This was a prologue to the opposition to the dictatorship of literature and art, a prologue to the emancipation of ideas, a prologue to a profound reflection on history, and a prologue to an appeal to the Party and the state to make major changes in the ideology, policy, policy, and way of leading literature and art as well as in the leadership mechanism. This is not only a good start for literature and art in the new period, but also lays a solid foundation for the development of literature and art in the 30 years of reform and opening up.
I. Strengthening the Expansion of Influence
The 30 years of reform and opening up is slightly longer than the sum of the 17 years after the founding of New China and the 10 years of the Cultural Revolution in time span; however, no matter in terms of the number of literary and artistic creations or in terms of the breadth and depth of reflecting and penetrating into the life, the number of literary and artistic creations is unmatched by the sum of the two previous historical periods, which is the most important one. However, in terms of both the number of works created and the breadth and depth of the works reflecting and penetrating life, they were simply incomparable to the sum of the previous two historical periods. The influence of literature and the arts expanded unprecedentedly, and their penetration into life increased tremendously. In terms of literature alone, according to an article by Prof. Zhang Jiong, former vice-chairman of the Chinese Writers' Association, "In the seventeen years at the beginning of the new China, there were only 320 new full-length novels written in ......, and in the ten years of the Cultural Revolution, there were only 140 new full-length novels published, while at the beginning of the new period, only one new full-length novel was published each year. At the beginning of the new period, the number of new novels published each year increased to about 100, and 2,500 novels were published in the five years from 1991 to 1995. In the last ten years, an average of 800 to 1,000 novels were published each year. In the last 30 years, the number of members of the China Writers' Association has increased from 900 at the end of the Cultural Revolution to more than 7,700. There are more than 50,000 members of writers' associations in various provinces, cities and autonomous regions. And there are countless freelance writers and amateur authors on all fronts. ...... And the potential readers of China's electronic network literature is even more 120000000 people." ①
A few unsystematic figures can be added here:
- The long novel Wolf Totem, published in April 2004, sold 2.4 million copies in four years, and in 2007, the world English language rights of the novel were transferred to the prestigious Penguin Publishing Group, with a royalty rate of 10 percent and the first batch of remuneration of 10 In 2007, the world English language rights of the novel were transferred to the famous Penguin Publishing Group, with a 10% royalty and the first payment of 100,000 dollars. This is the highest payment for a single book copyright deal since the founding of New China. The CEO of the publishing group announced at the Beijing Book Fair that Wolf Totem was Penguin's most important book of 2008 and that it was confident that it would sell two million copies.
-- According to the book "Cataloging China's Art Films (1949-1979)", 109 feature films were made in 30 years***②, equivalent to only about a quarter of the 2007 output (402); "According to incomplete statistics, from 1978 to 1979, the number of feature films made in China has increased from 1.5 million to 1.4 million. complete statistics, since 1978 to the end of June 2008, China *** created and produced 4,425 feature films"③, the latter is more than 40 times the former!
--Guangzhou's new music album CD-ROMs, the distribution volume is often more than 700,000-1,000,000 copies.
-- In Gansu Province, there is a digest publication, Reader, which focuses on literature and art works with entertainment content, and the circulation of a single issue once exceeded 10 million copies, creating a worldwide miracle.
--In recent years, the country's annual new TV dramas are 15,000 (episodes) up and down, not including animation. At present, there are 1,974 TV channels at all levels in the country***, of which 1,764 channels are scheduled to broadcast TV dramas. The country's population of 1.3 billion, every day, per capita viewing of TV dramas that is more than an hour; CCTV "Youth Song Contest", "the same song" of the audience up to tens of millions of people. The annual CCTV Spring Festival Gala, according to relevant organizations, the ratings for many years in more than 90%, becoming an important part of the Spring Festival and a new folklore that can not be divested.
-- In addition to the Academy Award, the "Nobel Prize of the movie industry", Zhang Yimou has won almost all other film festival awards, and his influence has far exceeded national boundaries. His blockbusters have also made major gains in Southeast Asia and even North America, a phenomenon that has never been seen before.
The search for theory
The development of literature and art in the past 30 years has been grounded in theory. It is marked by the unprecedented scale and depth of the study of the basic theory of literature and art, the theory of aesthetics, which is called the "philosophy of art".
"According to Wu Wei's statistics, from 1980 to 1999, 224 volumes of translations of Western aesthetics were published. The breadth of their contents includes the works of almost all the major schools of aesthetics that appeared in the 20th century"; "Systematic writings on the principles of Chinese aesthetics have erupted since Dynasty Wen's Introduction to Aesthetics, edited by Dynasty Wen. According to Liu Sanping's statistics, between 1981 and 2002, *** published 242 works on the principles of aesthetics." ④ Aesthetics once became an obvious science in the theoretical world. These theories of aesthetics can be roughly divided into several categories: the aesthetic doctrines of Zhu Guangqian, Gaultier, Cai Yi, and Wang Zhenwen, etc. can be roughly summarized as "social aesthetics"; and the "practical aesthetics", represented by Li Zehou, has been widely popular since then and has not declined to this day; At the turn of the 1980s and 1990s, "aesthetic activity theory aesthetics" appeared; in the second half of the 1990s, the so-called "post-practical aesthetics" represented by Yang Chunshi emerged; and the concept of "ecological aesthetics" was put forward at the beginning of this century. The concept of "ecological aesthetics" was proposed at the beginning of this century, and its disciplinary system is being constructed.
Literary theory has always attracted the most attention in the study of various disciplines of literature and art, and has shown an unusually active trend. Mr. Qian Zhongwen, a famous literary theorist and researcher at the Institute of Literature of the Chinese Academy of Social Sciences, said in a retrospective summary article, "An important achievement of the new period is that, under the guidance of modernity, the issue of the autonomy of literature, which also includes literary theory, has been largely clarified, so that the theory of literature initially returns to itself." "The problem of modernity in literary theory ...... has consciously become the dominant theoretical research", and there emerged "the subjective view of literature, the epistemological (or ideological nature theory) view of literature, the symbolic view of literature, the life ontology view of literature, Formalist view of literature and the aesthetic form theory view of literature based on aesthetic reflection; in the 1990s, there was the rhetorical view of literature, the production theory view of literature, and the view of literature from the network and other perspectives to discuss literature; not long ago, there was the view of literature as a form of social consciousness"; and there was also the view of "only on the literary phenomena ...... not to make metaphysical expression of the literary view" and so on. In short, the conception of literature is pluralistic, which "reflects the depth and variety of the freedom of literature". As for the theoretical research of various other literary disciplines, they are all in an exceptionally active state.
Third, the adjustment of policy
China's literary policy before the new period can be summarized in two sentences: literature and art are "subordinate to politics"; literature and art are a part of the "class struggle" and the "dictatorship of the proletariat". Literature and art are tools of the "class struggle" and the "dictatorship of the proletariat". It is also true that the "Double Hundred" policy of "letting a hundred flowers blossom and a hundred schools of thought contend" was mentioned, but the "Anti-Rightist" struggle began soon after its release, and "a hundred schools of thought" became "a hundred schools of thought" and "a hundred schools of thought" became "a hundred schools of thought". The "Hundred Schools" became the "Two Schools of the Proletariat and the Bourgeoisie", and the "Two Hundred Schools" naturally lost its name and became a "tool" to serve the "struggle and dictatorship of the proletariat". In practice, with each passing of the "two proletariats and the bourgeoisie", the "Two Hundred" naturally lost its name. In practice, as political campaigns were carried out, this policy often became a "tool" for hostile criticism of the literary and artistic circles; during the Cultural Revolution, it became a "tool" for fascist attacks by the Gang of Four on the literary and artistic circles. During the Cultural Revolution, it became a "tool" for the Gang of Four to impose a fascist dictatorship on literary artists. Facts have proved that there are serious problems with these two references.
It was in response to public opinion that Deng Xiaoping, on behalf of the Party Central Committee, appropriately adjusted the Party's policy on literature and art in his "Message to the Fourth Congress of Chinese Literary and Art Workers". The "Message" only mentions that literature and art "serve the broadest masses of the people", and in particular explicitly states that literature and art are not required to be subordinate to temporary, specific and direct political tasks; later, this policy was summarized as "Literature and art serve the people and socialism". "
Literature and art are the mainstays of the socialist movement.
Literature and art had long been regarded only as ideology, an important part of the mainstream ideology; in the 1980s and 1990s, the discussion of the commodity nature of literary and artistic (cultural) products was launched many times. After the 16th National Congress of the Communist Party of China (CPC), literature, art and culture have been regarded as an important part of "comprehensive national strength", an important element in maintaining national cultural independence and safeguarding national cultural security, and an important aspect of the country's "soft power". Literature and art are not only ideological, but also, to a large extent, industrial. In the reports of the 16th and 17th National Congresses of the CPC, the tasks of reforming institutions and mechanisms, rationalizing and optimizing the cultural market, and vigorously developing the cultural industry were put forward; in the report of the 17th National Congress, the task of promoting the great development and prosperity of culture is linked to the implementation of the scientific outlook on development, the transformation of the mode of growth and the promotion of sound and rapid development of the national economy; it is also linked to the safeguarding of the cultural rights and interests of the citizens and the sharing of the fruits of social development; and it is related to the enhancement of culture itself, which is an important aspect of the country's "soft power". It is closely related to the enhancement of the "international competitiveness" of culture itself and to social equity.
In terms of leadership, the directive style of ideological struggle has been replaced by a paradigmatic style of guidance, i.e., the political campaign-style "great criticism" of the past has been rejected, and the "five-one project awards", "excellent literary and artistic achievements awards" and other awards have been used to promote cultural development. In other words, the "five-one project awards" and "excellent literary achievement awards" were rejected, and literary creation was guided by the way of awards. In the new century, the criteria for awarding prizes focused not only on ideology, but also on the degree of popularity of the work in society. The "National Stage Art Excellence Project" was established at this time to pay more attention to artistic creation, from focusing on the edifying function of the work at the present time to focusing more on the status, value and durability of the work in the future history of art. These initiatives are gradually showing their positive effects.
Fourth: The Evolution of the System
In the 30 years since the reform and opening up of China, the most notable manifestation of the literary and artistic world has been the emergence of a large number of freelance and private cultural organizations. The freelancers include freelance writers, poets, painters, all kinds of performers from actors and singers in dance halls to musicians in songwriting and production, creative producers of film and television dramas and entertainment programs, publishers and planners of books, especially literature and art books, and, of course, distributors of more literature and art books and art CD-ROMs, etc.
The most significant manifestation of the reform and opening up is the large-scale emergence of the freelance and privately-run cultural groups.
"The emergence of 'freelance writers' presents a new way of existence for cultural people, an institutional change"; "bringing new ways of activity and values to literature", that is "a sense of independence that rejects any dependence". ⑤ Gu Qingsheng's Adrift in Beijing and Wang Jifang's Fracture: A Literary Story of the End of the Century, published at the end of the last century, are representative works reflecting their state of existence. According to data released by the Freelance Writers Website in November 2005, there are "no fewer than a million people" belonging to this group nationwide, with "10,000 people" earning "more than 5,000 yuan a month". The number of people with a monthly income of more than 5,000 yuan was about "10,000". On the whole, Beijing has the largest number of free culturists. Thus, "northern drift" has become a synonym for "free culturists". Its emergence is a cultural social phenomenon. Painters initially lived in the countryside around the Yuanmingyuan site, but now they are based in the 798 Art District and Songzhuang in Tongzhou. "Now 798 is not only a business card of art in Beijing, but also ...... international customers have entered the area one after another. After Belgium's Ullens Art Center, Spain's Iberia Art Center, the so-called 'Empire Gallery' of New York Pace Gallery once signed a ten-year lease in the 798 Art District, 3000 square meters of plant set up their first multinational branch 'Pace Beijing', August 2 just opened. " 6
Today, the show business may have become the mainstream of the "northern drift" race. According to information, in 1992 there were only 20,000 of these (showbiz) "northern drifters", but so far there have been 300,000 of them. BeiJing front is the core of the show business "northern drift" family concentration, where there are always 10,000 people waiting for the crew to hire. "Northern drift" living conditions have been subjected to film and television works continue to pay attention to, from "mixed in Beijing", "Made of stars" ...... until not long ago the public performance of the film "spring", have caused a strong reaction.
Private cultural institutions in the film and television industry's most outstanding performance. 1994 November, the capital's first "private television agencies" - real Ka Advertising Culture Development Co. In 2002, Beijing's film and television production companies had grown to around 80 to 100. "At present, there are more than 2,000 film and television production organizations in China" (7), the vast majority of which are privately owned. They have played a very significant role in promoting the development of television art in China.
Deng Jianguo, known as the "predator" of film and television, started shooting movies in 1995 under the name of Zhu Ying's "Star Studio," and formally set up Guangdong Superstar Pictures in 1997, making eight films and TV shows in the same year, such as Kang Xi's Private Visit in Microcosmic Clothing. After that, Deng became famous for his films and TV dramas such as "The Opium War", "Kangxi's Private Visit" series and "The Successful Scholar Ji Xiaolan", etc. In 2000, he was honored as one of the "Top Ten Characters of Film and Television Industry".
Beijing's Peggy Taihe Global Media is one of the largest private media organizations in mainland China. Its "Global Film and Television", "Entertainment Anywhere", news talk show "Oriental parts" and music variety show "Spring and Autumn" are its branded TV programs; by 2005, the company had provided programs for more than 400 TV stations, including CCTV, Beijing, Shanghai Oriental, etc., and also planned and organized many large-scale activities with great impact, as well as successfully promoting Yang Liping's "Impression of Yunnan" to the European and American markets. market.
Suzhou Furna Culture Technology Co., Ltd. is the only company outside of Beijing to have been awarded the first batch of A-type shooting licenses by the State Administration of Radio, Film and Television (SARFT). As of 2006, its Furna Film & TV Company, established 10 years ago, has produced more than 1,000 episodes of 30 TV dramas, creating the "Southern School" style. Its productions such as "New Jiangshan Beauty" and "Springtime Pigs" have performed well in the market. Others, such as Xi'an Chang'an Film & TV Production Company's The Passionate Years and Hairun Company's Prime Minister Liu Luoban and Jade Goddess of Mercy, have had a great impact. Hairun also pioneered the "new literati drama" genre with "The Legend of the Palace of Daming", "Oranges are Red" and "The Empty Mirror".
Others such as the "Hengdian" group, such as the emergence of a large number of animation production companies in recent years, for the development of China's film and television industry, for the rise of the national animation industry, are playing a crucial role.
The most famous private performing arts groups than the Yang Liping Song and Dance Troupe. She crafted the "original" large-scale dance "Yunnan Impression", not only performed in large and medium-sized domestic cities, but also out of the country. Because of the pursuit of "original ecology", the show has also made immeasurable contributions to the protection and inheritance of intangible cultural heritage.
Individual artists, freelancers, private art organizations and performing arts groups are the remarkable achievements of the 30-year reform of the literary and artistic system; without the artistic contributions of individual artists, freelancers, private art organizations and performing arts groups in the past 30 years, the spiritual and cultural life of our country would be unimaginable.
Fifth, the colorful art garden
30 years of contemporary literature and art, gradually showing the characteristics of diversity; the art garden has become a diverse, colorful art garden. The pluralism here does not only refer to the style, style, technique, skill and so on, but also includes the concept. "New Concept Composition", "New Realism", "New Historicism", "Family History Writing", "new experience", "new state", "feminist" literature, etc. all show a certain degree of "alternative" characteristics. The literature of "new experience", "new state" and "feminism" all show some degree of "alternative" characteristics. Critics called it a commercial "blockbuster" with "form over content"; vocal music with four singing styles, namely ethnic, American, popular and "original"; and "subversive" style. "subversive" type of "red rock", cold and hoarse "Knife Lang" singing, folk song covers, "Supergirl", "Superboy", "Supergirl", "Supergirl" and "Superboy". The phenomenon of "Supergirl" and "Superboy"; the "RTHK accent" and "RTHK flavor" in vocal performances, film and television performances, and literary narratives; and the "drama" style of film and television dramas. The phenomenon of "drama" and "nonsense" in the style of film and television dramas, and the "behavioral art" in the art world, etc., all give people a "different" feeling, "unorthodox", "very different" feeling. The emergence of a large number of entertaining works of literature and art, the formation of mainstream literature and art, elite literature and art and popular literature and art coexist in the situation.
In the literary world, there are a large number of "alternative survivors", which is also a prominent manifestation of the pluralistic picture of literature and art.
Han Han, who started his career by winning several consecutive "New Concept Essay" awards, has never made a serious listening gesture, and has always been a picture of carelessness and not taking a proper look at anyone, which is a difference in the concept of being a human being; this concept of being a human being, which is very different from the traditional one, is represented by a part of the contemporary teenagers. There is a difference in the concept of being a human being; this concept of being a human being, which is very different from the traditional concept of being a human being, is somewhat representative of some contemporary teenagers. Han Han's books are often issued hundreds of thousands of copies and are bestsellers. His works have always emphasized this "alternative" concept of being a human being and dealing with people. You can not like, do not advocate, but can not not allow its existence. Tolerance of "alternative" is the only way to have diversity in art.
Sixth, toward the rule of law, to ensure the healthy development of literature and art
The purpose of the development and prosperity of literature and art, internally, is to meet the needs of the cultural life and spiritual development of all people; externally, it is to safeguard the independence of the Chinese national culture, safeguard the roots of the national culture, and to expand the influence of the national culture, so as to integrate the ancient and great Chinese culture into the world as It is also to safeguard the independence of Chinese national culture, maintain the roots of national culture, and expand the influence of national culture, so as to integrate the ancient Chinese culture into the world, become a part of "world literature", and contribute to the development of modern civilization. The concentrated manifestation of the influence of a national culture and national literature and art is the world-class masters, masterpieces and classics; its realistic symbol is the acquisition of world-recognized awards for literature and art, including the Nobel Prize, the Oscar, and the awards of the three major film festivals, etc.; and its market performance is the distribution volume, attendance rate, box office, etc., in the world. In this way, the gap between the development of our literature and art can not be measured.
The fundamental way to develop literature and art is to fully emancipate the productive forces of literature and art, encourage the protection of creativity and cultivate originality. There should be policies to encourage cultural innovation and create an environment conducive to the production of fine works, talents and benefits. The lack of creativity in the entire cultural and literary world, and the scarcity of originality in particular, is a widely recognized reality. Taking the study of aesthetic theory as an example, as Prof. Zhang Fa pointed out in his article, our aesthetic theory system is still defective in two major aspects: "We have not highlighted the unique aesthetic and theoretical characteristics of Chinese culture in the principle of aesthetics"; we have not stepped out of the narrow vision of "comparing the East and the West", and we have not made any attempt to "compare the East and the West", and we have not made any attempt to "compare the East and the West". "the narrow field of vision, from the" multicultural knowledge interface concept to think about the future construction of aesthetics " 8. The existing doctrines, more or less, show traces of the systematic shape of a certain (Western) doctrine in the past, and there are very few original things. The "serious crisis" of literary theory, "is the lack of theoretical innovation and original ideas. There seems to be a lot of controversy, but there are also a lot of academic bubbles", and "some people" are still "old-fashioned ways of thinking".9 In order to change this situation, it is necessary to explore the literary theory. To change this situation, it is necessary to explore the objective laws of literary production and development, and to follow them. This law is creative autonomy, that is, literary artists in the direction of thinking, thinking space, thinking to enjoy full autonomy.
In November 1905, Lenin once emphasized that "the literary enterprise must not be a mechanical average, uniformity, or subordination of the minority to the majority"; and that "it is absolutely necessary to ensure that there is a wide world of individual creativity and personal hobbies, a wide world of ideas and fantasies, of form and content. "⑩. It is true that, also in this discourse, Lenin demands that "the literary enterprise must, in any case, be a part of the work of the Social-Democratic Party which is closely connected with the other parts". He even demanded that "literary men must participate in the organization of the party". Lenin also sharply ridiculed and criticized the hypocrisy of the bourgeoisie's so-called "free literature."...... But he did not deny the law that literary creation must have the greatest possible autonomy of thought and imagination, association and fantasy.
At the beginning of the reform and opening up, Comrade Deng Xiaoping also emphasized this point. In his "Convocation" delivered on behalf of the Party Central Committee at the Fourth Congress of Chinese Literary and Art Workers, he not only restated Lenin's above assertion, but also said, "Freedom of development of different forms and styles is advocated in artistic creation, and freedom of discussion of different points of view and schools of thought is advocated in artistic theory." The freedom of creation emphasized here also includes the freedom of theoretical inquiry in literature and art.
At the Fourth Congress of Writers, "freedom of creation" was written into the document; immediately, it was no longer mentioned; in a similar field, it was "academic democracy" that was mentioned more often. Which of the two is more in line with the law of creation? No one seems to have thought much about it; but the question cannot be avoided. Democracy is an institutional and procedural arrangement for group activities, one of the important principles of which is "the minority obeys the majority"; whereas literary and artistic creation is an individual thinking activity. The discovery of scientific truths and the innovation of literature and art are not subject to "majority rule" at all. Are the theory of relativity and the Dream of the Red Chamber the result of "academic democracy"? Even the research and criticism of them, is not it also impossible to determine the merits and demerits, right and wrong by "academic democracy"? "Academic democracy" is a matter of management, it has nothing to do with research and creation, and nothing to do with literary creation.
Literary and artistic creation, literary and artistic production is essentially the creation of thinking, creation of consciousness, is the mental imagination, association activities, must be guaranteed a sufficiently broad space and multi-dimensional, multi-directional possibilities, and must break any spatial and directional barriers, break any psychological barriers and mental constraints. The literary and artistic dictatorship of the "Gang of Four" is well known for its merciless destruction of literary and artistic artists and of the productive forces of literature and art. The "Cultural Revolution" and its previous extreme leftist ideology of "condemnation of speech" and "condemnation of thought" were also criticized and denounced by thousands of people, and their harm is self-evident; since the new era, the CPC Central Committee has repeatedly reaffirmed that "the Communist Party of China has been a leader in the field of literature and art" and that "the Communist Party of China has been a leader in the field of literature and art". Since the new era, the Party Central Committee has repeatedly reiterated the "three no's" - "not to pull the pigtail, not to hit the stick, not to buckle the hat". Comrade Deng Xiaoping, in his "Message", also solemnly declared on behalf of the Central Committee that, in literary and artistic creation, "what to write and how to write can only be explored and gradually resolved by literary artists in their artistic practice. In this regard, do not interfere." Nonetheless, it cannot be said that there are no obstacles or concerns in literary and artistic creation. This is evidenced by the lack of creativity, especially originality, of our writers. "Creative autonomy" has not yet been taken as a basic law to be followed. Over the years, we have criticized the specific crimes of the Gang of Four and the ultra-leftist ideology, but not its way of thinking; some of us still have the old-fashioned way of thinking, using different forms of movement criticism to eliminate dissenting viewpoints from time to time. Over the years, we have not fully explored the flaws in the system, especially the legal system, that have allowed the extreme leftist ideology to run rampant; we have stopped it theoretically and in terms of specific behaviors, but have failed to eradicate it from the system, especially the legal system. We have declared the evil consequences of the extreme left, but have failed to reveal the fundamental truth: no organization, group, institution or individual has ever had the power to "braid the plait, fasten the hat, or beat the stick"; no matter under what name, to do so is in itself a violation of the rights of the individual citizen and an injury, and is fundamentally against the law, violating the fundamental law of the Constitution, the criminal law and the law of the land. It violates the Constitution, the fundamental law, as well as criminal law and civil law. Therefore, it is imperative to turn the "three non-doctrines" and "non-interference", which are moral commitments and soft constraints of administrative policies, into rigid constraints of the legal system. This requires that the Press and Publication Law and other laws protecting the rights and interests of individual citizens be introduced as soon as possible. Not only that, we also need to build a social environment that encourages originality in literature and art, as well as innovation in the direction and mode of thinking of literature and art. Only in this way can the productive forces of literature and art be fully liberated and the creativity and originality of the nation grow rapidly.
Notes
①Zhang Jiong: "Review and Prospect of Thirty Years of Literature in the New Period," Journal of Shanxi University, No. 1, 2007. ② China Film Archive, China Academy of Art Film Research Institute, edited by: "Chinese Art Films Cataloging (1949-1979)", Culture and Art Publishing House, 1982. ③ Zhao Shi: "Vigorously Prospering Film Creation on Rural Themes", People's Daily, July 31, 2008 ④ ⑧ Zhang Fa: "Slightly Discussing the Evolution of the Principles of Chinese Aesthetics since the New Period", Zhongzhou Journal, No. 1, 2007. The following classification of aesthetic disciplines is also based on this article. ⑤ Han Yuhong, "Society and Literature in the Midst of Dramatic Changes-A Description of Chinese Literature's Metamorphosis at the Turn of the Century and an Analysis of the Socio-Cultural Background," Henan People's Publishing House, 2004, pp. 78-90. ⑥ Li Hongyu, "Chinese Contemporary Art after Money," Southern Weekend, August 7, 2008 (7) Li Peisen, "Brilliance Makes Dreams - Reviewing 30 Years of Chinese TV Drama", Contemporary Television, No. 6, 2008. ⑨ Qian Zhongwen: "Thirty Years of Literary Theory-From the New Period to the New Century", Literary and Art Controversy (文艺争鸣), 2007, no. 3. ⑩ Lenin, "Party Organization and Party Literature", Marx Engels Lenin Stalin on Literature and Art, People's Literature Publishing House, 1980, p. 163. Deng Xiaoping on Literature and Art, People's Publishing House, 1989, pp. 7, 10.
About the author: Han Yuhong, male, researcher at the Institute of Literature, Henan Academy of Social Sciences.