What is the future direction of human development? Please, thank you.

I hope it will be helpful to you. Literary aesthetics is an original new subject proposed by Chinese scholars in the 1970s and 1980s. In 1976, Taiwanese scholar Wang Meng'ou published "Literary Aesthetics", and its name alone was pioneering. In 1980, the mainland scholar Hu Jingzhi proposed the establishment of the discipline of literary aesthetics, and made a preliminary definition of the objects, nature, and methods of literary aesthetics in subsequent works. Over the past 20 years, mainland scholars have published nearly 20 books and nearly 100 papers on literary aesthetics. As a new discipline, literary aesthetics has been basically formed in the academic world, although there are debates. The disciplinary status of literary aesthetics has been confirmed. Aesthetic activities and literature and art are constantly developing and changing, and aesthetics and art can take on new ways, forms, and forms, and the changes are endless. However, I firmly believe that aesthetics will not die and art will not die. Therefore, the grasp and thinking of aesthetics and art will not disappear, and literature, aesthetics, and literary aesthetics will continue to exist, and will develop and change with the continuous development and changes of social reality, aesthetic activities, and literature and art. Keywords literature and art, aesthetic characteristics, literary aesthetics, new discipline, current situation Literary aesthetics is an original new discipline proposed and named by Chinese scholars in the 1970s and 1980s, and scholars on both sides of the Taiwan Strait have made great efforts. In 1976, Taiwanese scholar Wang Meng'ou published a short book called "Literary Aesthetics" [1]. This is the first treatise that I know of that uses the term and name "literary aesthetics". This alone is a pioneering work. The book has two chapters and eleven chapters. The first seven chapters discuss the historical development of Western literary aesthetics from ancient Greece to the 20th century. The second chapter discusses several basic theoretical issues in literary aesthetics. In this book, although the author does not elaborate on the object, nature, content, category, methods, etc. of "literary aesthetics" as a discipline, it seems that the title and the use of the term do not deliberately establish any new discipline. Perhaps there was no conscious awareness of establishing a new discipline at that time; however, the author was clearly aware of and attached great importance to the inherent relationship between literature, art and aesthetics. In the first chapter of the next article, "Understanding of Beauty," he quoted a passage from Wellrick and Warren's "On Literature" that "Art is a system of symbols or a composition of symbols that serves a specific aesthetic purpose." After that, he said: "If we look at it according to this definition, the so-called literature is nothing more than a writing system or a composition of words that serves a specific 'aesthetic purpose'. What makes it different from other arts lies in the symbols used. It is different, but the reason why it becomes a work of art is that it serves an aesthetic purpose. Therefore, in terms of the artistic characteristics of literature, the important thing is this aesthetic purpose. On the contrary, anything that does not have this aesthetic purpose, or If it does not meet the aesthetic purpose, even if it has a writing system or composition, it cannot be regarded as art." [2] Emphasis is placed on the "aesthetic purpose" of literature and art, and it is considered to be "important" and "the artistic quality of literature". This is "literature that cannot be counted as art"; and the aesthetic characteristics of literature and art are regarded as an important observation angle and research content. This is exactly one of the important qualities of literary aesthetics as a specific discipline that later advocates of literary aesthetics tried their best to emphasize. A few years later, "literary aesthetics" as a new discipline was consciously proposed by mainland scholars, and active and effective discipline construction was carried out. First, Beijing scholar Hu Jingzhi proposed at the Chinese Aesthetics Society in the spring of 1980 that literary aesthetics courses should be established in university art and literature departments. He explained this subject in his 1982 article "Literary Aesthetics and Others": "Literary Aesthetics and Others" "Aesthetics is the product of the combination of literature and art and aesthetics" and "aesthetics about literature and art". "The in-depth development of literature and art and aesthetics has prompted the emergence of a new discipline intertwined between the two. Let's call it For literary aesthetics” [3]. In the following years, many scholars, with strong interest and courage to explore, wrote articles or held meetings to discuss whether literary aesthetics could be established as a new discipline, how to position it, as well as its objects, nature, content, scope, Methods, etc., express opinions, discuss and ponder.

[4] What is more worthy of attention is that over the years, a group of scholars have a special liking for literary aesthetics. They have devoted themselves to long-term research and writings, and published a number of works with or without the label of "literary aesthetics". "The logo is actually a treatise on literary aesthetics; he founded a literary aesthetic journal; he edited and published a series of literary aesthetics; in addition, he also published a number of monographs and book series on departmental art aesthetics and classical literary aesthetics. [5] Many universities offer courses in literary and artistic aesthetics to cultivate graduate students in literary and artistic aesthetics. [6] Some universities have established specialized literary and aesthetic research institutions. [7] In short, academic colleagues have worked together and achieved practical results in discipline construction. In my opinion, if we count the 27 years since Wang Mengou published "Literary Aesthetics" in 1976 or the 23 years since Hu Jingzhi consciously advocated the establishment of a "Literary Aesthetics" course in 1980, literary aesthetics, as an independent new discipline, is still There are different opinions, but overall it has been basically established and is gradually becoming a climate. Regarding the construction of the discipline of literary and artistic aesthetics and the landmark work achievements that enabled it to be established, I once wrote in the section "On Human Ontology and Artistic Aesthetics" [8] in the book "Philosophical Reflections on Art" published in 2001. After a rough discussion, I will make some additions. First, it preliminarily identified the subject nature of literary aesthetics. Most scholars believe that literary aesthetics is an interdisciplinary and marginal subject between literature and art and aesthetics, and is the product of the hybridization and combination of literature and art and aesthetics. Like literature, art and aesthetics, it belongs to the humanities. But it is neither the same as literature and art - it has some qualities of literature and art but is not entirely literature and art; nor is it the same as aesthetics - it has some qualities of aesthetics but is not entirely aesthetics. It can be called the aesthetics of literature and art, or it can be said to be literature and art that conducts aesthetic research on literature and art. Therefore, Hu Jingzhi "let's call it literary aesthetics" at the beginning. This naming has been recognized and used by most colleagues in the academic community for more than 20 years