Talk about the impact of the rise of network literature on traditional Chinese literature

Can't open the sky, can't penetrate the earth, freedom is but not a prison. It's just that freedom is one thing, and level of sophistication is another. Of course, many believe that one of the major significance of online literature lies in changing the rules of the literary game, rescuing values from depth and heaviness, creating new rules of the game, focusing on the individual, introspection, the connection between the individual and the outside world, and so on. However, on the basis of freedom, I'm going to play along with my own line of thought. I still make a small distinction between literature and diaries, fashionable versions of texts, and so on. Literature, under the constraints of the "depth model," represents a path to such lofty and esoteric categories as thought, humanity, human value, and ultimate meaning, and even after deconstruction, it still pushes and plays with structural techniques, the portrayal of extreme experiences, the grasping of textual atmospheres, and even the search for stylistic possibilities for innovation. However, the Internet era has proved to the world that the freedom of speech and publication has taken a big step forward, and of course, literature has become freer. So after the 1980s, another literary spring has come, but the difference is that at first it was a movement of poetry and poetry clubs, but now it is a movement of Internet vernacular language and literary websites (that's why I was so excited when Ranting Brother wrote to me and said, "It's time for a movement! (We have only seen the back of poetry in the eighties, whereas internet literature in the twenty-first century can allow us to start all over again face to face.) In terms of the acquisition of speech power, Internet literature is more similar to a kind of graffiti culture and street culture. In a sense, it clearly has a higher value than imperial and obedient literature. Graffiti is free, emotional, improvisational expression, there is no constraints, which is a good match with the expression of network literature, BBS on the free and easy for writers is unprecedented. Casualness, emotional both produce pleasure, but also express the free and true ideas, for literature back to honesty and naivety to create the conditions. Being spontaneous is another important feature of Internet literature.

But its own self-discipline determines its vitality and value. After gaining some kind of power, only very few people will not abuse it entirely because of self-discipline. I, for example, am now, perhaps, abusing what little voice the internet has given me. Personally, I don't think Internet literature should be an Internet rehash of little women's essays (please voluntarily remove the patriarchal connotations, I mean the cockamamie flavor and the sycophancy) or the radio's midnight phone-in programs. The internet has no power of depravity attached to it other than to give literature the power of expression. You can speak on the Internet, be happy for speaking and catharsis, and even be depraved for pleasure, but it is better not to abuse the name of literature on the Internet; confiding and expressing can produce happiness and relaxation, and it is easier to do so on the Internet, but it does not inevitably lead to the creation of literature on the Internet, which would otherwise be so broad as to be meaningless. The power of expression must at least be coupled with the obligation to think (and not just the act of catharsis) in order for "literature" to be possible. The loss of linguistic freedom is at least at risk of degradation, and the two may be contingently, if not necessarily, causally related. The more pleasurable the more depraved, the more depraved the more pleasurable, this is a topic that should be kept in mind when talking about Internet literature. The significance of graffiti in literature should not be lost through polarization. Of course this argument may just be that one takes literature too seriously and worries too much about what happens to online literature.

Third, personal literature

Life blooms like a flower, we can not allow ourselves to wither lonely people are shameful

Network literature of the civilian nature of the sign of freedom, while the personal nature of the individual so that it points to privatization and personalization, but now is not whether a hundred flowers bloom, or is it a hundred of the same kind of flowers, or a hundred different flowers at the same time, open, the definition of network literature is of crucial importance. There are crucial implications for the definition of cyberliterature. That is to say, is personalized only refers to personal experience, experiential, or coupled with personal or personalized stylistic experimentation, exploration of creative ideas, etc., is the narrative of similar experiences, feelings, feelings and just different authors, or the emergence of a pioneering situation of creative diversity.

Of course, these two are coexisting in the present network literature, and the purpose of our discussion is to clarify a certain direction in this status quo, and try to analyze the proportion of them.

In the popular network literature, firstly, in one novel, we see A has a girlfriend A, and then a twisted and moving story with a tragic ending; then in another novel, we see B has a girlfriend B, and then another story which already seems less twisted and moving, with a tragic ending again; and then in another novel, the difference is that the first one has chatted for two years in the chatroom, the second one has chatted for two months, and the third used ICQ, only twice, and both entered into an online relationship and began a fictional love affair. This personalization of changing the name of the protagonist was apparently inherited as a successful and labor-saving model, and there was a lot of applause for a while. If this kind of fish-eye "repeated construction" is eliminated, Internet literature may be greatly reduced in quantity, but it is more readable. In the hubbub of "expression is everything", personalized experience and thinking are in danger of being drowned in quantity, but looking at the situation in traditional literature and traditional media, I still feel relieved. All kinds of independent and experimental writing are still growing in the mass production of reproduction, plagiarism and modeling. The solitary is shameful now; it may be glorious later. The personalized writing mentioned here is a reflection that every truly meaningful writing actually faces. Is online literature literary karaoke, parody, or serious writing? (Is the word serious particularly inviting now?)