九十年代以来,当代中国文学的批评十分显然地出现了主要范式的转型,其中一个很重要的表征即是“理论”的重要性被突显出来。当代活跃的批评家都明显地具有新的知识背景与新的理论视野,并对此表现了充分的自觉与自信,而那种传统的、按照某种审美主义或经验主义的观点对作家作品进行解读阐释的方法已经日渐式微,难以再产生大的影响。这多少导致了当代批评追“新”竞“后”、旗号林立的景观,因此也不断地受到了各种各样的指责与抱怨。 Since the 1990s, the critique of contemporary Chinese literature has clearly emerged as a major paradigm shift. One of the most important characteristics of the criticism is that the importance of “theory” has been highlighted. Contemporary critics have obvious new knowledge backgrounds and new theoretical perspectives, and have shown full self-confidence and self-confidence, and that the traditional, according to some kind of aestheticism or empiricism point of view of the writer’s work Interpretation of the interpretation of the method has been declining, it is difficult to produce a big impact. This led to the contemporary criticism chasing “new ” “after ”, under the banner of the landscape, it is also constantly subjected to a variety of accusations and complaints.