余秋雨的散文創作，不僅鼓盪了一股文化書寫的浪潮，在他筆端，揭示了歷史與生命俱為「兩重窯變」的結果。他擅長將冷僻的史料與理論，結合戲劇與傳播的手法，不斷營造個人與市場的傳奇。這一特點，整體而觀，顯然嫻熟於說故事行銷與表演銷售法的底蘊。以讀者接受的角度而言，余氏專注在作品中經營「召喚結構」的理念，也頗能符合夢想、傳奇與「美學經濟」時代的甦醒與感動。然而由「余秋雨熱」到「余秋雨現象」的十餘年間，無論是媒體的吹捧炒作，到評論界針對他在大陸文革期間的立場、以及作品中顯見的種種常識性與史實的失誤，提出大規模批評的棒喝。余秋雨面對這些質疑，表現出一昧拒諫，甚至於矯情反擊的轉折歷程，十分耐人尋味。筆者認為觸及了余秋雨文學心理的原型批評，實乃溯源於明末黃宗羲以降，所代表的浙東餘姚文化--下迄現代上海文明，乃攸關整體人格的積澱歷程，進而探討潛在的心理機制與敘事㈻模式。縱觀余秋雨的散文敘事理則，乃以「如何塑造健全的文化人格？」作為文學思想的基源問題；對於探索文化人格的黃金比例，他主張由表層的戲劇情節氛圍，轉入深層次的集體文化人格探索。試圖疏通潛意識的河床，並有效印證他個人在文化人類學上的體認。無論是他的作品或是作者個人的處境，對於文化研究中，「自我」與「他者」之間辯證的視角，勢必提供更為全面的論述場域。本文乃奠基於此，希望藉由余秋雨現象，反思余氏一系列的「文化散文」敘事，如何兼攝散文、小說、戲劇、史傳、科普等文體風格，奠定「故事性行銷」的經典案例。並在文壇評價的聚訟之餘，尚且提出「記憶文學」的嶄新體裁作為迴應。甚至於跨足企業界，充分運用文化「遺產」轉型為文化「資產」的敘事策略，持續個人品牌的神話效應。提供當代「文化智商」與「文化產業」的趨勢，最為醒目的代言，也是作為今日重新評定余秋雨現象的一個參照。

Yu Qiuyu’s prose naration has given rise to a wave of cultural writings. His prose revealed the idea that both history and life are the result of "bifold structure of firing crockery" (兩重窯變觀). Yu is good at creating his personal and marketing legends by combining rarely-known historical materials and theories with the techniques of drama and mass media. As a whole, this results from his familiar techniques of naration marketing and performance vending. In terms of reader response, Yu focuses on the idea of “invocation structure” in his works, and this focus matches the awkening and touching of this visionary, legendary and aesthetic economy era. However, during the decade of the movement from “Yu Qiuyu Fervor” to “Yu Qiuyu Phenomenon”, Yu has received criticisms while the mass media reported his works, critics commented on his stance during the Cultural Revolution, and his works are found to be defective with mistakes of common sense and historical facts. Facing these criticisms, Yu were not willing to take them and even attempted to fightback. In my opinion the archetype of Yu's literary psychology is related to East-Chekiang (浙 東) tradition represented by Huang Zuengxi (黃㊪羲) as well as the modern Shanghai citizen personality. This procedure is the formation of the entire personality, and underlying psyche mechanism and narrative model are involved. In his cultural prose narration, as well as in the fundamental literary argument "how to construct an intact cultural personality", Yu asserts the process from the surface layer of drama plot aura to the deeper layer of exploring collective cultural personality, in the effort to prove his understanding on cultural anthropology in terms of unconsciousness. In terms of Yu himself and hiw works, the dialectic of “self” and “other” provides a full-scale arena of discussion in the cultural discussion. This project is to give more thoughts on "Yu Qiuyu Phenomenon" by focusing on how Yu’s “cultural prose” naration becomes the typical case of naration marketing by combing prose, novel, drama, biography and common science. The new style of “memory literature” is addressed while the literary circle is discussing his works. In terms of industry, cultural heritage is transformed to be cultural asset, to keep Yu’s personal myth going on. This manifests the contemporary “cultural IQ” and “cultural industry” trend, and this will be a good reference to today’s studies of Yu Qiuyu Phenomenon.

文化產業;文化人格;余秋雨;文化研究;美學經濟

cultural industry， cultural personality; Yu Qiuyu; cultural studies; The Economy of Aesthetics