On December 1, 2020, Li Chaoquan, the deputy director and researcher of creative Research Department of Chinese Writers Association (CWA), gave an academic lecture entitled The Path and Method of Literary and Artistic Criticism at present at the invitation of the key discipline of Drama, Film and Television Studies of our school.The lecture was hosted by Professor Wang Hui, director of Drama, Film and television Studies, and listened to online by teachers and graduate students of Drama, Film and television Studies.
Li Chaoquan, the deputy director and researcher of the Creative Research Department of The Chinese Writers Association (CWA), was selected as a cultural celebrity of the Publicity Department of the CPC Central Committee and one of the "Four Batches" talents. He is the author of Literary and Artistic Creation and National Image, On Nonfiction Literature, Reassessing the Value of Contemporary Chinese Literature, The Best Of Times, National Study, Dream to Light up Life, and Century Bosom Friend: Ba Jin and Bing Xin and so on. He has been a judge of MAO Dun Literature Prize and Lu Xun Literature Prize for many times.He has won the National "Five one Project" Prize, The Zhuang Chongwen Literature Prize, the Chinese Population Culture Prize, the National Excellent Popular Science Works Prize, the Chinese Excellent Publications Prize for Earthquake relief Special Prize, the Bingxin Children's Book Prize etc.
In the lecture, Researcher Li Chaoquan first mentioned that the current literary creations and literary criticism criticized by General Secretary Xi Jinping include lack of quantity, quality, mechanized production, proliferation of vulgarity, floating style, lack of values, admiration of foreigners, admiration, flattery, etc. Eight kinds of strange phenomena cannot be ignored. We must attach importance to literary criticism and have a scientific, healthy, and sharp critical spirit. Li Chaoquan believes that there are currently five problems and tendencies in literary criticism that are worthy of attention: one is the degradation and dwarfing of criticism; the other is the turn of criticism, especially "academic criticism", which focuses more on the research and argumentation of literary history; The third is the authorization of criticism, with frequent long-length discourses and grand works; the fourth is the dislocation and absence of criticism, which cannot guide the current literary thoughts in time; the fifth is the passivation of criticism. Many critics have insufficient appreciative ability or bludgeon or criticize articles. Lack of literary talent.
In the era of all-media, the concept, form and carrier of literary creation have changed, but the value of literary criticism has not changed. It is still pushing good and bad, removing the rough and keeping the essence, appraising classics, and historical works. In this regard, Li Chaoquan believes that literary criticism should return to common sense, return to the original point, return to the original intention, and return to the fundamentals. Literary criticism faces the two major audiences, writers, artists and readers, and the core of it should be the text of the work, which is the criticism from the text, especially some new texts such as non-fiction literature and online literature.
Li Chaoquan believes that the current path and method of literary criticism can be started from seven aspects. The first is to build a critical standard system, which has ideological standards, aesthetic standards, cognition and education value standards, and social effect value standards; second, it is necessary to highly emphasize the subjectivity of criticism; Judgment criteria; fourth, it is necessary to vigorously promote transitive and intermediate criticism, and point to the key points of the work; fifth, to fully affirm the independence and self-sufficiency of the critical text. Sixth, we must build a good literary and artistic atmosphere, and form a loose, tolerant, equal, and dialogue-oriented criticism ecology; seventh, we must learn from the experience of ancient and modern Chinese and foreign excellent literary criticism. Li Chaoquan pointed out that critics can enter literary criticism from two ways. One is experiential criticism, which involves the work as a reader. On this basis, it enters the second level of criticism, namely critical criticism, to form valuable and powerful literary criticism.
At the end of the lecture, Li Chaoquan also answered relevant questions raised by the audience.
（Li Mengya, trans. Zhao Yuping）