People's Daily commented on "Internet Xianxia":"Xianxia" cannot be used as an overhead realistic ethic

popular literature and art is not only responsible for "entertainment", because it is closely integrated with the psychology of the masses, the moral requirements of popular literature and art are often higher. It is necessary for the network literature and art represented by the fairy drama to get out of the emotional pattern of excessive self and shoulder the spread of mainstream moral cognition.

popular literature and art is not only responsible for "entertainment", because it is closely integrated with the psychology of the masses, the moral requirements of popular literature and art are often higher. It is necessary for the network literature and art represented by the fairy drama to get out of the emotional pattern of excessive self and shoulder the spread of mainstream moral cognition.

since the publication of Zhu Xian in 2003, online chivalrous novels have developed rapidly in the past decade, with the emergence of a number of works with many fans, such as Chinese Paladin, A Thousand bones of Flower, and Ten Mile Peach Blossom of three generations. Moreover, since the first fairy drama "Chinese Paladin" was broadcast in 2005, the fairy drama has sprung up and has become the mainstream of the screen in recent years. "three generations and Ten Mile Peach Blossom" once ranked first in TV series ratings this year, and the number of online broadcasts exceeded 10 billion, which is evident in its popularity and influence.

it can be said that the market share of time travel dramas such as" Palace "and" step by step ", which were popular at that time, have now been occupied by fairy warriors. On the other hand, the previous criticism of the strange plot and absurd person setting of the time travel drama is also true for the fairy chivalrous drama. It's just that the fairy drama "cleverly" empties history rather than traversing it, so it avoids accusations of disrespect for history. Moreover, in the overhead world, the fairy drama is more relaxed, so that the fairy world is full of all kinds of monsters and birds, mountain spirits and sea enchantments, and the good-looking hero and heroine have gone through thousands of disasters under the aesthetic lens, pursuing love beyond the fetters of the real world.

taking a comprehensive view of network literature and art, no matter wearing Yue opera, fairy drama or network literature with similar themes, their common creative idea is aerial reality, so as to provide an evasive and cathartic audio-visual enjoyment for the audience. The question is, can online literature and art avoid realistic ethics? In the third Life and Ten Mile Peach Blossom, there is such a plot: Princess Sujin of Zhaoren, who falls in love with the protagonist Ye Hua, first marries her grandfather, Tianjun, and is promised to be a concubine to Ye Hua. Night Hua hates Sujin, but has no objection to Sujin's nominal "grandma" identity. This plot, which obviously violates human relations, hides behind the overhead plot and escapes criticism for a while.

strictly speaking, the relationship between network literature and art and realistic ethics is a problem that has not been solved since its appearance. After the publication of the first online fairy novel Zhu Xian, the scholar Tao Dongfeng criticized this kind of fantasy literature for pretending to play ghosts, pointing out that its value world was chaotic and upside down, which caused widespread debate in the academic circles at that time. However, the network literature of immortal chivalry directly faces the readers through literary websites, bypasses the traditional literary production system, and is not affected by literary criticism. Writers are still writing on the original track, with the continuous enhancement of their influence in recent years. This problem is becoming more and more prominent.

if the relationship between pure literature and realistic ethics is relatively stable, then network literature and even other literary forms adapted on this basis, it is necessary to determine its relationship with realistic ethics in the swing. First of all, we have to clarify a misunderstanding, that is, only pure literature bears moral responsibility, while popular literature is only responsible for entertaining the public. Looking back to its origin, the popular literature in ancient China attached great importance to ethical values, satirizing the world, moral enlightenment, and taking novels as an important means of persuading the world and carrying out moral education. People who do not understand literature and ink often acquire loyalty to serve the country through popular novels such as the Romance of Yang Jia and Shuo Yue Quan, or through "three words and two beats" and folk operas.

scholar Zhao Yiheng once pointed out: "texts with lower cultural status are more morally strict than texts with higher cultural status." This observation is very accurate. Compared with pure literature, popular literature is more closely related to the social psychology of the audience. as reader-oriented literature, even if it is only based on the consideration of market return, it often coincides with the mainstream moral cognition. For example, in the era of judicial injustice and the prevalence of dignitaries, the public will look forward to the emergence of upright officials like Bao Gong, who, with three blessings, toured the state capital, presided over justice, punished evil and promoted good. Popular novels such as the Bao Gong case are popular in line with such social psychology. Similarly, in the era when martial arts were popular before immortals, warriors like Guo Jing and Qiao Feng were highly moralized. We expect the "chivalrous masters" to uphold justice, distinguish between good and evil, and provide an imaginative solution to ethical anxiety in the real world. For example, the moral standard of the martial arts novel The Legend of the Condor Heroes is not inferior to that of the pure literature of the same era.

and in today's fairy world, the starry sky above our heads and the moral law of our hearts have faded. The six worlds of gods, immortals, people, demons, demons and ghosts are mixed. In this morally ambiguous world, the protagonist shuttles between good and evil without the restraint of realistic ethics. Personal emotion has been highlighted to the point that it is the most common narrative mode of fairy drama.

the conflict between network literature and art and realistic ethics is rooted in the internal conflict of realistic ethics. To be exact, some young people express their inner ethical cognition with the help of the subculture of online literature and art represented by Xianxia-this ethical cognition is a kind of vanity and rootless individualism. The reason why the fairy drama shows a surreal and over-romantic aesthetic style is precisely based on the fact that some young people do not know how to deal with the relationship between themselves and reality and are excessively attached to the reality of their own small world. In the current high-speed operation of society, some young people will have the anxiety that they can not find their place. The way to resolve this anxiety is not the struggle in the real world, but the catharsis in the network world. This is also the reason why online literature and art and online games can be adapted to each other without obstacles: the core logic of the two is the same, both "help" some young people to vent their anxiety.

the aspect of personal emotion is worthy of respect, but we have to say that the "individual" in network literature and art is too narrow. On the one hand, this individual value is so inflated that there is only a small "me" in the whole world; on the other hand, it is very weak and this "I" lives in a very childish plot and dialogue and cannot grow up. It is from this point of view that network literary writers have the responsibility to make positive changes. After all, literary works and social psychology shape each other. The problem now is that the writers of online literature not only do not take the initiative to change, but cater to this personal emotion without reflection, in order to stand out in similar works and get the most enthusiastic popularity of the audience. writers continue to strengthen the stimulation of this emotion, flow for abuse and abuse of the dog blood drama, the overall style of the work is artificial, even low-level flesh. The reason why there are few fine works of art in network literature and art is that they are often bound by this low emotional structure and lack of inner spirit.

for the network literature and art represented by the fairy drama, it is necessary to get out of the narrow emotional pattern and out of the weak and inflated "individual". In the novel Cold Soul Valley, which reposed the thoughts of his family and country with "opposing the Qing Dynasty and restoring the Ming Dynasty" during the Japanese occupation, there was a famous look back: "A trip to Zhongxing has high mountains, fertile wilderness, forest, fertile fields, Qi, flowers, Yao grass, and several people have saved many filial sons, loyal courtiers, remnants, heroes, heroes, heroes and flying immortals." This is where the great meaning of knight-errant and flying immortal lies. From the immortal of Huanzhu Lou to the new knight-errant of Jin Yong, the hero and heroine, Ren Xia Shangyi, are not "immortal" or "martial arts", but the word "chivalrous". This is the "true spirit" of Chinese popular literature.

Frost E stars describe the immortals, do not search for spirits. How to better absorb the essence of popular literature tradition and inject nutritious inner spirit into today's network literature and art is worthy of careful consideration by today's network literature writers and network writers and artists.

Edit: xiongwei