第二媒介时代的文学景观
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摘要
“80后”写作是新世纪之初中国最重要的文学现象。2000年以后,以青春文学为主体的“80后”写作在文学市场取得了辉煌的胜利,韩寒、郭敬明、张悦然等“80后”写手在大众传播媒介的聚焦下,成为万众瞩目的文学明星和财富新贵,“80后”写作由文学事件演化为媒介事件,被景观化。“80后”写作是我国第一波低龄写作潮,是第二媒介时代文化变革的产物。以计算机为基础的互联网颠覆了第一媒介时代的集权主义文化权力格局,为新生文学力量的出场提供了广阔的空间。
本论文共分三部分,由绪论、正文和结语构成。
“绪论”主要阐述了本研究的选题依据、研究路径以及主要解决的问题。
正文共五章,主要阐述了“80后”写作与第二媒介时代的关系,客观分析了第二媒介时代中国文学体制和文学自身的变化。
其中,第一章阐述了“80后”写作文学景观的内涵。第一节从麦克卢汉的技术决定论观点出发,揭示波斯特的“第二媒介时代”概念的具体内涵,指出第一媒介时代媒介的技术结构特征与集权主义意识形态相吻合,第二媒介时代媒介的技术结构具有强大的分散权力的潜力,与自由民主的意识形态相吻合。并具体分析中国传统媒介管理体制的特征及其与传统文化格局的关系,考察互联网技术结构特征对中国文化格局的冲击,指出互联网赋予每个人大众传播的能力,颠覆了中国传统文化权力格局。第二节将“80后”写作置于第二媒介时代的大背景下,指出“80后”写作是媒体文化景观现象,其所依托的精神资源是互联网所赋予的自由精神,主流文坛与“80后”的冲突是第一媒介时代集权主义意识形态与第二媒介时代自由民主意识形态冲突的结果。
第二章考察了“80后”写作现象的基本面貌。首先系统考察“80后”命名纷争,着重解析了“80后”特有的内涵,指出“80后”和“80后”写作现象是中国特有的文化现象,“80后”写作具有断裂性质。其次梳理了“80后”写作的历史及其相对应的三副面孔：以韩寒、春树为代表,以愤怒、反叛为精神底色的愤青阶段；以郭敬明、张悦然为代表,以忧伤为基调的忧伤的孩子阶段；以六道、玄雨为代表,以游戏为核心的游戏的写手阶段。
第三章分析了第二媒介时代文学生产问题。第一节认为“80后”写作体现了后现代文化的游戏本质,进而从文学与游戏的关系出发,指出游戏精神是文学创作最重要的精神背景。然后梳理了市场和互联网在“80后”建立“文学游戏场”过程中的作用,指出市场是游戏的文学最坚实的经济基础,自由的互联网则是其最重要的精神保障。第二节将文学生产和作家主体意识的核心——“成名想象”置于中国文学环境演变的大背景下,从历史发展角度考察了“80后”写作中“成名想象空间”的形成和发展过程。指出改革开放前,政治是“成名想象空间”的主导力量,改革开放后中国政治意识形态中文学地位和功能的边缘化导致了市场在文学权力场中的渗透,互联网将市场的力量发挥到极致,确立了第二媒介时代市场主导、全民参与的文学“成名想象空间”的形成。
第四章以“80后”写作为基础分析了第二媒介时代文学经典的命运。首先考察了电子媒介时代国内外关于文学经典问题的理论纷争,指出这场纷争是第一媒介时代向第二媒介时代过渡之际文学经典危机的反映,然后从技术主义观点出发,分析了作为经典艺术根基的理性自律主体、意识形态根基的精英主义文化权力与传播媒介的关系,以及媒介自身权威性特质的变化对经典化过程的影响,得出文学经典体系是第一媒介时代的产物,第二媒介时代是文学经典的黄昏的结论。
第五章全面考察了“80后”写作的主要读者“80后”社会化的过程,重点分析了影响“80后”阅读视域的主要社会因素。1980年代的“读书热”和“知识改变命运”的时代梦想到“80后”那里变成了千军万马挤高考独木桥的局面,在应试教育模式下,中小学教育发生畸变,审美的文学教育与“80后”无关。电视是影响“80后”社会化的重要因素,由于中国动漫事业的失败,日韩动漫成为“80后”重要的精神食粮,直接影响了“80后”写作和阅读；电视还造成“80后”时尚化的消费心理,导致“80后”阅读中的偶像崇拜现象。改革开放后中国阅读资源的极大丰富没有改变中国儿童文学创作不适应儿童阅读心理的局面,“80后”是读书盛宴下的一代文学饥民；“80后”写作以青少年写青少年为特征的“青春文学”改变了成年人为青少年创作的传统儿童文学和少年文学的格局,满足了“80后”自我认同的阅读需要,消费权力和互联网造就的“‘80后’新部落”是“80后”写作最重要的消费群体。
“结语”重申了本文的主旨,指出文学是自由的事业,文学是多样性的。“80后”写作是互联网推动的中国文化民主或文学自由的标志,这是它的意义之所在；“80后”写作本身具有多样性,不仅能够开创大众文学的新局面,也能承担高雅文学传承发展的历史重任。
The 80's literature is the most important literary phenomenon in China at the beginning of 21st century. After 2000, the 80's literature with the theme of youth has made great achievements in literary market. When such writers born in 1980s as Han Han, Guo Jingming, Zhang Yueran have become eye-catching literary stars or new millionaires, when the 80's literature has evolved from a literary event to a media event, there appeared a spectacle in our society. The 80's literature is the first writing trend of youngsters and the product of the cultural reform in the second media age. The Internet, which is based on computers, has overthrown the cultural power pattern in the first media age and made wide space for the appearance of a new literary force.
This dissertation consists of three parts, including the introduction, the body part and the conclusion.
In the introduction, the author points out the foundations of choosing the subject, research methods and the problems the author tries to solve.
The body part is made up of five chapters, which focus on the relationship between the second media age and the 80's literature, the objective analysis of Chinese literature's system as well as the it's change in this age.
The first chapter explains the meanings of the spectacle of 80's literature. Based on McLuhan's technological determinism, section one reveals the specific meanings of Poster's conception of The Second Media Age, and indicates that the media's technological feature in first media age is in agreement with the ideology of centralization, and that in the second media age it has a strong potential of decentralization in agreement with democratic ideology; also, it analyzes the features of Chinese traditional managing system of media and its relationship with traditional Chinese cultural situation, examines the impact of structural technology features on Chinese cultural situation, and then shows that the Internet entitled everyone to public media, which overthrew Chinese cultural situation. The second section of this chapter deals with the 80's literature in the background of second media age. It is pointed out that the 80's literature is a phenomenon of spectacle under the media culture, whose spiritual resources owe to the freedom given by Internet. Then the conflicts of mainstream literature with the 80's literature resulted from the collision of centralization in the first media age with the democratic ideology in the second media age.
Chapter two explores the general view of the 80's literature. Firstly, it systematically examines the debates on naming those who were born in 1980s. Mainly analyzing the specific meaning of the 80s, the author points out that the 1980s as well as their writing is a typical cultural phenomenon in China and the 80's literature lacks continuity. Secondly, it summarizes the history of the 80's writing and their corresponding "three faces":angry and rebellious faces in the first stage, where Han Han and Chun Shu stand for the background spirit; sad faces in the second stage, where Guo Jingming and Zhang Yueran set the basic tone; game faces in the third stage, where the writers center on games, and the typical writers are Liu Dao and Xuan Yu.
The third chapter analyses the literature production in the second media age. In the first section, the 80's literature is believed to reflect the game's essence of the post-modern culture, and then the game spirit is admitted as the most important spiritual background for creation from the point of the relationship between literature and game. Also, the author points out that game literature is based on market economically and internet spiritually by summarizing the roles the market and Internet play in the establishment of "Literature and Game Field". The second section historically explores the formation and development of the "Imaginative Space for Fame" of 80's literature in Chinese literature background, which is the centre of literature production and writer's subject consciousness.
The author thinks that politics act as the leading force of the "Imaginative Space for Fame" before Reform and Open-up Policy. Later, the status and function of literature has marginalized in Chinese Political Ideologies, which made the market find its way in the "Literature's Right Field" and consequently its power was exerted perfectly by Internet. This situation helped the establishment of the "Imaginative Space for Fame" in second media age, in which the market plays the leading role and everybody can participate.
Chapter four analyzes the fate of literature classics on the basis of the 80's literature. Firstly, it examines the theoretical discussions on literature classics in the electronic media's age and points out that the discussions show the crisis of literature classics in the transitional period of the first media age and the second media age. Then, from the technological view, the author analyzes the relationship between the subjects of rational discipline as the basis of classical arts, elitism cultural rights as the basis of ideologies and communicating media as well as the influences the change of media's prominent features had on the process of being classical, reaching a conclusion that the system of literature classics is the product of the first media age, while literature classics will come to an end in the second media age.
The fifth chapter systematically examines the major readers and the process of socialization of the 80's literature, mainly focusing on its Reading Horizons as well as its major social factors. "Reading Craze" in 1980 and the dream "Knowledge Changes Fate" becoming the situation in which numerous students crowded onto the lone-plank bridge of College Entrance Examination, aesthetic education about literature seemed to have nothing to with 1980s under the exam-oriented system. TV resulted in the socialization of 1980s due to the fact that the motion pictures and cartoons made in Japan and Korea became the main spiritual food for 1980s after China's failure in this field, which had a direct effect on their writing and reading. Also, TV led to modern consumer psychology and the phenomenon of Idol Worship in their reading. After Reform and Open-up Policy, the rich reading resources didn't improve the situation in which the creation of children literature couldn't adjust to children's reading psychology. As a result,1980s fell down to the "hungry tramp" in the "reading banquet". Fortunately, one aspect of the 80's literature, the youth literature created by young writers has changed the situation in which adults created traditional works for children and youngsters, accordingly it met the reading need of self-identity. Therefore, the majority of 80's literature's consumers undoubtedly fell on the new "tribe" of 1980s, who were created by the consumption rights and Internet.
The conclusion part makes the restatement that literature, as the career of freedom, represents the diversity. The 80's literature driven by Internet is the symbol of Chinese cultural democracy or the freedom in literature field, which its significance lies in. The diversity of the 80's literature not only can start a new situation in mass literature, but also can bear the responsibility for the inheritance and development of elegant literature.
本论文共分三部分,由绪论、正文和结语构成。
“绪论”主要阐述了本研究的选题依据、研究路径以及主要解决的问题。
正文共五章,主要阐述了“80后”写作与第二媒介时代的关系,客观分析了第二媒介时代中国文学体制和文学自身的变化。
其中,第一章阐述了“80后”写作文学景观的内涵。第一节从麦克卢汉的技术决定论观点出发,揭示波斯特的“第二媒介时代”概念的具体内涵,指出第一媒介时代媒介的技术结构特征与集权主义意识形态相吻合,第二媒介时代媒介的技术结构具有强大的分散权力的潜力,与自由民主的意识形态相吻合。并具体分析中国传统媒介管理体制的特征及其与传统文化格局的关系,考察互联网技术结构特征对中国文化格局的冲击,指出互联网赋予每个人大众传播的能力,颠覆了中国传统文化权力格局。第二节将“80后”写作置于第二媒介时代的大背景下,指出“80后”写作是媒体文化景观现象,其所依托的精神资源是互联网所赋予的自由精神,主流文坛与“80后”的冲突是第一媒介时代集权主义意识形态与第二媒介时代自由民主意识形态冲突的结果。
第二章考察了“80后”写作现象的基本面貌。首先系统考察“80后”命名纷争,着重解析了“80后”特有的内涵,指出“80后”和“80后”写作现象是中国特有的文化现象,“80后”写作具有断裂性质。其次梳理了“80后”写作的历史及其相对应的三副面孔：以韩寒、春树为代表,以愤怒、反叛为精神底色的愤青阶段；以郭敬明、张悦然为代表,以忧伤为基调的忧伤的孩子阶段；以六道、玄雨为代表,以游戏为核心的游戏的写手阶段。
第三章分析了第二媒介时代文学生产问题。第一节认为“80后”写作体现了后现代文化的游戏本质,进而从文学与游戏的关系出发,指出游戏精神是文学创作最重要的精神背景。然后梳理了市场和互联网在“80后”建立“文学游戏场”过程中的作用,指出市场是游戏的文学最坚实的经济基础,自由的互联网则是其最重要的精神保障。第二节将文学生产和作家主体意识的核心——“成名想象”置于中国文学环境演变的大背景下,从历史发展角度考察了“80后”写作中“成名想象空间”的形成和发展过程。指出改革开放前,政治是“成名想象空间”的主导力量,改革开放后中国政治意识形态中文学地位和功能的边缘化导致了市场在文学权力场中的渗透,互联网将市场的力量发挥到极致,确立了第二媒介时代市场主导、全民参与的文学“成名想象空间”的形成。
第四章以“80后”写作为基础分析了第二媒介时代文学经典的命运。首先考察了电子媒介时代国内外关于文学经典问题的理论纷争,指出这场纷争是第一媒介时代向第二媒介时代过渡之际文学经典危机的反映,然后从技术主义观点出发,分析了作为经典艺术根基的理性自律主体、意识形态根基的精英主义文化权力与传播媒介的关系,以及媒介自身权威性特质的变化对经典化过程的影响,得出文学经典体系是第一媒介时代的产物,第二媒介时代是文学经典的黄昏的结论。
第五章全面考察了“80后”写作的主要读者“80后”社会化的过程,重点分析了影响“80后”阅读视域的主要社会因素。1980年代的“读书热”和“知识改变命运”的时代梦想到“80后”那里变成了千军万马挤高考独木桥的局面,在应试教育模式下,中小学教育发生畸变,审美的文学教育与“80后”无关。电视是影响“80后”社会化的重要因素,由于中国动漫事业的失败,日韩动漫成为“80后”重要的精神食粮,直接影响了“80后”写作和阅读；电视还造成“80后”时尚化的消费心理,导致“80后”阅读中的偶像崇拜现象。改革开放后中国阅读资源的极大丰富没有改变中国儿童文学创作不适应儿童阅读心理的局面,“80后”是读书盛宴下的一代文学饥民；“80后”写作以青少年写青少年为特征的“青春文学”改变了成年人为青少年创作的传统儿童文学和少年文学的格局,满足了“80后”自我认同的阅读需要,消费权力和互联网造就的“‘80后’新部落”是“80后”写作最重要的消费群体。
“结语”重申了本文的主旨,指出文学是自由的事业,文学是多样性的。“80后”写作是互联网推动的中国文化民主或文学自由的标志,这是它的意义之所在；“80后”写作本身具有多样性,不仅能够开创大众文学的新局面,也能承担高雅文学传承发展的历史重任。
The 80's literature is the most important literary phenomenon in China at the beginning of 21st century. After 2000, the 80's literature with the theme of youth has made great achievements in literary market. When such writers born in 1980s as Han Han, Guo Jingming, Zhang Yueran have become eye-catching literary stars or new millionaires, when the 80's literature has evolved from a literary event to a media event, there appeared a spectacle in our society. The 80's literature is the first writing trend of youngsters and the product of the cultural reform in the second media age. The Internet, which is based on computers, has overthrown the cultural power pattern in the first media age and made wide space for the appearance of a new literary force.
This dissertation consists of three parts, including the introduction, the body part and the conclusion.
In the introduction, the author points out the foundations of choosing the subject, research methods and the problems the author tries to solve.
The body part is made up of five chapters, which focus on the relationship between the second media age and the 80's literature, the objective analysis of Chinese literature's system as well as the it's change in this age.
The first chapter explains the meanings of the spectacle of 80's literature. Based on McLuhan's technological determinism, section one reveals the specific meanings of Poster's conception of The Second Media Age, and indicates that the media's technological feature in first media age is in agreement with the ideology of centralization, and that in the second media age it has a strong potential of decentralization in agreement with democratic ideology; also, it analyzes the features of Chinese traditional managing system of media and its relationship with traditional Chinese cultural situation, examines the impact of structural technology features on Chinese cultural situation, and then shows that the Internet entitled everyone to public media, which overthrew Chinese cultural situation. The second section of this chapter deals with the 80's literature in the background of second media age. It is pointed out that the 80's literature is a phenomenon of spectacle under the media culture, whose spiritual resources owe to the freedom given by Internet. Then the conflicts of mainstream literature with the 80's literature resulted from the collision of centralization in the first media age with the democratic ideology in the second media age.
Chapter two explores the general view of the 80's literature. Firstly, it systematically examines the debates on naming those who were born in 1980s. Mainly analyzing the specific meaning of the 80s, the author points out that the 1980s as well as their writing is a typical cultural phenomenon in China and the 80's literature lacks continuity. Secondly, it summarizes the history of the 80's writing and their corresponding "three faces":angry and rebellious faces in the first stage, where Han Han and Chun Shu stand for the background spirit; sad faces in the second stage, where Guo Jingming and Zhang Yueran set the basic tone; game faces in the third stage, where the writers center on games, and the typical writers are Liu Dao and Xuan Yu.
The third chapter analyses the literature production in the second media age. In the first section, the 80's literature is believed to reflect the game's essence of the post-modern culture, and then the game spirit is admitted as the most important spiritual background for creation from the point of the relationship between literature and game. Also, the author points out that game literature is based on market economically and internet spiritually by summarizing the roles the market and Internet play in the establishment of "Literature and Game Field". The second section historically explores the formation and development of the "Imaginative Space for Fame" of 80's literature in Chinese literature background, which is the centre of literature production and writer's subject consciousness.
The author thinks that politics act as the leading force of the "Imaginative Space for Fame" before Reform and Open-up Policy. Later, the status and function of literature has marginalized in Chinese Political Ideologies, which made the market find its way in the "Literature's Right Field" and consequently its power was exerted perfectly by Internet. This situation helped the establishment of the "Imaginative Space for Fame" in second media age, in which the market plays the leading role and everybody can participate.
Chapter four analyzes the fate of literature classics on the basis of the 80's literature. Firstly, it examines the theoretical discussions on literature classics in the electronic media's age and points out that the discussions show the crisis of literature classics in the transitional period of the first media age and the second media age. Then, from the technological view, the author analyzes the relationship between the subjects of rational discipline as the basis of classical arts, elitism cultural rights as the basis of ideologies and communicating media as well as the influences the change of media's prominent features had on the process of being classical, reaching a conclusion that the system of literature classics is the product of the first media age, while literature classics will come to an end in the second media age.
The fifth chapter systematically examines the major readers and the process of socialization of the 80's literature, mainly focusing on its Reading Horizons as well as its major social factors. "Reading Craze" in 1980 and the dream "Knowledge Changes Fate" becoming the situation in which numerous students crowded onto the lone-plank bridge of College Entrance Examination, aesthetic education about literature seemed to have nothing to with 1980s under the exam-oriented system. TV resulted in the socialization of 1980s due to the fact that the motion pictures and cartoons made in Japan and Korea became the main spiritual food for 1980s after China's failure in this field, which had a direct effect on their writing and reading. Also, TV led to modern consumer psychology and the phenomenon of Idol Worship in their reading. After Reform and Open-up Policy, the rich reading resources didn't improve the situation in which the creation of children literature couldn't adjust to children's reading psychology. As a result,1980s fell down to the "hungry tramp" in the "reading banquet". Fortunately, one aspect of the 80's literature, the youth literature created by young writers has changed the situation in which adults created traditional works for children and youngsters, accordingly it met the reading need of self-identity. Therefore, the majority of 80's literature's consumers undoubtedly fell on the new "tribe" of 1980s, who were created by the consumption rights and Internet.
The conclusion part makes the restatement that literature, as the career of freedom, represents the diversity. The 80's literature driven by Internet is the symbol of Chinese cultural democracy or the freedom in literature field, which its significance lies in. The diversity of the 80's literature not only can start a new situation in mass literature, but also can bear the responsibility for the inheritance and development of elegant literature.
引文
(1)【美】曼纽尔·卡斯特：《千年终结》,夏铸九、黄慧琦等译,社会科学文献出版社,2003年版。
(2)【美】曼纽尔·卡斯特：《网络社会的崛起》,夏铸九、王志弘等译,社会科学文献出版社,2003年版。
(3)【美】沃尔特·李普曼：《公共舆论》,阎克文、江红译,上海人民出版社,2002年版。
(4)【美】保罗·莱文森：《数字麦克卢汉——信息化新世纪指南》,何道宽译,社会科学文献出版社,2001年版。
(5)【美】保罗·利文森：《软边缘：信息革命的历史与未来》,熊澄宇等译,清华大学出版社,2002年版。
(6)【加】马歇尔·麦克卢汉：《理解媒介——论人的延伸》,何道宽译,商务印书馆,2000年版。
(7)【加】埃里克·麦克卢汉、[加]弗兰克·秦格龙：《麦克卢汉精粹》,何道宽译,南京大学出版社。
(8)【美】马克·波斯特：《第二媒介时代》,范静晔译,南京大学出版社,2001年版。
(9)【美】马克·波斯特：《信息方式——后结构主义与社会语境》,范静晔译,商务印书馆,2000年版。
(10)【美】尼尔·波兹曼：《娱乐至死》,章艳,吴燕莛译,广西师范大学出版社,2009年版。
(11)【美】约瑟夫·R·多米尼克：《大众传播动力学：数字时代的媒体》(第7版),蔡骐译,中国人民大学出版社,2004年版。
(12)【美】尼葛洛庞帝：《数字化生存》,胡泳、范海燕译,海南出版社,1997年版。
(13)【美】沃纳·塞佛林,小詹姆斯·坦卡特：《传播理论——起源、方法与应用》,郭镇之等译,华夏出版社,2000年版。
(14)【英】奥利费·博伊德-巴雷特等编：《媒介研究的进路：经典文献读本》,汪凯、刘晓红译,新华出版社,2004年版。
(15)【法】居伊·德波：《景观社会》,王昭凤译,南京大学出版社,2006年版。
(16)【美】道格拉斯·凯尔纳：《媒体奇观——当代美国社会文化透视》,史安斌译,清华大学出版社,2003年版。
(17)【美】道格拉斯·凯尔纳、【美】斯蒂文·贝斯特：《后现代理论：批判性的质疑》,张志斌译,中央编译出版社,2004年版。
(18)【美】斯蒂文·贝斯特、[美]道格拉斯·凯尔纳：《后现代转向》,南京大学出版社,2002年版。
(19)【美】哈罗德·布鲁姆：《影响的焦虑》,徐文博译,三联书店,1989年版。
(20)【美】哈罗德·布鲁姆：《西方正典》,江宁康译,译林出版社,2005年版。
(21)张春兴：《现代心理学——现代人研究自身问题的科学》,上海人民出版社,1994年版。
(22)丁帆、许志英：《中国新时期小说主潮》,人民文学出版社,2002年版。
(23)【美】戴维斯·泰格沃德：《六十年代与现代美国的终结》,周朗、新港译,商务印书馆,2002年版。
(24)田涯文化工作室：《80后心灵史》,长江文艺出版社,2006年版。
(25)诸子：《穿越郭敬明：独一代的想象森林》,上海人民出版社,2004年版。
(26)晏杰雄：《新世纪长篇小说文体研究》,兰州大学博士论文,2009年。
(27)詹明信：《晚期资本主义的文化逻辑》,张旭东编,陈清侨等译,生活·读书·新知三联书店,1997年版。
(28)周宪：《审美现代性批判》,商务印书馆,2005年版。
(29)【英】阿兰·斯威武德：《大众文化的神话》,生活·读书·新知三联书店,2003年版。
(30)【美】戴维·洛奇：《二十世纪文学评论》,上海译文出版社,1993年版。
(31)康德：《判断力批判》,宗白华译,商务印书馆,1964年版。
(32)武蠡甫主编：《西方文论选》,上海译文出版社,1979年版。
(33)【荷兰】约翰·赫伊津哈：《游戏的人》,多人译,中国美术学院出版社,1996年版。
(34)邵燕君：《倾斜的文学场》,江苏人民出版社,2003年版。
(35)【美】泰勒·考恩：《商业文化礼赞》,严忠志译,商务印书馆,2005年版。
(36)朱立元：《当代西方文艺理论》,华东师范大学出版社,1997年版。
(37)小饭：《成名——韩寒郭敬明等人成名的心路历程》,民族出版社,2004年版。
(38)梦游：《80后作家成名之路》,现代出版社,2006年版。
(39)韩寒、何员外等：《那么红：青春作家的自白》,中国文苑出版社,2005年版。
(40)【法】布尔迪厄：《文化资本与社会炼金术(布尔迪厄访谈录)》,包亚明编译,1997年版。
(41)【法】皮埃尔·布迪厄著,《艺术的法则—文学场的生成和结构》,刘晖译,中央编译出版社,2001年版。
(42)汪民安：《福柯的界线》,中国社会科学出版社,2002年版。
(43)洪子诚：《问题与方法——中国当代文学史研究讲稿》,生活·读书·新知三联书店,2002年版。
(44)马尔库塞等：《现代美学析疑》,文化艺术出版社,1987年版。
(45)【英】迈克·费瑟斯通：《消费文化与后现代主义》,刘精明译,译林出版社,2000年版。
(46)【英】迈克·费瑟斯通：《消解文化——全球化、后现代主义与认同》,杨渝东译,北京大学出版社,2009年版。
(47)[法]让·波德里亚：《消费社会》,刘成富、全志钢译,南京大学出版社,2001年版。
(48)张英进、于沛：《现当代西方文艺社会学探索》,海峡文艺出版社,1987年版。
(49)陶东风：《文化研究精粹读本》,中国人民大学出版社,2006年版。
(50)[美]理查德·凯勒·西蒙：《垃圾文化——通俗文化与伟大传统》,关山译,社会科学文献出版社,2001年版。
(51)【美】理伯卡.E.卡拉奇：《分裂的一代》,覃文珍、蒋凯、胡元梓译,社会科学文献出版社,2001年版。
(52)吴琼：《视觉文化的奇观：视觉文化总论》,中国人民大学出版社,2005年版。
(53)于广华：《中央电视台大事记》,人民出版社,1993年版。
(54)郭镇之：《中国电视史》,文化艺术出版社,1997年版。
(55)郭镇之：《中国电视史》,中国人民大学出版社,1991年版。
(56)【英】尼古拉斯·阿伯克龙比：《电视与社会》,张永喜等译,南京大学出版社,2002年版。
(57)【美】劳拉·E·贝克：《婴儿、儿童和青少年》,桑标等译,上海人民出版社,2009年版。
(58)黄云生：《少年儿童文学》,高等教育出版社,2004年版。
(59)张锦贻：《民族儿童文学新论》,内蒙古教育出版社,2000年版。
(60)赵祥麟、王承绪编译：《杜威教育论著选》,华东师范大学出版社,1981年版。
(61)郭庆光：《传播学教程》,中国人民大学出版社,1999年版。
(62)【英】丹尼·卡瓦拉罗：《文化理论关键词》,张卫东等译,江苏人民出版社,2007年版。
(63)【美】约翰·费斯克等：《关键概念：传播与文化研究辞典》,李彬译注,新华出版社,2004年版。
(64)黄浩、马政：《十少年作家批判书》,中国戏剧出版社,2005年版。
(65)张维特：(30年中国人的阅读心灵史》,新浪读书频道：http://vip. book. sina. com. cn/book/catalog. php?book=105225。
(1)马原：《重金属：80后实力派五虎将精品集》,东方出版中心,2004年版。
(2)何睿、刘一寒：《我们,我们——80后的盛宴》(序),中国文联出版社,2004年版。
(3)韩寒、张悦然：《一起沉默：2000-2005<萌芽>小说精选》,人民文学出版社,2006年版。
(4)春树：《北京娃娃》,远方出版社,2002年。
(5)韩寒：《三重门》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-5869.html。
(6)韩寒：《长安乱》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-5963.html。
(7)韩寒；《一座城池》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-5863.html。
(8)韩寒：《通稿2003》,百度文库：http://wenku.baidu.com/view/a598844d2b160b4e767fcfc2.html。
(9)郭敬明：《幻城》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1048.html。
(10)郭敬明：《梦里花落知多少》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1042.html。
(11)郭敬明：《悲伤逆流成何》,天涯在线书库：http://www.tianyabook.com/wangluo2005/beishangniliuchenghe/。
(12)张悦然：《樱桃之远》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1068.html。
(13)张悦然：《葵花走失在1890),作家出版社,2003年。
(14)张悦然：《十爱》,作家出版社,2004年。
(15)李傻傻：《红×》,花城出版社,2004年。
(16)蒋峰：《维以不永伤》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1085.htm。
(17)胡坚：《愤青时代》,长江文艺出版社,2002年版。
(18)蒋方舟：《青春前期》,人民文学出版社,2002年版。
(19)玄雨：《小兵传奇》,小小说网：http://www.xiaoxiaoshuo.net/xiaoshuo/xiaobingchuanqi/。
(20)六道：《坏蛋是怎样炼成的》,大夏中文网：http://www.daxiabook.com/book/872/。
(2)【美】曼纽尔·卡斯特：《网络社会的崛起》,夏铸九、王志弘等译,社会科学文献出版社,2003年版。
(3)【美】沃尔特·李普曼：《公共舆论》,阎克文、江红译,上海人民出版社,2002年版。
(4)【美】保罗·莱文森：《数字麦克卢汉——信息化新世纪指南》,何道宽译,社会科学文献出版社,2001年版。
(5)【美】保罗·利文森：《软边缘：信息革命的历史与未来》,熊澄宇等译,清华大学出版社,2002年版。
(6)【加】马歇尔·麦克卢汉：《理解媒介——论人的延伸》,何道宽译,商务印书馆,2000年版。
(7)【加】埃里克·麦克卢汉、[加]弗兰克·秦格龙：《麦克卢汉精粹》,何道宽译,南京大学出版社。
(8)【美】马克·波斯特：《第二媒介时代》,范静晔译,南京大学出版社,2001年版。
(9)【美】马克·波斯特：《信息方式——后结构主义与社会语境》,范静晔译,商务印书馆,2000年版。
(10)【美】尼尔·波兹曼：《娱乐至死》,章艳,吴燕莛译,广西师范大学出版社,2009年版。
(11)【美】约瑟夫·R·多米尼克：《大众传播动力学：数字时代的媒体》(第7版),蔡骐译,中国人民大学出版社,2004年版。
(12)【美】尼葛洛庞帝：《数字化生存》,胡泳、范海燕译,海南出版社,1997年版。
(13)【美】沃纳·塞佛林,小詹姆斯·坦卡特：《传播理论——起源、方法与应用》,郭镇之等译,华夏出版社,2000年版。
(14)【英】奥利费·博伊德-巴雷特等编：《媒介研究的进路：经典文献读本》,汪凯、刘晓红译,新华出版社,2004年版。
(15)【法】居伊·德波：《景观社会》,王昭凤译,南京大学出版社,2006年版。
(16)【美】道格拉斯·凯尔纳：《媒体奇观——当代美国社会文化透视》,史安斌译,清华大学出版社,2003年版。
(17)【美】道格拉斯·凯尔纳、【美】斯蒂文·贝斯特：《后现代理论：批判性的质疑》,张志斌译,中央编译出版社,2004年版。
(18)【美】斯蒂文·贝斯特、[美]道格拉斯·凯尔纳：《后现代转向》,南京大学出版社,2002年版。
(19)【美】哈罗德·布鲁姆：《影响的焦虑》,徐文博译,三联书店,1989年版。
(20)【美】哈罗德·布鲁姆：《西方正典》,江宁康译,译林出版社,2005年版。
(21)张春兴：《现代心理学——现代人研究自身问题的科学》,上海人民出版社,1994年版。
(22)丁帆、许志英：《中国新时期小说主潮》,人民文学出版社,2002年版。
(23)【美】戴维斯·泰格沃德：《六十年代与现代美国的终结》,周朗、新港译,商务印书馆,2002年版。
(24)田涯文化工作室：《80后心灵史》,长江文艺出版社,2006年版。
(25)诸子：《穿越郭敬明：独一代的想象森林》,上海人民出版社,2004年版。
(26)晏杰雄：《新世纪长篇小说文体研究》,兰州大学博士论文,2009年。
(27)詹明信：《晚期资本主义的文化逻辑》,张旭东编,陈清侨等译,生活·读书·新知三联书店,1997年版。
(28)周宪：《审美现代性批判》,商务印书馆,2005年版。
(29)【英】阿兰·斯威武德：《大众文化的神话》,生活·读书·新知三联书店,2003年版。
(30)【美】戴维·洛奇：《二十世纪文学评论》,上海译文出版社,1993年版。
(31)康德：《判断力批判》,宗白华译,商务印书馆,1964年版。
(32)武蠡甫主编：《西方文论选》,上海译文出版社,1979年版。
(33)【荷兰】约翰·赫伊津哈：《游戏的人》,多人译,中国美术学院出版社,1996年版。
(34)邵燕君：《倾斜的文学场》,江苏人民出版社,2003年版。
(35)【美】泰勒·考恩：《商业文化礼赞》,严忠志译,商务印书馆,2005年版。
(36)朱立元：《当代西方文艺理论》,华东师范大学出版社,1997年版。
(37)小饭：《成名——韩寒郭敬明等人成名的心路历程》,民族出版社,2004年版。
(38)梦游：《80后作家成名之路》,现代出版社,2006年版。
(39)韩寒、何员外等：《那么红：青春作家的自白》,中国文苑出版社,2005年版。
(40)【法】布尔迪厄：《文化资本与社会炼金术(布尔迪厄访谈录)》,包亚明编译,1997年版。
(41)【法】皮埃尔·布迪厄著,《艺术的法则—文学场的生成和结构》,刘晖译,中央编译出版社,2001年版。
(42)汪民安：《福柯的界线》,中国社会科学出版社,2002年版。
(43)洪子诚：《问题与方法——中国当代文学史研究讲稿》,生活·读书·新知三联书店,2002年版。
(44)马尔库塞等：《现代美学析疑》,文化艺术出版社,1987年版。
(45)【英】迈克·费瑟斯通：《消费文化与后现代主义》,刘精明译,译林出版社,2000年版。
(46)【英】迈克·费瑟斯通：《消解文化——全球化、后现代主义与认同》,杨渝东译,北京大学出版社,2009年版。
(47)[法]让·波德里亚：《消费社会》,刘成富、全志钢译,南京大学出版社,2001年版。
(48)张英进、于沛：《现当代西方文艺社会学探索》,海峡文艺出版社,1987年版。
(49)陶东风：《文化研究精粹读本》,中国人民大学出版社,2006年版。
(50)[美]理查德·凯勒·西蒙：《垃圾文化——通俗文化与伟大传统》,关山译,社会科学文献出版社,2001年版。
(51)【美】理伯卡.E.卡拉奇：《分裂的一代》,覃文珍、蒋凯、胡元梓译,社会科学文献出版社,2001年版。
(52)吴琼：《视觉文化的奇观：视觉文化总论》,中国人民大学出版社,2005年版。
(53)于广华：《中央电视台大事记》,人民出版社,1993年版。
(54)郭镇之：《中国电视史》,文化艺术出版社,1997年版。
(55)郭镇之：《中国电视史》,中国人民大学出版社,1991年版。
(56)【英】尼古拉斯·阿伯克龙比：《电视与社会》,张永喜等译,南京大学出版社,2002年版。
(57)【美】劳拉·E·贝克：《婴儿、儿童和青少年》,桑标等译,上海人民出版社,2009年版。
(58)黄云生：《少年儿童文学》,高等教育出版社,2004年版。
(59)张锦贻：《民族儿童文学新论》,内蒙古教育出版社,2000年版。
(60)赵祥麟、王承绪编译：《杜威教育论著选》,华东师范大学出版社,1981年版。
(61)郭庆光：《传播学教程》,中国人民大学出版社,1999年版。
(62)【英】丹尼·卡瓦拉罗：《文化理论关键词》,张卫东等译,江苏人民出版社,2007年版。
(63)【美】约翰·费斯克等：《关键概念：传播与文化研究辞典》,李彬译注,新华出版社,2004年版。
(64)黄浩、马政：《十少年作家批判书》,中国戏剧出版社,2005年版。
(65)张维特：(30年中国人的阅读心灵史》,新浪读书频道：http://vip. book. sina. com. cn/book/catalog. php?book=105225。
(1)马原：《重金属：80后实力派五虎将精品集》,东方出版中心,2004年版。
(2)何睿、刘一寒：《我们,我们——80后的盛宴》(序),中国文联出版社,2004年版。
(3)韩寒、张悦然：《一起沉默：2000-2005<萌芽>小说精选》,人民文学出版社,2006年版。
(4)春树：《北京娃娃》,远方出版社,2002年。
(5)韩寒：《三重门》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-5869.html。
(6)韩寒：《长安乱》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-5963.html。
(7)韩寒；《一座城池》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-5863.html。
(8)韩寒：《通稿2003》,百度文库：http://wenku.baidu.com/view/a598844d2b160b4e767fcfc2.html。
(9)郭敬明：《幻城》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1048.html。
(10)郭敬明：《梦里花落知多少》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1042.html。
(11)郭敬明：《悲伤逆流成何》,天涯在线书库：http://www.tianyabook.com/wangluo2005/beishangniliuchenghe/。
(12)张悦然：《樱桃之远》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1068.html。
(13)张悦然：《葵花走失在1890),作家出版社,2003年。
(14)张悦然：《十爱》,作家出版社,2004年。
(15)李傻傻：《红×》,花城出版社,2004年。
(16)蒋峰：《维以不永伤》,搜狐读书频道：http://lz.book.sohu.com/serialize-id-1085.htm。
(17)胡坚：《愤青时代》,长江文艺出版社,2002年版。
(18)蒋方舟：《青春前期》,人民文学出版社,2002年版。
(19)玄雨：《小兵传奇》,小小说网：http://www.xiaoxiaoshuo.net/xiaoshuo/xiaobingchuanqi/。
(20)六道：《坏蛋是怎样炼成的》,大夏中文网：http://www.daxiabook.com/book/872/。