The Boundary Of The Comment

Li Jianwu played a very important role in the history of Chinese modern literary criticism. And in the objects of Li Jianwu’s literary criticism, drama mustn’t be neglected. On drama, Li Jianwu always had unique opinions. Thus the auctorial subjectivity of drama criticism was revealed from different aspects. As a drama critic, what Li Jianwu did was writing to comment on drama works, but he didn’t limit himself in the field of discourse in drama text. Oppositely, with the broad art vision and the profound accumulation of knowledge, Li expressed rich and wonderful interpretation on all kinds of drama plays. As a result, the subjectivity of a drama criticism author was built. It was this feature that let Li Jianwu’s drama criticism had a style of one’s own in the field of modern Chinese literary criticism, and made a great influence.This paper aims to go deep into the view of Li Jianwu’s drama criticism to understand and research the auctorial subjectivity of his drama criticism from many aspects, such as ideological basis, reasons, forms, meanings, challenges and so on, though analyzing the development process of Li Jianwu’s drama criticism and related works. The paper consists of five parts. At the first one, the introduction part, I introduces Li Jianwu’s drama criticism in detail, and poses the subjectivity problem of Li’s drama criticism. I start researching Li Jianwu’s drama criticism at the second part, then summarize the different characteristics which can reflect the auctorial subjectivity as three aspects, including not only the view of drama criticism like standard and principle, but also the pursuit of artistic style like writing skill and literary form. The content of the second part make the auctorial subjectivity in Li Jianwu’s drama criticism be clear at a glance. I mainly discuss the forming reasons of the auctorial subjectivity by researching ideological basis of Li Jianwu’s drama criticism. Li was a critic with a thorough knowledge of both western and Chinese culture, which built the critic style of Li Jianwu’s drama criticism together, so it’s necessary to analyze the influence of western and Chinese literature theory on Li Jianwu’s drama criticism. At the forth part, I put Li Jianwu’s drama criticism in the background that the literary criticism developed rapidly in the 20th century. In the era of critical discourse changing so fast, the auctorial subjectivity in Li Jianwu’s drama criticism had to meet strong challenges. Many difficulties was made by the challenges. Some were visible. Some were not. Some are realistic. Some are ideal. They all damage the auctorial subjectivity in Li Jianwu’s drama criticism more or less. The fifth part is the last one of this paper. At this part, I make the topic the auctorial subjectivity in Li Jianwu’s drama criticism based on the present literary criticism in China. Inadequacy of literary criticism environment and the vacancy of author spirit is analyzed from the angle of the objective. Therefore, the auctorial subjectivity in Li Jianwu’s drama criticism show its realistic significance, so that it should be valued as a worthy example with the heritage of author spirit. There is no denying that this paper still has many deficiencies, such as data collect and theoretical construction. But I hope sincerely this paper could provide a new thinking and angle for Li Jianwu’s criticism research, meanwhile bring a beneficial help to the environment of contemporary Chinese literary criticism.