从“残酷青春”到“微笑青春”——网络时代青春叙事的转变
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摘要
青春文学以青少年的成长历程为主题,谱写一代代青春之歌,在网络文化和网络语境中成长起来的"80后"作家的"残酷青春"叙事现今已不再符合读者的审美趣味。日益加剧的狂欢化、游戏化的网络消费文化,泛娱乐化的碎片阅读,在后现代语境文学逐步走向产业化的浪潮中,"微笑青春"小说以轻松幽默的笔调书写青春,为深陷现实和媒介焦虑中的读者大众解压,成为青春叙事的新转向。青春网络作家缺乏生活经验,大都只困于个体经验的"小我"创作之中,缺乏"大我"精神,其叙事或过于残酷,或过于美好,作品的真实性有待推敲。
Youth literature takes the growth course of teenagers as the theme,composing the songs of youth from generation to generation. The narrative of " cruel youth" of " post-80 s" writers,who grew up in the network culture and context,no longer meets readers' aesthetic taste. With the increasing carnival,games,network consumption culture,the fragments of the entertainment reading,literature are stepping into the waves of industrialization gradually. " Smile youth" novels present youth in a relaxed and humorous style,relieve the pressure of readers who are deeply immersed in reality and media anxiety and become a new turn of youth narrative. It is becoming the new turn of youth narrative. Young network writers lack of life experience,mostly trapped in the individual experience of " small self",lack of " big" spirit,its narrative is too cruel,or too beautiful. The authenticity of the works needed to be examined.
Youth literature takes the growth course of teenagers as the theme,composing the songs of youth from generation to generation. The narrative of " cruel youth" of " post-80 s" writers,who grew up in the network culture and context,no longer meets readers' aesthetic taste. With the increasing carnival,games,network consumption culture,the fragments of the entertainment reading,literature are stepping into the waves of industrialization gradually. " Smile youth" novels present youth in a relaxed and humorous style,relieve the pressure of readers who are deeply immersed in reality and media anxiety and become a new turn of youth narrative. It is becoming the new turn of youth narrative. Young network writers lack of life experience,mostly trapped in the individual experience of " small self",lack of " big" spirit,its narrative is too cruel,or too beautiful. The authenticity of the works needed to be examined.
引文
[1]刘桂菇.网络时代的青春呓语:“80后”写作作为一种文学现象[J].福建论坛(人文社会科学版),2011(4):132.
[2]徐岱,李娟.自我之舞:20世纪青春叙事的一种解读[J].浙江大学学报(人文社会科学版),2008(3):65.
[3]王丽.微博故事大王张嘉佳[J].职业,2014(19):44.
[4]陈云.从“顾漫三部曲”谈当前言情剧中“反派”角色的“去恶化”现象[J].当代电视,2017(8):32.
[5]王治河.扑朔迷离的游戏:后现代哲学思潮研究[M].北京:社会科学文献出版社,1998.
[6]玄铮,王玉香.回望与共鸣:“张嘉佳现象”的心理学解析[J].中国青少年研究,2015(9):17.
[7]管宁.传媒时代的文学书写[M].镇江:江苏大学出版社,2010.
[8]朱存明.图腾·图像·仿像:论视觉文化的历史范型[J].文学前沿,2002(1):1-22.
[9]陈晓明.文学如何反映当下现实[J].文艺研究,2012(12):26-34.
[2]徐岱,李娟.自我之舞:20世纪青春叙事的一种解读[J].浙江大学学报(人文社会科学版),2008(3):65.
[3]王丽.微博故事大王张嘉佳[J].职业,2014(19):44.
[4]陈云.从“顾漫三部曲”谈当前言情剧中“反派”角色的“去恶化”现象[J].当代电视,2017(8):32.
[5]王治河.扑朔迷离的游戏:后现代哲学思潮研究[M].北京:社会科学文献出版社,1998.
[6]玄铮,王玉香.回望与共鸣:“张嘉佳现象”的心理学解析[J].中国青少年研究,2015(9):17.
[7]管宁.传媒时代的文学书写[M].镇江:江苏大学出版社,2010.
[8]朱存明.图腾·图像·仿像:论视觉文化的历史范型[J].文学前沿,2002(1):1-22.
[9]陈晓明.文学如何反映当下现实[J].文艺研究,2012(12):26-34.