Psychoanalysis school: representative writer Shi Zhecun. Its characteristic is to use Freud's theory to describe the characters' sexual psychology, sexual repression, sexual transfer and sexual metamorphosis. Previously, some works by Lu Xun, Guo Moruo, Yu Dafu, Ye, Lu Yin, etc. All works contain elements of sexual repression and psychoanalysis, but in general realism and romanticism are the main creative features, and sexual psychological description is one of the factors and components. During this period, Shi Zhecun created a number of psychoanalytic novels, such as Night of Plum Rain, Chunyang and Shi Xiu. Psychoanalytic novels are unique in modern novels, which enrich the content and skills of literature to express life.
Neo-sensationalism: (Shanghai novels, Neo-sensationalism novels) Neo-sensationalism is a school of modernist novels that came into being in Shanghai in the 1930s. Its representative writers are Liu Naou, Shi Zhecun, Mu Shiying and Ye Lingfeng. Mu Shiying is known as the master of New Sensation School and the general of Shanghai School. Neo-sensationalism originated in Japan in the 1920s. The content of the New Sensation School mostly shows the life of Shanghai, a semi-colonial metropolis, focusing on the description of morbid life, abnormal sexual relations and psychology. He often describes nightclubs, dance halls, bars, speculators, celebrities and other scenes and objects, trying to capture novel feelings and impressions, projecting the subjective feelings of the characters onto the objects, psychologically analyzing the consciousness and subconscious of the characters, emphasizing the dual personality and pursuing the renovation of novel forms and techniques. Representative works include Mu Shiying's Five Men in a Nightclub and Shanghai Foxtrot Dance. The New Sensation School has developed the content of literary expression, but there are also decadent and pessimistic ones.
Federation of Literary and Art Circles: abbreviation of All-China Anti-Enemy Association of Literary and Art Circles, established in Wuhan in March, 1938. It was an 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, the journal of the Literary Society, was the only publication that ran through the whole War of Resistance against Japanese Aggression period, and played an outstanding role in promoting the anti-Japanese literature and art movement and promoting the prosperity of anti-Japanese literature and art 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 Britain, France and other countries before the Japanese army arrived, 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". Island literature is influential. First of all, the island's writers, Wang (Ba people) have published many essays that are close to reality and have clear love and hate. Wang and Wang had an influential debate on the essay Lu Xun Feng, and later published the essay publication Lu Xun Feng. Secondly, drama activities are particularly active. The Night of Yuling and Shanghai and Long Night Travel reflect the life of the people in the occupied areas.
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, there had been 193 1 literature in the occupied areas of northeast China after the September 18th Incident, and 1937 literature in the occupied areas of north China centered on Beiping after the July 7th Incident, which were collectively called "literature in the occupied areas". 194 1 when Shanghai was completely occupied, Vientiane, an 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 of 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 enemy-occupied area of Beiping, Zhou Zuoren's leisure essays are outstanding, and his prose collection "Pharmacy Quotations" typically shows 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 poems of July School, and most of them have been incorporated into the literary works of July, and Hu Feng wrote the preface himself, so they are called "July School Novels". His masterpiece is Lu Ling's The Rich Boys.
Kuya School of Poetry: (China School of New Poetry) is a school of poetry with modernism tendency in the late War of Resistance against Japanese Aggression period and the War of Liberation. 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 a difficult stalemate stage for 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 successively published "China's * * * Production Party's Position in the National War" and "On New Democracy", and put forward the issues of "Chinese style and China style that China people like" 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 viewpoint is: ① "The central source of national form should be found in folk form", and he thinks that what people like to see and hear should be based on what they are familiar with, and folk form is a common form that people are familiar with; ② Deny the new literature and art since the May 4th Movement. Another view is represented by Ge: ① totally negating the old form; (2) affirm the efforts and achievements of new literature and art in national form, and deny 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 anti-Japanese stereotyped writing, it is not good for anyone. " Although it can't be said that his propaganda literature has nothing to do with War of Resistance against Japanese Aggression, his attitude towards anti-Japanese literature 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.
New Yangko Movement: It is the first achievement of the spirit of "speech" in literature and art after 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, 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 representative. These writers of mixed feelings are called "Random Feeling Record" writers of 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", they moved "the life and death of the countryside and the smell of soil" to paper with memories of childhood and hometown, 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 style 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 accepted the influence of19th 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 A Letter to Mo Ruo, that is, "pure poetry". Mu Tianmu's so-called "pure poetry" includes two aspects. First, poetry and prose are completely different fields. He advocates that "the world of pure expression gives the field of poetry, and human life gives the prose". Second, poetry should have a different way of thinking and expression from prose. Poetry should be implicit, and poetry should not be explained. From a deeper perspective, the concept of "pure poetry" put forward by early symbolist poets means a change in the concept of poetry: from emphasizing the expressive function of poetry to expressing self-feelings.
American Prose: Zhou Zuoren introduced the concept of "American Prose" from the west and published "American Prose" at 192 1, advocating "narrative and artistic" 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 a representative creative activity of 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 a new form of specialized drama magazine. 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.
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