Matching it academically, it is composed of the thinking level, the values and the Chinese Features constitute a platform.