My first impression is the back, a woman with long hair and shawls, a voice. When I came in, she was arguing enthusiastically for America with a literary critic. What was originally a rambling chat after dinner somehow finally came down to a serious and unavoidable national position. Yan Jun was argumentative and academic, and as a result, small talk turned into discussion and debate.

Literary parties are often spiritual consolation parties, but Yan Jun can often make some questioning voices, but it doesn't sound so harsh. She is not tired of speaking against her will, and at the same time she doesn't feel that she has to weigh her tone and judge life and death. Although Yan Jun, a new critic, is criticizing, he doesn't pretend to be amazing, he doesn't pretend to be a cool critic, and he doesn't wholesale new concepts that are dazzling. Her criticism is down-to-earth and takes a noble and decent road. Realistic concern and artistic interest go hand in hand in her literary view, and she even repeatedly appeals to and advocates the amateur mentality and game spirit of literary writers. I think that's her own attitude towards literature and literary criticism. Soon, she grew up to be "Young Critics of the Year".

There are many qualities in the literary and art circles. Speaking of fun, reading is pleasing to the eye. In recent years, Yan Jun's critical career has been smooth sailing. Every time I meet him, I find some new changes in Yan Jun, which have gradually become thoroughly remoulded. When she carefully selected all kinds of earrings in a small shop in western Sichuan, a woman's seductive heart had begun to show signs, and it has almost increased since then. Author: Wei Yi

As Shao confessed: "This kind of evaluation (referring to her analogy) is harsh." That's right. But this kind of harshness is very common in critical circles-it is the most convenient methodology for incompetent critics, and it is unfair and not authentic for a particular writer.

Shao's metaphor is based on the premise that she first drew up an illusory literary pedigree-this pedigree actually exists only in her limited reading range. Secondly, she explained this pedigree by misreading-here, Thick Soil is alienated as "close to the original ecology, with a single angle and a monotonous technique" and cavalry is alienated as "introverted, introverted and deeply conflicted". In my opinion, this is not a "novel reading", but a "poison novel". In the hands of such critics, the novel is not far from "alas, it is still delicious".

Shao Yanjun-including many students in Taste of Cao Hui-is confined to the exclusive problem of "jealousness and jealousy", that is, "first-rate", and deliberately ignores or even despises the personality of Cao Naiqian's novels. They don't regard the personality of the novel as the most important quality of the novel, but take * * * as the more important quality. Finding out the * * between different novels has become their instinctive goal just like "eating color". They use this to establish their own views, make their views clear, make their slogans loud, make writers classified like commodities in supermarkets, and make their authority irresistible like institutions. In this system, the most precious personality of the novel-"this one" is replaced by "this batch and that kind". In short, everything is for the convenience of operation, and of course everything is also for the game of discourse power. As for novels, they are only used to talk about things. Perhaps more than that, I feel that their criticism is aimed at destroying their own criticism object-Cao Naiqian's novels.

The so-called humor is actually black humor. Therefore, only teasing can be profound. Author: Li Jianjun

Shao is a young critic with outstanding achievements, distinctive personality and great influence in recent years. Criticism of cultural and literary phenomena such as Towards * * * Harmony, Accepting Life, Beauty Literature and Mao Dun Literature Award shows mature ability and unique vision in analyzing complex problems. She has meticulous academic attitude and independent critical spirit. As a scholar-type critic and critic-type scholar, she combines emotion with reason, and harmonizes passionate criticism with strict academic norms. Although jonathan kalle said that "explanation is only interesting if you go to extremes", for Shao Yanjun, such views and opinions are completely invalid. Shao's interpretation is neither arbitrary "over-interpretation" nor ambiguous "under-interpretation", but appropriate and reliable "moderate interpretation".

Under the pressure of abnormal "academic" system, criticism gradually lost the courage and passion of "opposition" and became a false phenomenon of anti-criticism; Focusing on the objectivity of pure literature, criticism has been alienated by phenomenology into a game with symbols as props and a constantly changing text anatomy. Suspending judgment, eliminating meaning and suspending value have become the basic program of the new critical model. No questions, no objections, no rejections. No matter how bad the junk works are, we eloquent and ingenious critics can say a lot of irrelevant words without shame. In this way, the critical conscience is gradually disappearing. However, Shao's criticism is full of passion and responsibility in the new "literary field" where "the principle of interest" is paramount. This is real criticism. It is involved in reality, full of passion and courage of doubt, criticism, reflection and rejection, and has a stable value position and reliable goal pursuit and reconstruction.

Shao's criticism is quiet, peaceful and restrained, full of convincing facts and clear organization, showing a calm, calm, elegant and atmospheric style. In her criticism, there is no arrogance to unknown writers, no flattery to "famous writers", and no closed tendency of some "academic critics" to search for chapters and sentences. She doesn't want to do death studies such as old and new, and the shallow foreign studies can't attract her attention. Her critical behavior is full of passion and impulse to get involved in reality, courage and consciousness to take responsibility. Therefore, she is more interested in the important and concrete big problems we are facing at present, that is, the latest literary and cultural phenomena. She can not only find literary experience worthy of study, but also analyze problems in detail and deeply, and finally put forward valuable conclusions and judgments productively. On many important issues, we can all hear Shao's voice-although it is not as shocking as the fashionable advertising criticism at present, it shows a different spiritual temperament in calmness and expresses serious thinking and practical judgment. It is necessary for us to quietly listen to Shao's words that hit the nail on the head, and patiently understand her worries and hopes about China literature amid the noise of empty talk.