中国式现代化视野下冯骥才的天津书写  

Landscaped Childhood:A Research on the Digital Labour and Its Risks of Child Short Video Bloggers

作　　者：黄育聪[1] AN Xuxin;ZHANG Xinzhe

机构地区：[1]福建师范大学文学院,福州350007

出　　处：《天津师范大学学报(社会科学版)》2025年第2期151-160,共10页Journal of Tianjin Normal University(Social Science)

基　　金：国家社会科学基金项目(20BZW125)。

摘　　要：冯骥才的“津味”小说具有鲜明的特点,早在20世纪70年代末,他就结合现代化的思潮,以小说表现中国人民在适应现代化进程中的思想与经历的变化,但因集中采用“中西冲突”为小说结构,使其小说在作者意图、文本呈现与读者接受上产生分裂。此后,他投身于现实的文化保护行动中,同时创作了“俗世奇人”系列短篇小说,以“审美化”的方言,回归传统市井小说的叙事形式,塑造出既贴近现实又适应现代要求的人物形象,形成一种既保持“中国特色”又融入现代性元素的小说诗学意涵。At present,some platforms commodify childhood,transforming it into a spectacle for consumption.Through seemingly“innocent”performances,these platforms encourage children to become focal points for traffic-driven consumption and unpaid“playwork”.Children's digital labour on short video platforms generally falls into three categories:life performances filmed and directed by adults,adult-assisted content production,and content created independently by children.While these media performances may provide economic benefits to families and a sense of achievement to the children involved,they also come with significant risks.These include the perpetuation of a false“natural”state,paradoxical portrayals,and self-objectification of children.Child bloggers on short-video platforms often operate within family-based digital production“workshops”,where parents act as“employers”.Using digital media as the production tool,the labor of those children takes fun as an appearance.However,the majority of the benefits derived from their labour are ultimately claimed by the platforms.It is crucial to raise awareness about the issue of children's digital labour on short-video platforms.Moreover,the state must implement appropriate laws and policies to safeguard the rights and interests of children involved in digital labour.

关 键 词：中国式现代化 冯骥才 津味小说 俗世奇人 

分 类 号：I206.7[文学—中国文学]