What influence does online literature have on traditional writing?

Let's talk about online literature anyway. I reiterate that my definition of the research field of online literature began with the emergence of the writing mode of online specialty. Can reading online literature improve literary literacy? This problem has already been stated. If it's not too boring, you can go and have a look.

The influence of network literature on traditional writing lies in its further expansion of the market. If we only look at the market phenomenon of literature as the main body of literary economy, we can clearly see a phenomenon, that is, network literature has now become one of the biggest economic phenomena in China literary world. According to the rich list of writers in 20 13 years, Jiangnan, Mo Yan and Zheng won the top three in China writers' royalty list with 25.5 million, 24 million and/kloc-0.80 million respectively, while in another rich list named network writers founded by Wu Huaiyao, the royalties of three writers, Tang Jiasan Shao, I eat tomatoes and Skeleton Elf, were as high as 3,300 respectively. It can be seen that the market profit of online literature, especially the professional writers of online literature, has reached the same level as the best traditional writers. Although we don't think that money may have enough right to speak and status, as an economic phenomenon, isn't the 4 trillion taels of silver discovered by Spain in South America one of the important factors for foreigners to have the right to speak in China?

Secondly, it is the real rise of fantasy literature. Fantasy literature is essentially different from "fantasy realism" represented by Mo Yan and "magic realism" represented by Marquez. Looking at Nobel Prize in Literature's works, the highest prize in traditional literature, probably the two styles closest to the word fantasy are the two I mentioned earlier, but don't forget that they are all "realistic" works and conform to historical materialism to a certain extent. However, this fantasy literature I am talking about is just the opposite. The main body of the text it expresses is an "idealized" ideal, dream, fantasy and even utopian world, and this literary expression direction can only occupy a marginal position in traditional literature. Imagine that such immortal works as A Hitchhiker's Guide to the Galaxy, A Space Odyssey Tetralogy and The Lord of the Rings once occupied a central position in the field of traditional literature. On the other hand, Jiangnan, the first in the list of rich writers I mentioned earlier, is a writer who writes fantasy literature in an authentic way, and his royalties are far higher than that of Mo Yan, the only "justified" Nobel Prize in Literature winner in China, with a distance of 654.38+0.5 million. On the other hand, "Kyushu" written by Jiangnan is not a work under the platform of professional writing and subscription profit, but it has also been written. Faced with this phenomenon, we have to re-examine the position of fantasy literature in literature.

Third, it is the phenomenon of reader participation. In this issue, the readers we want to talk about are not only choosers, but also "participating creators". 20 12 Xun Libo, a scholar who looks like a folklorist (I can't define it), published an article entitled "Analysis of the Types of Readers Participating in Online Literature Creation", which introduced in detail the phenomenon that some readers participated in online literature creation. Generally speaking, this phenomenon is that readers participate in the creation of online literature. Because the network is real-time, interactive and self-media, the profit of online literature depends on readers, so in the process of online literature creation, readers' opinions will be amplified, giving the author more opinions and guidance, and even some of their opinions will directly affect the author's creative thinking. In addition, taking my personal favorite online novel "The Joy of Life" as an example, some comments of the novel were even collected by the author as a "collection of comments" and became the main part of the works on the online platform. This phenomenon is unimaginable in traditional literature and literary and art circles. We can even imagine that even if Zhi Yanzhai's comments on A Dream of Red Mansions are no matter how good, has his literary influence been involved in the author's creation? As there is no evidence, we can only have doubts. But online literature is not, and every influence can be recorded. Even some authors (read a related article and can't remember it clearly, please forgive me. By his own admission, his works were written by readers and himself.

Third, comment on liberalization. When it comes to the era of media, we must first say that liberal criticism has two attributes: freedom and non-utility. These two attributes lead to the fact that literary criticism on the network platform is not as rigid and utilitarian as traditional literary and art circles (literary criticism circles) to some extent. For a simple example, when someone recommends some online literary works, we can simply look at the subscription volume and click rate of this book and the comments below this book. But in contrast to traditional literary works, circulation and actual reading are not the same thing, and we can see few book reviews. This leads to a high concentration of information related to online literary criticism and creation, and provides a simpler way to obtain it. From this point of view, online literary criticism has inherent advantages. Of course, we can't ignore the existence of network "hype" phenomenon. But this may be another problem.

Finally, how should we treat this influence? At least, from the perspective of literary criticism, I once described it in another article of my own:

"If we just dabble in it, we will unscientifically analyze the positive development trend of online literature as popular literature (as we know, this positive development trend reflects the progress of literature for the main body of online literature), unscientifically analyze the positive role of readers' changes in this progress, and even arbitrarily draw conclusions from a literary category with several counterexamples. Then, what we ignore will not only be the biggest economic phenomenon related to literary ontology in contemporary times, but also a result: that is, the mutual tear between mass criticism and literary and art circles.

It can be predicted that such tearing will never stay in a state of mutual respect and distinction. After all, we have really met too many intellectuals who are at loggerheads. Self-study online literature can improve literary literacy? )

In a word, what we need to do now is to face up to these phenomena and their great influence, otherwise, everything else is just empty talk.