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从２０世纪７０年代末进入到８０年代，中国文学发展中出现的朦胧诗和意识流小说显示出叙述行为开始转向内省，使得原先那种“作者一读者”的直接联系瓦解了。到了９０年代，精英文学变得越来越不适宜于读者进行审美的鉴赏而只能靠批评者的分析、阐释和争论。批评日益占据了文学活动的中心位置，作品的重要性也就随之减退，作品的重要性让位给了文学事件的重要性。批评活动从文本批评泛化为语境批评和大文化批评，从学术批评延伸到大众文化传播。泛化后批评的主要功能不再是研究和评价作品，更突出地表现为制造文学事件。以作品欣赏为中心的审美活动因此而变成了以事件传播为中心的社会交际活动。
From the late 1970s to the 1980s, the faint poems and stream of consciousness novels that appeared in the development of Chinese literature show that the narrative activity has begun to turn into introspection, and the original direct contact of “author-reader” has collapsed. By the 1990s, the literature of the elite became more and more unfit for the reader to appreciate the aesthetic appreciation, but only by the critics’ analysis, interpretation and debate. Criticism has increasingly occupied the center of literary activities, the importance of works has diminished, and the importance of works has given way to the importance of literary events. Criticism activities have been generalized from text criticism to contextual criticism and big cultural criticism, extending from academic criticism to mass media. After the generalization of the main function of criticism is no longer the study and evaluation of works, but also prominently manifested in the manufacture of literary events. As a result, the aesthetic activity centered on the appreciation of the works has become a social communication activity focusing on event communication.