数字时代文艺批评的三个圈——兼谈文艺批评家素养
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摘要
数字时代文艺批评家及其文艺批评呈现出与往昔不同的多样性和复杂性,形成学者职业批评圈、网众自发批评圈和名人自媒批评圈。这3个圈可以分别被视为现代中国的学者职业批评、社会动员批评和艺术大师批评在数字媒介条件下发生历史性移位的结果。其中当前日趋活跃而又具备特殊中介作用的名人自媒批评圈值得特别关注。当前需在承认3个文艺批评圈相互共在与共生前提下,自觉探索审美与文体敏锐度、中国艺术公心、博学和批评个性等文艺批评家素养的养成。
In the digital age,art critics and their artistic criticism present different diversity and complexity,forming the circle of scholars' professional criticism,the spontaneous criticism circle of the network and the criticism circle of celebrity self-media. These three circles can be regarded as the result of the historical shift of modern Chinese scholars' professional criticism,social mobilization criticism and art master criticism under the condition of digital media. In the current increasingly active situation,as a special intermediary role,the celebrity media criticism circle deserves special attention. At present,under the premise of admitting three kinds of art criticism circles,we should consciously explore aesthetic and stylistic acuity,the Chinese art public,erudite and critical personality,and cultivate the accomplishment of art critics.
In the digital age,art critics and their artistic criticism present different diversity and complexity,forming the circle of scholars' professional criticism,the spontaneous criticism circle of the network and the criticism circle of celebrity self-media. These three circles can be regarded as the result of the historical shift of modern Chinese scholars' professional criticism,social mobilization criticism and art master criticism under the condition of digital media. In the current increasingly active situation,as a special intermediary role,the celebrity media criticism circle deserves special attention. At present,under the premise of admitting three kinds of art criticism circles,we should consciously explore aesthetic and stylistic acuity,the Chinese art public,erudite and critical personality,and cultivate the accomplishment of art critics.
引文
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(1)参见新浪网2007年12月27日报道,http:∥ent.sina.com.cn/m/2007-12-27/ba1853222.shtml。
(1)参见王一川《论中国艺术公心——中国艺术精神问题新探》,《艺术百家》2016年第1期。
[2]唐宏峰.网络时代的影评:话语暴力、独立精神与公共空间[J].当代电影,2011(2).
[3]李宁.微信场域下的中国电影批评生态[J].文艺研究,2016(12).
[4]蒂博代.六说文学批评[M].赵坚,译.北京:生活·读书·新知三联书店,2002.
[5]罗伯特·艾伦.重组话语频道[M].修订版.北京:北京大学出版社,2007.
[6]别林斯基[M]∥别林斯基选集:第1卷.满涛,译.上海:上海译文出版社,1979.
[7]托·斯·艾略特.批评的功能[M].李赋宁,译.南昌:百花洲文艺出版社,1994.
[8]李健吾.咀华集·咀华二集[M].上海:复旦大学出版,2005.
[9]李健吾.李健吾文学评论选[M].银川:宁夏人民出版社,1983.
[10]黄汝成.日知录集释全校本:上册[M].上海:上海古籍出版社,2006.
[11]王夫之.读通鉴论[M].北京:中华书局,1975.
[12]李健吾.李健吾批评文集[M].珠海:珠海出版社,1998.
[13]李长之.李长之文集:第3卷[M].石家庄:河北教育出版社,2006.
[14]汉斯—格奥尔格·加达默尔.真理与方法:上卷[M].洪汉鼎,译.上海:上海译文出版社,2004.
[15]茨维坦·托多洛夫.批评的批评——教育小说[M].王东亮,王晨阳,译.北京:生活·读书·新知三联书店,2002.
[16]蒋原纶.从“有图有真理”到“后真相”时代[J].陕西师范大学学报:哲学社会科学版,2017(3).
(1)参见新浪网2007年12月27日报道,http:∥ent.sina.com.cn/m/2007-12-27/ba1853222.shtml。
(1)参见王一川《论中国艺术公心——中国艺术精神问题新探》,《艺术百家》2016年第1期。