中国的文学批评在80年代中期的“文化热”中,曾有过不同凡响的表现,甚至起到了思想启蒙的作用。但进入80年代末和90年代初期,在文坛阵阵喧嚣与骚动的声浪中,批评家的声音却突然变得暗哑,人们对批评界“失语”的指责不绝于耳,批评的处境空前尴尬。直到90年代中后期,王朔等人批评文字的大面积兴起,才使文学批评又呈活跃之势。尽管和市场化、商业化的大潮相比,这种活跃已经很难再产生什么轰动效应,但这于文学批评本身来讲却是意义重大的。细究之下,我们 Chinese literary criticism had extraordinary performance in the “cultural fever” of the mid-1980s and even played a role of ideological enlightenment. However, in the late 1980s and early 1990s, critics’ voices suddenly became dull in the bustling and uproar of the literary world. The accusations of “aphasia” in the critics were endless and the criticism was unprecedentedly embarrassing. It was not until the mid-to-late 1990s that Wang Shuo and others criticized the rise of large-scale writing in order to make the literary criticism again show an active trend. Although this kind of activity has hardly any sensational effect compared with the market-oriented and commercial tide, it is of great significance in literary criticism itself. Under study, we