Writers' Association: the abbreviation of the All-China Anti-Japanese Association of Literary and Art Circles, 1938, was established in Wuhan in March, which was the anti-Japanese national United front organization of the national literary and art circles in War of Resistance against Japanese Aggression period. Its sponsors include nearly 100 representatives from all walks of life in the country. The Council elected Lao She as the director of the General Affairs Department to preside over the daily work of the Federation of Literary and Art Circles. The "Federation of Literary and Art Circles" also put forward the slogan of "Articles Join the Army", which played a positive role in encouraging writers to go deep into real life and actual struggle. Anti-Japanese Literature and Art is a publication of the Federation of Literary and Art Circles, and it is the only publication that runs through the whole War of Resistance against Japanese Aggression period. It has played a prominent role in promoting the anti-Japanese literary movement and promoting the prosperity of anti-Japanese literary creation.
Island literature: refers to the literature of Shanghai Concession during the Anti-Japanese War, which existed from the fall of Shanghai1937165438+10 to the Japanese invasion of the Concession 194 1 year. During this period, the concession was occupied by the Japanese army on all sides, and only the concession was controlled by countries such as Britain and France, so it was called "island". Literary and art workers use the special environment of the concession to carry out anti-Japanese literary activities, which is called "island literature". The most influential aspects of island literature are: firstly, essays. The island writers, (Ba people) Wang, etc. have published many essays that are closely related to reality and have clear love and hate. Wang Yu and Wang Yu had an influential debate on the issue of "Lu Xun Feng" in the essay circle, and published the essay publication "Lu Xun Feng"; Second, drama activities are particularly active. Yu Ling's plays "Night in Shanghai" and "Long Night" reflect the life and struggle of the people in the occupied areas, while A Ying's plays "Bloody Flowers" and "Heroes at Sea" praise patriotism and national integrity, which have had great social influence.
Literature in enemy-occupied areas: 194 1 12 The Pacific War broke out in June, which ended the era of isolated island literature in Shanghai and brought it into the track of literature in enemy-occupied areas. Before that, 193 1 literature in the occupied areas of North China had existed after the September 18th Incident in Northeast China, and1literature in the occupied areas of North China centered on Beiping after the July 7th Incident in 937 was collectively called "literature in the occupied areas". 194 1 when Shanghai was completely occupied, Vientiane, the most influential literary magazine, united a large number of progressive writers in Shanghai and published a large number of works with patriotic ideals to expose the dark and decadent life in the old society, such as Master of the Hopeless Village by Shi Tuo, Novels by Zhang Ailing, Legend and Ten Years of Marriage by Su Qing. In the occupied area of Peiping, the most prominent is Zhou Zuoren's leisurely sketches, and his essays such as Quotations from the Pharmacy typically show the contradictory mentality of a national defector in a dilemma.
July Poetry School is an important realistic poetry school in War of Resistance against Japanese Aggression and Kuomintang-controlled areas during the War of Liberation, named after July edited by Hu Feng. The representative poets are Ai Qing, Tian Tian and Lu Chen, Lv Yuan and Han Niu. Taking July, Hope and Dirt as their positions, they emphasized the unity of subject and object, and the integration of history and individuals in poetry, and created more free poems, mainly political lyric poems. They published poetry and literature in July. In the vigorous general style of revolutionary realism, this school also shows the characteristics of poets full of personality. Hu Feng's Singing for the Motherland, Han Niu's Ordos Grassland and Lu Li's Dirt are the representative works of the July Poetry School.
July novels: magazines such as July and Hope sponsored by Hu Feng had great influence on the progress of literary and art circles in Kuomintang-controlled areas during the Anti-Japanese War. Together with novel writers such as Lu Ling and Qiu Dongping, it advocates reflecting the psychological state of a living generation under the banner of realism. The works are full of flesh-and-blood feelings about life and intuition about people's hearts. In a sense, these novels can better reflect Hu Feng's theoretical proposition than the July Poetry, and most of them are compiled into July Wencong, and Hu Feng personally prefaces them, so they are called "July Poetry". His masterpiece is Lu Ling's The Rich Boys.
Kuya School of Poetry: (China School of New Poetry) is a school of poetry with modernist tendency in the late War of Resistance against Japanese Aggression and the liberation war. The main members are Xin Di, Mu Dan, Chen and Du. The main publications are Poetry Creation and China New Poetry. They emphasize the unity of reflecting reality and excavating the heart, and their poems have a broad vision and a strong sense of the times, history and realistic spirit. In art, they consciously pursue the combination of realism and modernism, and pay attention to creating novel images and realms in poetry. They inherited the modernism tradition of China's new poetry and contributed to its development.
Warring States Policy School: This school is a literary school that appeared around the Kuomintang-controlled area 1940, praising Kuomintang rule and propagating fascism. It was named after the publication of The Warring States Policy magazine and Ta Kung Pao opened the supplement of The Warring States Policy. Representative figures are Chen Guoji, Chen Quan and Lei Haizong. They advocate the theory of historical repetition and power politics. In literature, they tried to make literature serve the Kuomintang fascist politics respectfully and advocated "terror?" Revelry? Devotion is the "three motifs" of creation, and literature is included in the track of spy literature expressing terror and color literature expressing carnival. Chen Quan's drama Wild Rose eulogizes the Kuomintang spy as a national hero, which is a specimen of his creation.
Yan 'an Forum on Literature and Art: 1942 was held in May, which was the most difficult stalemate stage in War of Resistance against Japanese Aggression. At that time, the mainstream of literature in the liberated areas was good, but there were also many problems in the writer's ideological outlook. In order to sum up experience and lessons, overcome erroneous views and make literature and art better help the national liberation war, a symposium on literature and art was held in Yan 'an. First, Mao Zedong made an "introductory" speech. After three discussions, Mao Zedong made a "summary" speech. "Introduction" and "Conclusion" are collectively called "Speech at Yan 'an Forum on Literature and Art". The Speech puts forward the direction of literature and art serving the people, and emphasizes that writers must shift their foothold to the proletariat in order to truly serve the people. The speech made it clear that people's life is the only source of endless literature and art, and asked literary and art workers to go deep into people's life, carry out their thoughts, obtain an infinitely rich source of art, inherit and learn from excellent literary heritage at home and abroad, and create literary works that truly serve the people. The Speech also discusses the relationship between literature and politics, and holds that under the sharp struggle situation and correct revolutionary policy at that time, literature and art were basically unified to truly reflect the historical outlook and social psychology of the times, and played a positive role in major aspects. In a word, The Speech is a profound summary of the experience and lessons of the New Literature Movement since the May 4th Movement, a development of Marxist literary theory, a theoretical solution to key problems in the development of new literature, and of great and far-reaching guiding significance to new literature.
Debate on the state system: It happened in the middle of War of Resistance against Japanese Aggression. 1939 and 1940, Mao Zedong published "China's * * * Production Party's Position in the National War" and "On New Democracy" successively, and put forward such issues as "China style and China style that China people love" and "China culture should have its own form, which is the national form". In the research and discussion of literary and art circles in Kuomintang-controlled areas, there are two opposing views. One is the view of Lin Bing. Lin Bing's point of view is: 1 "The central source of national forms should be found in folk forms". He believes that what people like to see and hear should be based on what they are familiar with, and folk forms are shared by the public; 2. Deny the new literary forms since the May 4th Movement. Another view is represented by Ge: 1 totally negates the old form; While affirming the efforts and achievements of new literature and art in national form, it denies the shortcomings of new literature and art in form. Guo Moruo, Mao Dun and Hu Feng. They all discuss the national form from the dialectical relationship between form and content. Hu Feng has unique views on linking national forms with realism and popularization. Guo Moruo pointed out that the central source of national form is real life, and Mao Dun pointed out that the establishment of a new national form of literature should learn from the excellent points of Chinese and foreign literature and art, continue to carry forward the excellent style since the May Fourth Movement, and more importantly, go deep into national reality and refine and cast vivid quality. This discussion is the continuation and development of the discussion on the popularization of literature and art in the "Left-wing League" period under the new realistic conditions, which has played an important role in the development of new literature and art towards nationalization and popularization.
The dispute between realism and subjective fighting spirit: It happened in the later period of War of Resistance against Japanese Aggression and during the War of Liberation. One side of the argument is mainly Hu Feng, who wrote an article on the dialectical relationship between subjectivity and objectivity in writers' creation, emphasized the role of subjective spirit, overcame objectivism and subjectivism bias in creation, and strived for the victory of realism. Hu Feng's theory is profound and unique. The article was criticized by some people after it was published. The debate continued until the end of1940s, when Shao Quanlin, Lin Mohan and Hu Sheng published critical articles, and Hu Feng wrote "On the Road to Realism" to reply.
Debate on the Relationship between Literature and the Anti-Japanese War: 1938 12. Liang Shiqiu published the Editor's Note in the supplement edited by him: "As long as the materials unrelated to the Anti-Japanese War are true and smooth, they are also good, and there is no need to pretend to resist the Japanese War. As for the empty stereotyped writing in the war of resistance, it is not good for anyone. " Although it can't be said that he is promoting literature that has nothing to do with the Anti-Japanese War, his attitude towards the literature of the Anti-Japanese War is not without prejudice. Luo Sun, Song Zhi, Zhang Tianyi, etc. Yu Dafu's Questions about Stereotyped Writing in the Anti-Japanese War not only fully affirmed that literature served the Anti-Japanese War, but also criticized and analyzed the causes of stereotyped writing disease.
The New Yangko Movement is the first achievement of the spirit of "Speech" in literature and art after the Yan 'an Forum on Literature and Art.. Literary and art workers have changed their attitude of despising folk art yangko, and together with the masses, they have guided and transformed the old yangko into a small square musical that reflects the new content of class struggle and production struggle and integrates drama, music and dance. 1943 During the Spring Festival, yangko was in full swing, and a number of well-known yangko dramas emerged, such as Lu Yi's "Brother and Sister Open up Land". The new yangko movement shows the practice of literary and art workers facing the masses and popularizing to workers, peasants and soldiers.
Author of Essays:1965438+In April 2008, New Youth opened an essay column and published essays. Most contributors are advocates of the New Culture Movement, including Li Dazhao, Chen Duxiu, Qian, Liu Bannong and Zhou Zuoren, among which Lu Xun's essays are the most representative. These writers with mixed feelings are called "random feelings" writers by New Youth, which established the position of essays in the history of modern prose. Chen Duxiu's fiery liveliness, Wang Yang's bold money, Liu Bannong's straightforward humor, and Lu Xun's incisiveness and dignity show the different styles of these writers. And the argument is solid, short and pithy, full of fighting capacity, which is the same tendency as it is.
Problem novels: The first trend of modern novels in China appeared in the second half of 19 19 to 1922. Representative writers are Bing Xin, Xu Dishan, Ye, Lu Yinhe. Taking the May 4th New Culture as a reference, they rethought the problems of social life and expressed them artistically in the form of novels. The "problem novels" written by writers of the Literature Research Association cover a wide range of issues such as marriage, education, employment, family, women and children. The writers' keen perception of social ills endowed the May 4th literature with a strong color of enlightenment and a rational critical spirit. The main deficiency is that the author is eager to express his criticism of reality and thinking about life. The tendency of social utility makes him inevitably suffer from conceptualization and abstraction, and the characters are diluted by social problems, which weakens the aesthetic value of his works. Representative works include Bing Xin's Two Families and When You Are Lonely, Helpless and Poor.
Local literature: The emergence of local literature can be traced back to Lu Xun's hometown. In the 1920s, a group of young writers close to the countryside appeared in the modern literary world. Influenced by Lu Xun, their works take rural life as the theme and farmers' sufferings as the main content, forming the so-called "local literature". Representative writers are Peng, Xu Jie, Xu, Wang and Tai Jingnong. Local literature appeared under the influence and development of the literary proposition "for life". These vagrants living in Beijing and Shanghai have witnessed the difference between modern civilization and patriarchal villages. Inspired by Lu Xun's thought of "transforming the national character", with memories of childhood and hometown, they moved "the life and death of the countryside and the smell of soil" on paper with a touch of nostalgia, showing a distinct local color. Representative works include Peng's Picking a Thorn, Wang's Tired, Xu's Crazy Woman, and Tai Jingnong's Children of the Earth.
Autobiographical lyric novels: the original body of China's modern lyric novels, and the authors are mainly creative societies. During their study in Japan, the main members of the Creative Society were more influenced by19th century European romantic literature and modern Japanese "private novels", so they emphasized "engaging in literary and artistic activities according to their own internal requirements". It is advocated to reproduce the writer's own life and mentality, weaken the description of external events, and pay attention to the bold disclosure of the writer's mentality, including the conflict between soul and body and abnormal psychology in personal private life, as an artistic means to challenge all old ethics. As a creative trend, autobiographical lyric novels began with the collection of Sinking published by Yu Dafu 192 1.
Spare parts: Yu Dafu's novels have created a real and touching lyric hero image in a lyrical way. Most of these lyric heroes are so-called "spare parts", that is, some intellectual youths who lost their way during the May 4th Movement. They are little people who are squeezed by society and unable to control their own destiny, and they are the weak who are oppressed and hurt. These "surplus laborers" are often out of tune with the real society, preferring poverty rather than colluding with the dark forces. They cursed the world for leaving, or showed their resistance with various abnormal behaviors. Yu Dafu's "eccentric" image is actually a self-report of his spiritual predicament, and he explores the spiritual world of the May 4th intellectuals through self-torture.
Poetic style: It is produced under the influence of Japanese short songs and phrases translated by Zhou Zuoren and Tagore's Bird Tale translated by Zheng Zhenduo. The main authors are Bing Xin, Zong Baihua, Xu Yunuo and He Zhi. Short poem is a kind of impromptu short poem, generally written in three or five lines, to express the author's temporary excitement and express his philosophy of life or good feelings. The appearance of short poems, on the one hand, shows the poet's efforts to explore various forms of poetry, on the other hand, it also shows the poet's efforts to capture the subtle feelings and feelings of his inner world. The style of short poems is of great significance in the history of the development of new poems.
Pure Poetry: 1926 Mu, an early symbolist poet, put forward the concept of "pure poetry" in "Tan Shi-A Letter to Mo Ruo", that is, "pure poetry". Mu Tianmu's so-called "pure poetry" includes two aspects. First, poetry and prose have completely different fields. He advocates that "the world of pure expression gives the field of poetry and human life gives prose"; Second, poetry should have a different way of thinking and expression from prose. Poetry should be implicit, and poetry is the most taboo to explain. At a deeper level, the concept of "pure poetry" put forward by early symbolist poets means a change in the concept of poetry: from emphasizing the "performance" function of poetry lyricism to emphasizing the "expression of self-feelings" function.
American Prose: Zhou Zuoren first introduced the concept of "American Prose" from the West, and published "American Prose" at 192 1, advocating "narrative" and "artistic" narrative lyric prose, which "opened up a new world of new literature". Wang Tongzhao, Fu Sinian and Hu Shi. Once wrote articles, a large number of writers such as Bing Xin, Zhu Ziqing, Yu Dafu, Yu Pingbo, Xu Zhimo and Zhou Zuoren made fruitful pioneering efforts, completely breaking the superstition that American literature cannot be written in vernacular. The status of American literature as an independent style has been established in the history of literature.
Spring Willow Society: 1906 was founded in Tokyo, Japan by Japanese students studying in China in the winter, which had a great influence in the early stage of China drama. Members include Li Shutong, Zeng Xiaogu and Ou Yangyuqian. 1907, The Record of Black Slaves Calling Heaven was officially released. This is the most representative creative activity in Liu Chun society. This performance caused a sensation in Tokyo, and its influence also spread to China. After the Revolution of 1911, members of Liu Chun society returned to China one after another. 19 12 At the beginning of this year, Lv Jingre invited Ou Yangyuqian and others to set up a new drama comrades' association to formally engage in professional drama work. It has always maintained the purpose and traditional style of the Spring Willow Society, so it can be counted as "late spring willow".
Shanghai People's Repertory Theatre: The first new repertory theatre after the May 4th Movement, 192 1, was established in Shanghai in March. The promoters are thirteen people including Shen Yanbing, Zheng Zhenduo, Xiong Foxi, Chen Dabei and Ou Yangyuqian. In May, Drama Monthly was founded, which is the first special drama magazine with a new form. People's Drama Club emphasizes that drama must reflect the reality and undertake the task of social education, and thinks that it is "the wheel to promote social progress and the X-ray mirror to find the root of social diseases". Generally speaking, it is basically consistent with the realistic literary thought of "for life" of the Literature Research Association. In addition, they also introduced romain rolland's People's Theater and the small theater movement in Western Europe to create momentum for "American drama love". The main contribution of People's Drama Club is to give full play to the spirit of the May 4th Revolution in drama theory, and at the same time, it also emphasizes stage practice and encourages young students to participate in the "Love American TV" movement.
China Opera Movement: 1926, a group of students studying in the United States, such as Zhao Taimou and Yu Shangyuan, founded Opera Magazine in the supplement of Beijing Morning Post hosted by Xu Zhimo and advocated "China Opera Movement". They advocate the establishment of "China's new drama" through the arrangement and utilization of old dramas: in terms of drama concept, they advocate the "pure art" tendency of traditional operas; In drama performance, it is proposed to "explore the depth of people's hearts and express the power of life" so as to appreciate western symbolism and expressionism art, and then it is proposed to combine the characteristics of eastern and western dramas to build a bridge between "freehand brushwork" and "realism", and it is predicted that "in a few decades, most of China's plays will become a kind of verse between prose and poetry." -Their ideas, full of idealism, were not realized because they were not suitable for the needs of the society at that time, but as a possibility of choice, they left traces in the history of modern drama development.