In fact, \\\"creative in China\\\" for China is not an independent main strategic concept, but a series of integrated interpretation and practice of Chinese existing policy and development experience. It is the summary of practice experience and theory, which means it has a extremely strong historical summary and a strong guiding significance to the future. All in all, firstly, activating literary and cultural creativity through the development of creative industry is the initial development with the focus on creative China strategy, which is reflected in a series of strategic positioning documents of creative industry issued by the government in the first decade of the 21st century. Later, the state positioned creative industry as the pillar industry of national strategy. Second, step towards a world-class cultural power through cultural development boom. Promote cultural prosperity and cultural soft power as the premise condition of national rejuvenation, \\\"enhancing national cultural soft power is critical to the realization of the ‘two hundred’ goal the realization of the great rejuvenation of the Chinese .\\\" (on November 26, 2013, Xi Jinping, general secretary in Shandong Qufu when gave the speech). Third, the construction of \\\"core values\\\" and \\\"ideological discourse power\\\" are the two cornerstones of the construction of \\\"creative China\\\". Fourth, \\\"cultural confidence\\\" is an important fulcrum of the national strategy of creativity with Chinese characteristics. The focus of the stage and the current meaning of \\\"creative China\\\" are very clear, not only in the proposal of \\\"great cultural development and prosperity\\\" at the 17th National Congress of the Communist Party of China, but also in the definition of \\\"building a cultural power\\\" at the 18th National Congress, and the emphasis on \\\"strengthening cultural confidence\\\" at the 19th National Congress. Fifth, Culture benefits the people and meets the people\\u0027s spiritual and cultural needs for a better life. This is the fundamental direction for Creative China. Sixth, according to the three-step strategy, China needs to step into the range of innovative country in 2020, and become a leading country in 2030, and build the world\\u0027s innovation powerhouse of innovative ideas in 2050. (\\\"National Innovation-Driven Development Strategy Outline\\\", CPC Central Committee, State Council, May 2016) \\\"creative\\\" China will make China eventually become the developed \\\"creative country\\\" from a preliminary \\\"creative economy\\\".
Based on the above interpretation, the author believes that it is imperative to have creative transformation and development in contemporary Chinese literature Desk writing by traditional professional writers, pure literary writing by elite writers, and the road to the cultural and creative industry, the community, and the creative economy.
3. Construct \\\"Literary Creative China\\\" in response to the \\\"Creative China\\\" strategy
The current creativity-driven development in China, at the cultural level, is like \\\"May Fourth Movement\\\". If we say that the \\\"May Fourth Movement\\\" starts the country\\u0027s culture transforming into a diversified, autonomous and scientific modernization. Today, “Creative China” strategy is creating a Chinese cultural \\\"Creative\\\" transformation. Literature is the mother of all creativity. As the upstream source of creativity, it is the engine of the cultural and creative industry. In this process, we started by building a literary creative China, which makes contemporary literature the engine of Chinese originality. In the era of creative economy, the source of the cultural and creative content promotes the early arrival of Creative China. It should be a strategic choice worthy of priority consideration.
First of all, we must recognize the development of literature industrialization conceptually. The reality is that the industrialization of literature has greatly released the creative power. The government should comprehensively consider the current status of the development of literature, since the development of industrialization, the annual volume of Chinese novels develop from 1,000 to the current 100,000 million (sets). The number of Chinese writers has reached more than 5 million people, which is a 50-fold increase, the literary reading population and the literary reading volume have increased 10 times accordingly.
Secondly, we must fully realize that this improvement needs to rely on fair market environment and copyright protection mechanism. This kind of literary industry increases the density of the loose environment that has relied on China\\u0027s online publishing environment in the past decade. (New ownership enterprises and state-owned paper publishing houses are competing with each other in the same market), while also gain good protection. Various online institutions generally establish paid for content models, but Chinese literary industry still faces the inequality in competition environment for enterprises of various ownership. Lack of copyright protection and intervention lead to problems in market mechanism problems such as super monopoly, which requires greater reform of the industry to promote further productivity in the literature industry. Release and accelerate the pace of improving the originality of Chinese literature.
Construct the literary view of \\\"Creative Ontology\\\", which meets the strategic needs of creative China in the era of creative economy. In the era of creative economy, literature is like creative industries and predominant original content. Now, facing this new type of business literature, there are limitations in social literature ontology based on imitation, performance, practice and objectivity.⑨ We should put literature into the field of producer(author), product(work), consumer (reader). We need to understand and analyze it in the market mechanism. It is necessary to construct a new type of creative-oriented development of industrialized literature. The literary ontology with analytical ability recognizes that the essence of literature is creative. The originality of creativity has promoted the writer\\u0027s literary production. The realization of industrialization led to a consumption marked by literary reading. Literary creativity is a trinity, including the origin (Internal drive), process (creative shaping), and result (generated works or products). The creative “trinity” promotes transformation and proliferation of business formats in literary creativity industry, which are the cross-temporal and cross-media, forging the IP industry as the external characteristic of cultural and creative industry chain. ⑩ The literary view of creative ontology emphasizes the marketization of creative incorporation into one\\u0027s own essential investigations and encourages market-oriented individuals. Inspiration of creativity and collective cooperation on the basis of giving full play to individuality has the same creativity, where the current trend of typology in literary creation explains well. With this phenomenon, the respect for literary product does not harm their creativity. On the contrary, it guarantees the creative production of genre works. Another important point of constructing creative literary theory is to establish creative value in the thinking of ontological value of literature, and the establishment of creative protection mechanism. China should provide legal protection and market mechanism protection lest the proliferation of literary creativity. Learning from the experience of developed creative countries, we find that creative countries must establish a sound copyright protection system as a prerequisite. Without the protection of creative copyright, the vitality of creatives cannot be stimulated. The flow of creative industrialization has become the end of nothing. In this regard, we still have a long way to go.
The literary concept of creative ontology emphasizes that writers can be cultivated, creative ability can be evaluated, creative potential can be stimulated, and creative activities can be controlled. It follows that the education of literary creativity also has the same attributes. Contemporary literature disciplines in Chinese universities should take the initiative to assume the creative class (Creative writers, poets, screenwriters, etc.) training and the development of creative writing as a discipline, hematopoietic transfusion for the practice of creative China strategy.
The creative transformation and development of contemporary Chinese literature requires reformed literature, talent training and protection system, allowing universities to cultivate literary and creative talents, which is the base of literary works. Looking at the development of the creative writing in the United States and the UK after World War II, systematization and nationalization of the training mechanism is the symbiosis that always accompanies it. After World War II, the United States used the state machinery to develop creative writing in colleges and universities as a discipline, and even directly use government power for long-term funding such as the creative writing workshops in University of Iowa and other institutions. These workshops have become important original sources and driving factors for the development of creative industries in China. We Should formally recognize and develop the discipline of creative writing to establish new ideas and creative talent training mechanism, so that colleges and universities can form writer training function and composition cultivating function, and establish a writer-in-residence system to make universities writers’ habitat. The subject of Chinese creative writing has obtained the acknowledgement from 100 colleges, since it was born in Shanghai University in 2009. Fudan University, Tsinghua University, Peking University and Tongji University and many other universities offer undergraduate courses, and about ten universities have established master pilot. However, compared with creative countries like the US and the UK, we are still very conservative and backward. The creative writing discipline in English has trained Nobel Prize winners. For example, Ishiguro Kazuo, Nobel Prize winner in 2017, graduated from East Department of Creative Writing, Angela University. There are more than 2400 active creative writing workshops in American universities, where cultivates 80％ American professional screenwriters and writers. The system not only gave birth to the anti-war in American literature after the 20th century, but also schools such as literature and black literature, which have made the United States the world\\u0027s largest Creative Dream Works.
Market-oriented development is the mainstream, but complete marketization does not exist and market worship is also undesirable. The transformation and construction of Chinese creative contemporary literature should incorporate literary creation and appreciation into the national public cultural service system, making it a part of the national public cultural supply, allowing writers to enter the community, become the organizer, promoter and performer of community literary activities. Citizens can participate in cultural activities in community writing and reading workshops under the institutional guarantee of the public cultural system. The opportunity of literary activities makes literary creation and literary reading become a new type of national cultural welfare. This kind of system in developed western countries has been quite mature. In Stephen Peter Healey\\u0027s Creative Writing Rise? and the new value of creativity and Terry Ann Thaxton\\u0027s Creative Writing? in the Community, humanities in western universities are talked about. The cultivation of creative writing talents and the practice of community public cultural services are combined and respected. Students, literary creators, and liberal arts students in college should be aware of their citizenship, step out to the community from the classroom, and demonstrate the awareness of citizen service and social responsibility. In turn, the best path of the development of creative writing practice is from college creativity writing workshops to community workshops, then to creative cities, even literature capital, finally leading to a country of literary creativity. Under the background of creative country, Chinese contemporary literary creation works on the basis of fully protecting the pluralistic autonomy and individual creativity of art. To break the dichotomy between the elite and the folk and realize the diversity of art, realize the independence and cultivate creative citizens, China should encourage citizens to participate in the establishment of creative villages and communities, creative town, and literary capital. In the formation of the identity of creative country, citizens should protect traditional culture and carry out creative innovation, reconstruct multiculturalism and export multicultural values, in order to build a community of shared future for creative nations.
Advocating the creative transformation of contemporary literature, based on diverse values building a literary creative China with multiple values. With the birth and development of online literature, China has become the world\\u0027s first power in literary production, with the total number of writers in China and the total number of annual literary creations both ranking No. 1 in the world. Some researchers regard Chinese online literature, Japan\\u0027s Manga, Korean TV series, and American Hollywood movies as the four cultural wonders in the world. But at the same time we should also see that no matter from the perspective of the population of literature readers or the proportion of the population of writers, we are not literary powers. From the per capita annual reading volume of literary works, we are even a weak country. From the perspective of inclusiveness in pluralistic culture, social tolerance, class tolerance and value tolerance, our tolerance of literary creation is still weak. From the output and world influence of literary works, our literature position in the world is far from being a powerful country.
Without the construction of literature creative country, the construction of creative China in creative economy era is impossible. The construction of literary creative country can create Chinese style, construct the image of China in the world picture, and promote the development of creative education and the itinerary of creative talent clusters. Promote innovation and entrepreneurship through the writing creation. Construct a national literary creativity and output system through the establishment of literary communities, towns and the literary capital, like the construction of United Nations world literary capital. Build Chinese IP, and create innovative literary pictures that make good use of creative symbols to tell Chinese stories. view. Conversely, if the development of contemporary Chinese literature cannot take the initiative to transform and complete its own creative revolution under the background of creative China strategy, China can not consciously assume the mission and find its own position.
Notes:
①Richard Florida: The Rise of the Creative Class\\\", Translated by Stuart Aiqin, CITIC Publishing House, 2010 edition, p. 89, p. 80.
②Michael Hart, Antonio Negri: Empire — — The Political Order of Globalization, translated by Yang Jianguo and others, Jiangsu People\\u0027s Publishing House, 2003 Annual edition, p. 268.
③John Hawkins: \\\"Creative Economy: How to Turn Stones into Gold\\\", Translated by Hong Qingfu, Sun Weiwei, Liu Maoling, Shanghai Sanlian Bookstore 2006 edition, 17 th , p. 8.
④John Hawkins: \\\"Creative Economy: How to Turn Stones into Gold\\\", Translated by Hong Qingfu, Sun Weiwei, Liu Maoling, Shanghai Sanlian Bookstore 2006 edition, 17 th , p. 8.
⑤Richard Florida: The Rise of the Creative Class\\\", Translated by Stuart Aiqin, CITIC Publishing House, 2010 edition, p. 89, p. 80.
⑥Paul Dawson, Creative Writing and the New Humanities, Routledge, 2004. 8.
⑦Australian Government, Creative Australia: National Cultural Policy, 2013 new edition.
⑧DCMS, Creative Britain: New Talents for the New Economy, 2008 new edition.
⑨[America] M · H · Abrams: \\\"Mirror and Lamp-Romanticism And Criticism Tradition\\\", translated by Li Zhiniu and others, Wang Ningxiao, Peking University Press, 2004Edition, p. 4.
⑩Ge Hongbing, Gao Erya, Xu Yicheng: \\\"Redefining from the Perspective of Creative Writing -The Essence of Literature\\\" \\\"The Theory of Creative Essence of Literature and Its Industrialization,\\\" Contemporary Literature Altar, Issue 4, 2016.
?Stephen Peter Healey, The Rise of Creative Writing andthe New Value of Creativity, The University of Minnesota, 2009, P.188.
?Terry Ann Thaxton, Creative Writing in the Community\\\", Bloomsbury Academic, 2013.