李朝全：辨優(yōu)劣·鑒精粗·存經(jīng)典 ——文藝批評(píng)的價(jià)值
辨優(yōu)劣·鑒精粗·存經(jīng)典
——文藝批評(píng)的價(jià)值
回到批評(píng)的初心和常識(shí)
全媒體時(shí)代，文藝創(chuàng)作的觀念、形式和載體發(fā)生了變革，但是文藝批評(píng)的價(jià)值并未改變，仍舊是推優(yōu)貶劣、去粗存精、鑒定經(jīng)典、史化作品。
文藝批評(píng)要回到常識(shí)，回到原點(diǎn)，回到初心，回到根本。文藝批評(píng)直面作家藝術(shù)家和讀者兩大受眾，而其面對(duì)的核心應(yīng)該是作品文本，是從文本出發(fā)的批評(píng)?！芭u(píng)”的內(nèi)在含義包括了批閱、批注、批駁、批判、點(diǎn)評(píng)、評(píng)說、評(píng)論，既有評(píng)判論述之義，也有反駁貶斥之義，褒優(yōu)貶劣，激濁揚(yáng)清。文藝批評(píng)的關(guān)鍵在于建立一個(gè)科學(xué)、客觀、公正的批評(píng)標(biāo)準(zhǔn)體系，用一把可靠的尺子或準(zhǔn)繩去權(quán)衡作品。批評(píng)的核心環(huán)節(jié)和要?jiǎng)?wù)在于篩選出好作品。無論是文藝評(píng)論，還是各種評(píng)選與評(píng)獎(jiǎng)，其根本旨?xì)w皆在于遴選出優(yōu)秀作品。文藝批評(píng)的基本準(zhǔn)則在于“說真話、講道理”，有一說一，有二說二；有好說好，有壞說壞。
批評(píng)是一種選擇。選擇的結(jié)果一是推介給讀者觀眾，引導(dǎo)閱讀欣賞風(fēng)尚，提升受眾文藝藝術(shù)素質(zhì)。一是面向作家，引領(lǐng)創(chuàng)作思潮與趨向。一是對(duì)優(yōu)秀作品進(jìn)行經(jīng)典化、歷史化，使之進(jìn)入文藝史、藝術(shù)史、文化史。文藝批評(píng)的力量包括其本身所具備的思想穿透力和藝術(shù)感染力，也包括對(duì)文藝創(chuàng)作的反作用力和推動(dòng)力，還包括對(duì)讀者閱讀鑒賞的引導(dǎo)力和影響力。真正的文藝批評(píng)者由于其對(duì)文藝創(chuàng)作規(guī)律的準(zhǔn)確把握，對(duì)思想哲學(xué)、藝術(shù)審美層面的深入開掘，對(duì)目標(biāo)讀者的極大關(guān)注，對(duì)藝術(shù)特色的執(zhí)著追求，因此往往能站在更高的位置，取更為開闊的視野，抱更為寬宏的胸懷，對(duì)自己的批評(píng)對(duì)象進(jìn)行審視、研究、剖析和評(píng)判，猶如一位醫(yī)術(shù)高明的醫(yī)師，手握解剖刀或手術(shù)刀，對(duì)自己的解剖對(duì)象或患者進(jìn)行認(rèn)真準(zhǔn)確科學(xué)的剖析或手術(shù)治療，不僅能揭示病理病變，指明疾患，更能療疾治病，使患者軀體更為健康、更趨完美。這樣的文藝批評(píng)對(duì)被批評(píng)者和廣大受眾都是有益有用有利的，對(duì)文藝創(chuàng)作的發(fā)展則是不可或缺的。
體驗(yàn)式品嘗與挑剔式辨析
回到文藝批評(píng)的初心和常識(shí)，建設(shè)批評(píng)標(biāo)準(zhǔn)體系，需要重申有效的、及物中的的批評(píng)。
首先須高度強(qiáng)調(diào)批評(píng)的主體性。批評(píng)是一種獨(dú)立的文藝創(chuàng)作和文藝實(shí)踐，批評(píng)者是文藝生產(chǎn)者的組成力量，他可以而且應(yīng)該獨(dú)立于文藝創(chuàng)作及文藝原創(chuàng)者而存在，是文藝創(chuàng)造的重要主體。文藝批評(píng)與文藝創(chuàng)作是相輔相成、互補(bǔ)互促的關(guān)系，而決不是依存與被依存、主體與客體的關(guān)系。由此，須更加明確文藝批評(píng)的職責(zé)與擔(dān)當(dāng)。文藝批評(píng)的重要性、獨(dú)特性需要重申，其無可取代的地位和作用需要得到尊重和重視。
其次，須注重批評(píng)者能力的提高。優(yōu)秀的文藝批評(píng)者首先必須是高明的文藝鑒賞者。批評(píng)者作為文藝批評(píng)的創(chuàng)作主體，需要掌握批評(píng)的工具、手段和技巧，需要具備藝術(shù)審美力、鑒賞力和比較評(píng)判力。這就要求批評(píng)者自身要有充足的文藝美學(xué)和思想理論準(zhǔn)備，需要具備較高的藝術(shù)素養(yǎng)和文化素養(yǎng)，建構(gòu)起自己的藝術(shù)評(píng)價(jià)體系，掌握豐富的藝術(shù)判斷經(jīng)驗(yàn)，能夠在眾多文藝作品的比較權(quán)衡中作出準(zhǔn)確的估價(jià)和評(píng)判。
三是，須大力張揚(yáng)及物的、中的的批評(píng)。文藝批評(píng)要確立自己的讀者對(duì)象，區(qū)分不同的受眾，批評(píng)者心中要想著自己的閱讀接受者即潛在的讀者，力圖使自己的批評(píng)能觸及批評(píng)對(duì)象的核心或要害，站高望遠(yuǎn)，切中肯綮。這方面，批評(píng)者的藝術(shù)經(jīng)驗(yàn)或創(chuàng)作實(shí)踐經(jīng)驗(yàn)顯得不僅有必要而且重要。文藝史上那些入木三分的批評(píng)，其作者大多自身也是重要的文藝創(chuàng)作者。而批評(píng)者深厚的哲學(xué)、思想、歷史、文化等方面的修煉與能力也是必要的。
四是，須充分肯定批評(píng)文本的獨(dú)立性與自足性。文藝批評(píng)具備自己獨(dú)特的思想魅力和藝術(shù)品格，是一種有獨(dú)特價(jià)值和意義的藝術(shù)創(chuàng)造。從廣義上看，文藝批評(píng)也是一種文藝創(chuàng)作，它必然需要遵循文藝創(chuàng)作的基本規(guī)律，具備文藝創(chuàng)作的基本特征。文藝批評(píng)同樣需要發(fā)揮批評(píng)者的想象力及創(chuàng)造力，具備鮮明的個(gè)性化的語言風(fēng)格，講究敘事技巧，文風(fēng)活潑、生動(dòng)、可讀而不能刻板僵化、面目可憎。文藝批評(píng)同樣具備教育、審美和娛樂功能，要帶給人思想的深刻啟迪和藝術(shù)的審美愉悅。要鼓勵(lì)多種多樣、千姿百態(tài)的批評(píng)形式和風(fēng)格、流派，以滿足不同受眾多方面、多層次、多樣化的精神文化消費(fèi)需求。
五是，須構(gòu)筑良好的文藝氛圍和批評(píng)生態(tài)。亦即要發(fā)揚(yáng)藝術(shù)民主和學(xué)術(shù)民主，落實(shí)百花競(jìng)放、百家爭(zhēng)鳴方針。既要確立批評(píng)的標(biāo)準(zhǔn)、邊界、底線和紅線——如批評(píng)應(yīng)該止于思想藝術(shù)范疇而不應(yīng)展開人身攻擊，更要保障批評(píng)者的權(quán)利，保護(hù)批評(píng)者的積極性和創(chuàng)造力。同時(shí)也要保護(hù)被批評(píng)者的權(quán)利，允許其進(jìn)行反批評(píng)，培養(yǎng)被批評(píng)者面對(duì)批評(píng)的平和心態(tài)，敬重批評(píng)者，樂于接受善意的批評(píng)，推動(dòng)創(chuàng)作和批評(píng)、批評(píng)和讀者、批評(píng)和作者形成多向或雙向互動(dòng)，從而造就一種寬松、包容、民主、平等、對(duì)話的良性的批評(píng)生態(tài)。
六是，須借鑒吸納古今中外優(yōu)秀批評(píng)的經(jīng)驗(yàn)。要向思想大師、批評(píng)大家學(xué)習(xí)，學(xué)習(xí)他們直面現(xiàn)實(shí)和批評(píng)對(duì)象的勇氣與膽魄，學(xué)習(xí)他們高深的藝術(shù)造詣和思想水平，學(xué)習(xí)他們客觀嚴(yán)謹(jǐn)、求實(shí)說理的批評(píng)態(tài)度，學(xué)習(xí)他們博覽群書海納百川的胸襟和勇于創(chuàng)造敢于創(chuàng)造的激情熱情。
有鑒于此，我特別推重全身浸入式的、體驗(yàn)感受式的文本閱讀評(píng)析。首先要沉浸其中，融入文本。其次又要跳出其外，給文本找刺找毛病。批評(píng)是一把尖刀和利器，要發(fā)揮其“剜爛蘋果”的功能，挑問題，指不足。沿著閱讀——研究——評(píng)判——分析的步驟和過程，對(duì)文本進(jìn)行細(xì)讀、辨析和解讀，達(dá)致一種有價(jià)值的批評(píng)，一種獨(dú)立自足的、及物的、有指向的批評(píng)，真正發(fā)揮文藝批評(píng)的力量。
Distinguishing Good from Bad, Differentiating the Sophisticated from the Shallow, Identifying Masterpieces from a Multitude of Works---The Value of Literary and Art Criticism
Li Chaoquan
Returning to the Initial Intention and Common Sense of Art Criticism
The concepts, forms and mediums of literary and art creation have all changed in the omnimedia era, but the fundamental role of literary and art criticism remains the same— to distinguish good from bad, differentiate the sophisticated from the shallow, identify masterpieces from a multitude of works, and keep the classics classic.
Literary and art criticism needs to rediscover its common sense and return to the initial and essential intention from which it sprang. In practice, literary and art criticism must face both artists and readers directly, with textual analysis of literature and arts as a foothold. The word “criticism” herein includes connotations of “review, annotation, refutation, judgement, comment and analysis.” Therefore, literary and art criticism means not only judgement and comment, but also critique and repudiation. Its aim is to discover masterpieces through praising good works and criticizing bad ones. The key of art criticism is to build a rational, objective and fair appraisal system as a reliable means to measure literary and art works. Its essential intention and purpose is to identify good works. Essentially, literary and art criticism, as well as all kinds of competitions and awards events, aim at selecting masterpieces. Literary and art criticism should follow the fundamental principles of “telling the truth and reasoning things out” and never lie or distort facts.
Literary and art criticism, of course, represents a choice by a critic. In this way, critics recommend excellent works to readers and audiences, guide literary and art trends, and help to enhance the public’s taste for literature and arts. On the one hand, literary and art criticism guide the ideological trends of literary and art creation, and on the other hand, helps excellent works become classics etched into the history of literature, art and culture. The power of literary and art criticism lies in its depth of thought and its artistic appeal, as well as its driving and reaction forces for literary and art creation and its guidance and influence on readers and audiences. A qualified critic should accurately grasp the laws concerning literary and art creation, obtain insight into the philosophic and aesthetical connotations of literary and art works, pay close attention to the needs of target readers, and persistently explore the unique characteristics of different artworks. Only by doing so, he or she can examine, research, analyze and comment on the subjects of criticism from a higher standpoint and with a broader vision and mind—just like an experienced surgeon, who performs a dissection or an operation with a scalpel in an accurate, scientific manner; so that he or she may not only position pathological changes and treat the diseases, but also help the patient restore health. Literary and art criticism like this will benefit both the criticized authors or artists and audiences, which is conducive to the development of literary and art creation.
Experience-based Tasting and Fastidious Analysis
Returning to the initial intention and common sense of literary and art criticism and building relevant criticism standards require reiterations of effective, honest criticism.
First, the independence of literary and art criticism needs to be highly emphasized. Criticism is an independent kind of literary and art creation and practice. Critics are integral parts of literary and art production. As important participants in literary and art practice, critics exist independently from literary and art creation and practitioners. Literary and art criticism and creation should complement each other, rather than having a subject-object relationship in which one depends on the other. In addition, the duties and responsibilities of literary and art criticism should be further clarified. Besides reiterating the importance and uniqueness of literary and art criticism, we need also to respect and value its irreplaceable role and position.
Second, the capacity of critics needs to be enhanced. An excellent critic, first of all, must be an expert in literary and art appreciation. As practitioners of literary and art criticism, critics need to master tools, means and skills regarding criticism and obtain the capacity of art aesthetics, appreciation, comparison and criticism. This requires that critics must make sufficient aesthetic and ideological preparations in terms of literature and arts, achieve high artistic and cultural accomplishments, build their own art assessment systems, and have rich experience in art appraisal, so that they can make accurate assessments and judgement when comparing a great deal of literary and art works.
Third, object-oriented and targeted criticism should be promoted. Literary and art criticism should clearly distinguish its target readers, providing different content to different kinds of readers. Critics must always keep in mind their potential readers and try their utmost to ensure their criticism hits the core or key points of the objects they criticize from a high standpoint. To this end, it is necessary and important for critics to have some experience in art appreciation and creation. Throughout the history of literary and art criticism, critics who were able to give conductive, in-depth criticisms were mostly great writers or artists themselves. Therefore, it is necessary for critics to obtain profound knowledge and great capacity in fields like philosophy, ideology, history, and culture.
Fourth, the individualism and self-sufficiency of critics’ writing must be fully recognized. As a creation process with unique value and significance, literary and art criticism should has its own ideological appeal and artistic quality. From a broad perspective, such criticism is a kind of literary and art creation, so it must abide by the fundamental laws of literary and art creation and will definitely have the basic characteristics of literary and art creation. Critics need to give full play to their imagination and creativity, and their criticisms should feature distinctive, individualized language style and pay attention to writing skills, so that the critical analyses they write will be lively and readable, rather than something dull and uninteresting. Literary and art criticism should also integrate functions such as education, aesthetics, and entertainment, which is supposed to give readers both inspiration and pleasure. Thus, various forms and genres of criticism should be encouraged to cater to the multifaceted, multilevel and diverse spiritual and cultural needs of different audiences.
Fifth, a pleasant literary and artistic atmosphere and sound criticism ecology should be created. That means literary and art criticism should uphold artistic and academic democracy and implement the principle of “allowing all flowers to bloom and all schools of thought to contend with each other.” On the one hand, the standards, boundary, bottom line and “red line” of criticism should be determined. For instance, criticism should be confined to ideological and academic analysis, instead of personal defamation. While on the other hand, the rights of critics should be protected, so as to avoid undermining their enthusiasm and creativity. Meanwhile, the legitimate rights of those whose works are criticized should also be protected, and they should be allowed to counter the criticism they receive. Of course, writers and artists should remain calm and relaxed in the face of criticism, show respect for critics, and be willing to accept goodwill criticism, thus promoting a platform for communication between literary and art creation and criticism, critics and readers, and critics and authors and creating a sound criticism ecology that features flexibility, inclusiveness, democracy, equality, and dialogue.
Sixth, the experiences of excellent critics of all time from around the world should be learned. Today’s critics should learn from renowned philosophers and critical masters, including not only their courage and boldness to directly face the realities and subjects of criticism, but also their profound artistic and ideological accomplishments, their subjective, rigid and reasonable approach, and their broad-mindedness, creativity, bravery and passion.
Because of the aforementioned, I particularly advocate textual reading and analysis based on immersive, personal experience. Critics must, first of all, immerse themselves into textual reading, but at the same time they should keep a clear mind to pick holes through textual analysis. Criticism is like a sharp knife used to cut off “the rotten parts of an apple” because it aims to find problems and deficiencies. Following the steps from reading, research, appraisal to analysis, critics carefully read, analyze, and interpret the text, and then give constructive criticism. Only independent, self-sufficient, object-oriented and targeted criticism can fully demonstrate the power of literary and art criticism.
