Special Topics•The Rise and Prospect of New Forms of Literature and Art for the General Public (‌Ⅱ)

■ Technical "Amateur" and "Amateur" Direction in New Popular Literature and Art （PP. 4–14）Yang Guang

Abstract: The rise of new popular literature and art makes "amateur" stand out as a very important literary theoretical issue. By putting the amateurs and their literary and artistic activities in the perspective of philosophy of technology, we can think that the distinctive literary color of amateur in the new popular literature and art is not a pure expression of "de-technicalization", but a profound technical practice, which is an action for ordinary people to regain their sensibility, rebuild their memory and confirm their existence through literary and artistic practice within the technical system. However, in the digital capitalist reality of platform capital and flow economy, the "amateur" literature and art as a technical practice is also faced with a perceptual crisis. Therefore, advocating an "amateur" different from the "online celebrity" amateurs will help to understand the internal tension and future direction of the new popular literature and art.

Keywords: new popular literature and art, philosophy of technology, amateur, amateur love

■ Examining the Threefold Characteristics of New Forms of Literature and Art for the General Public through Micro-Series （PP. 15–23）Leng Song

Abstract: As an emerging online literary and artistic form in recent years, micro-series have become a new type of literature and art for the general public with their lightweight narratives and strong communication power, serving as an important window to observe "new forms of literature and art for the general public". This article first sorts out the development context of micro-series, and then explores the threefold characteristics of new forms of literature and art for the general public through micro-series. In terms of popularity, it not only responds to public cultural expectations through realistic and down-to-earth narratives, but also stimulates the creative vitality of the whole people relying on open platforms, realizing the two-way interaction between "creation for masses" and "creation by the masses". In terms of integration, it shows the two-way drive of cultural inheritance and era innovation through the intertextual reconstruction of traditional culture and modern context, and the in-depth coupling of artistic language and digital technology. And in terms of communication, relying on its flexible advantage of cross-platform migration, it breaks through the constraints of time and space, achieving the dual effects of instant access and wide coverage.

Keywords: micro-series, new forms of literature and art for the general public, popularity, integration, online communication

■ The Creative Orientation, Contemporary Value,and Aesthetic Characteristics of Amateur Short Videos Created by Ordinary People（PP. 24–31）Liang Junjian

Abstract: With the popularization of digital audio-visual technology, ordinary people are increasingly participating in literary and artistic creation through video shooting and sharing. Short videos have become a representative textual type in new forms of literature and art for the general public , and have also sparked reflection on three important issues: realism, contemporary value, and the balance between popularization and artistic improvement. Against a backdrop of realism, amateur short videos have reinforced the conscious expression of individual life experiences and concern for others and society, promoting the formation of a more vibrant and vivid audio-visual form, thereby achieving a transformation in media functions, creative concepts, and humanistic spirit. Although the characteristics displayed in amateur short videos do not yet fully represent the dominant trend in new forms of literature and art for the general public , they provide important criteria and references for understanding and evaluating the creation of new forms of literature and art for the general public by different groups and in different forms.

Keywords: amateur short videos, new forms of literature and art for the general public, realism, contemporary value, popularization and improvement

■ Migrant Worker Literature from the Perspective of New Forms of Literature and Art for the General Public（PP. 32–47）Liu Dongwu

Abstract: "Migrant worker literature" is a phenomenon of new general public writing that has emerged within the context of China's industrialization and urbanization. Understanding and evaluating "migrant worker literature" from the perspective of new forms of literature and art for the general public has the potential to stimulate deep-going discussion on the relevant issues. The de-elitization and de-aristocratization of "migrant worker literature", and the emergence of migrant workers as a new creative force, indicate that literature and art is no longer the exclusive domain of professional writers and intellectual elites. The widespread availability of compulsory education and the emergence of new online media have created opportunities for the equalization of cultural rights, allowing "migrant-worker writers" to possess the same artistic expressive abilities as other writers. "Migrant-worker literature" depicts unprecedented global transformations, epochal changes, life-altering experiences, and inner spiritual shifts, exhibiting distinct characteristics of a transitional era.

Keywords: new forms of literature and art for the general public, new media era, migrant-worker literature

Theoretical Explorations

■ Bending or Lifting the Head: From the Cosmos and Human Life to Literary Expression （PP. 48–59）Yuan Jixi

Abstract: Fuyang（俯仰） which means bending or lifting the head, is a commonly used term in ancient Chinese thought and culture. The term "bending or lifting the head to observing" was proposed in the Book of Changes（《周易》）. Due to the classical nature of the Book of Changes, it has permeated various aspects of Chinese culture, including life and aesthetics, and has had a great influence on later generations. Fuyang comes from individual humans and refers to the meaning of responding to the source in an instant. It has been widely used in music and dance, and the term Fuyang has expanded from physical movements to spiritual freedom and personality transcendence, possessing aesthetic connotations. In the poetry and prose of Ruan Ji（阮籍）and Ji Kang（嵇康）of the Wei state during the Three Kingdoms period, this term was rewritten, creating a new atmosphere. Tao Yuanming（陶渊明）, a poet of the Jin and Song period, integrated it with aesthetic life in his pastoral poetry, thus activating the aesthetic value of this term and integrating it into the spiritual home of Chinese culture. Although the term "Fuyang" is not strictly defined as a literary category, it carries cultural connotations and demonstrates the vitality of both the original and external expressions of Chinese discourse. It still provides inspiration for today's literary writing and discursive construction.

Keywords: bending or lifting the head, life, aesthetic, literature and art, Chinese literary criticism

Diverse and Extensive Art Phenomena

■ Re-narrating Her-story:Blockbuster Screen Productions and New-wave Feminism in China's New Era （PP. 60–76）He Guimei

Abstract: The themes of womanhood and gender have become a vital expression in recent new forms of literature and art for the general public, generating a series of widely discussed hit films and television series. This article focuses on six representative works created by female leads from 2022 to 2024. Building upon textual narrative analysis, it deciphers the historical significance of these new images of female subjectivity. Furthermore, it analyzes the distinctive features of this cultural moment by contextualizing it both horizontally within a global framework and vertically within the historical backdrop of China's century-long women's liberation movement. Ultimately, this study explores the possibilities for narrating diverse Chinese stories for the new era through the two-way interaction between female narrative and the construction of new forms of literature and art for the general public.

Keywords: female-themed works, gender equality, China's stories, new-wave feminism, new forms of literature and art for the general public

■ A Cross-Media Intertextual Analysis of Calligraphy and Literature in Luoshen Fu（PP. 77–89）Cheng Wei

Abstract: As the most frequently reproduced prose-poem in the history of Chinese calligraphy, Rhapsody on the Goddess of the Luo River(Luoshen fu) forges a profound cross-generic aesthetic resonance with the calligraphic practices of Wang Xizhi and his son Wang Xianzhi. The "fluent elegance and vigorous strength" as well as the "transcendent and unrestrained spirit" that characterize the brushwork of both Wang masters echo the literary style of the Luoshen fu and its depiction of the graceful, flowing lines of the feminine form. The aesthetic paradigm established by the rhapsody gave rise to a sensory synergy between literature and calligraphy, eventually developing into the unique phenomenon of "interpreting calligraphy through prose-poems" (yi fu shi shu) in medieval calligraphic criticism. An intertextual reading of the Luoshen fu and calligraphy reveals that the interplay between Chinese calligraphy and literature was not a mere coincidence. The cross-media intertextuality between calligraphy and literature in the Luoshen fu not only constructed a powerful aesthetic tradition and a magnetic field of meaning, but also, invisibly, wove interpretive boundaries that are difficult to transcend. Examining the underlying dialectic between "creative transformation" and "path dependence" inherent in the formation mechanisms of Chinese artistic classics offers methodological insights for re-evaluating the linear narrative of traditional art history.

Keywords: Luoshen Fu, calligraphic theory, cross-genre intertextuality, deep-seated paradox

■ Yu Shangyuan's Discourse on Theatre and the National Theatre Vision: Sinicizing Western Theatre （PP. 90–104）Fan Shiyuan

Abstract: As the core of the theoretical discourse of the National Theatre Movement, Yu Shangyuan's conception of xieyi was deeply rooted in Chinese artistic traditions while also engaging in dialogue with modern Western art, thereby responding to the debates between new and old theatre during the May Fourth period as well as to the process of theatre's nationalization and modernization. By appropriating the Western opposition between representation and presentation, Yu interpreted the Chinese categories of xieshi and xieyi: on the one hand, he translated xieyi as presentational, endowing it with the modern theatrical implication of "breaking the fourth wall", and on the other hand, he articulated the principle of "using painting as a metaphor for theatre" to affirm the spirit of "pure art" and the orientation of an expressive aesthetics. In incorporating Western theatrical resources, Yu consistently maintained a Chinese perspective: he employed the concept of neigong to interpret new developments in realistic theatre, while through a creative reinterpretation of Reinhardt, he revitalized the modern potential of the xieyi tradition. In this way, Yu continuously negotiated between xieshi and xieyi, and ultimately envisioned a "national theatre" that combines distinctive national characteristics with modern significance.

Keywords: xieyi, xieshi, Yu Shangyuan, national theatre movement

Interview with Renowned Experts

■ From True Skill to True Knowledge:An Interview with Fu Tenglong, A Magic Performance Artist and Theorist of Acrobatics and Magic （PP. 105–118）Interviewed by Xu Qiu

Inside Front Cover

Chinese Literary and Art Critics: Mao Jian

Inside Back Cover 

Recommendation of Important Academic Organizations in Literary and Art Theory and Criticism:China Institute of Stage Design

Back Cover 

Poster of the Thematic Seminar on Industry Ethics Construction & Training Program for New Members of China Literature and Art Critics Association with the Theme of "Caring for the People and Reflecting Reality"