在20世纪以来的艺术史中,文学、艺术不断创新的动势似乎已经成为公众的一种期望,这种现象表明这些创新在变成一种期望的过程中,其原始的震惊效用被“消磨”了。这种“消磨”不仅有公众方面的原因,还有艺术界本身的原因。从新批评、解构主义等流派的发展中,我们可以看到一条很清晰的脉络,即从反叛开始,他们总是避免不了制度化的过程,即便开创者有意识地对此进行抗议,总的来说是无济于事的,这就呈现出一种“不得不”制度化的尴尬局面。 In the history of art in the 20th century, the trend of constant innovation in literature and art seems to have become an expectation of the public. This phenomenon shows that these innovations are becoming an expectation and their original shock effect is “ Kill it. ” This “kill” not only for public reasons, as well as the art world itself. From the new criticisms and the deconstructionist schools, we can see a very clear context that from the time of rebellion, they can never avoid the process of institutionalization. Even if the pioneers intentionally protest this, in general Is useless, which presents a “had ” institutionalized embarrassing situation.