'曲高和众':自媒体时代的同人文学狂欢

摘要

我们已经进入了一个大网络、数据化、自媒体时代,信息生产者—消费者的界限已经融合,网络写作因此而繁荣. 但是,网络写作的文学性和艺术性并不一致,其风格品位在高雅和恶俗之间游移. 本文首先简要介绍巴赫金的复调和狂欢理论,以及克里斯提娃的互文性理论,和热奈特的超文本性概念,接着分析了自媒体时代基于计算机技术的超文本概念,以及网络同人写作的超文本文学狂欢现象. 以演员吴秀波为着眼点,收集整理了分析2010—2014年间关于其音乐作品和影视作品的相关评论和续作,揭示了网络同人创作中"曲高和众"的一面.%We are now in an era of big network and digital we-media, the boundary between information producer and informa-tion user has been accordingly merged, which leads to the prosperity of network literary composition.However, the literary and artistic achievements of network composition vary greatly, from elegance to vulgarity.This paper starts with a brief introduction to Bakhtin' s polyphony and carnivalization theories, Kristiva' s intertextuality and Genette' s hypertextuality.This paper then illus-trates computer-based hypertext concept in we-media era, and the literary hypertext carnivalization of network fan fiction.Tak-ing the actor WU Xiubo as a case in point, this paper collects and analyzes critiques and sequels on his musical and video pro-grams between 2010 and 2014, which profoundly reveal a phenomenon of network fan fiction, i.e."highbrow songs in abun-dance".