The Association of Literary and Art Circles of All China: short for the All-China Association of Literary and Art Circles Against the Enemy, was founded in Wuhan in March 1938, and was a nationwide literary and art circle anti-Japanese national united front organization during the War of Resistance Against Japanese Aggression, and the initiators of this organization included nearly a hundred representatives of the nation's literary and art circles, and the board of governors elected Lao She as the director of the General Affairs Department to preside over the day-to-day work of the "Association of Literary and Art Circles". The Association also put forward the slogan of "Articles in the army", which had a positive effect on encouraging writers to penetrate into real life and actual struggles. The Association's journal, "War Literature and Art," was the only publication that ran through the entire period of the War of Resistance against Japan, and it played a prominent role in promoting the war literature and art movement and the prosperity of war literature and art creation.
Island Literature: refers to the literature of the Shanghai Concession during the period of the War of Resistance, which existed from the fall of Shanghai in November 1937 to the invasion of the Concession by the Japanese army in December 1941 during the Pearl Harbor Incident. During this period of time, the Concession was surrounded by Japanese invasion of the fallen areas, and only within the Concession was a place controlled by the British and French before the arrival of the Japanese forces, so it was called the "isolated island". Literature and art workers utilized this special environment of the Concession to carry out anti-Japanese literary activities, called "isolated island literature". The most influential literature of the isolated island was miscellaneous writings, and the writers of the isolated island, such as Tang Tao, Ke Ling, and Wang Renshu (Ba Ren), published a lot of miscellaneous writings which were closely related to the reality, and which were clear in love and hatred, and Wang Renshu and Aying had an influential debate about the miscellaneous writings of Lu Xun Wind, and later published the miscellaneous writings publication Lu Xun Wind; the second one was the particularly active theatrical activities, such as the plays of Yu Ling and "Night in Shanghai" and "Long Night's Journey," etc., reflecting the lives of the people in the occupied area and their struggles. Secondly, theater activities were particularly active, Yu Ling and "Night Shanghai", "Long Night Journey" and other plays reflecting the life and struggles of the people in the fallen areas, and Ah Ying's "Blood Flowers", "Heroes of the Sea" and other historical dramas of the Southern Ming Dynasty, which glorified patriotism and nationalism, and had a great impact on society.
Fallen Zone Literature:The outbreak of the Pacific War in December 1941 put an end to the era of Shanghai's insular literature and brought it into the orbit of fallen zone literature. Prior to this, there was the literature of the Northeastern China after the September 18th Incident in 1931, and the literature of the Northern China after the July 7th Incident in 1937, centered on Beiping, collectively known as the "literature of the fallen areas". 1941, when Shanghai completely fell, the most influential literary magazine "Wanxiang" united a large number of progressive writers in Shanghai, and published a large number of works with patriotic ideals exposing the dark and corrupt life of the old society, such as the works of masters, the works of the "Wanxiang". It published a large number of works exposing the dark and corrupt life of the old society with patriotic ideals, such as Shiduo's The Pavilion Owner of the Hopeless Village, Zhang Eiling's collection of novels such as Legend, and Su Qing's Ten Years of Marriage. In the fallen area of Peking, the most prominent are Zhou Zuoren's idle sketches, and his collection of essays, such as "Quotations from the Hall of Medicine," typifies the conflicted mind of a national defector who is at a loss as to what to do in and out of the country.
July Poetry School:It was an important school of realist poetry in the Nationalist Region during the period of the War of Resistance and the War of Liberation, and was named after Hu Feng, who edited July. The representative poets include Ai Qing, Tian Ma and Lu Qui, Green Plains, Niu Han and so on. Taking July, Hope and Dirt as their positions, they emphasized the unity of subjectivity and objectivity, the fusion of history and individuality in poetry, and wrote mostly free verse, with political lyric poetry as the main focus. They published the July Poetry Series and the July Literature Series. The school, in its general style of revolutionary realism and majesty, showed the individuality of each poet. Hu Feng's "Songs for the Motherland", Niu Han's "The Grassland of Eridos", and Lu Qui's "Clay" are representative works of the July School of Poetry.
July School of Fiction:Hu Feng hosted magazines such as July and Hope, which were very influential in the progressive literary circles in the Nationalist Region during the war. It united novel writers such as Lu Ling and Qiu Dongping, and advocated reflecting the psychological state of the living generation under the banner of realism, and its works were full of the sense of flesh and blood of life, as well as the power to look straight into the human heart. In a sense, these novels are more reflective of Hu Feng's theories than the July School poems, and most of them were compiled into the July Series, and Hu Feng himself wrote the preface, so they are called the "July School Novels". Representative works include Lu Ling's The Children of the Wealthy.
The Nine Leaves Poetry School (九叶诗派): (Chinese New Poetry School) was a school of poetry with a modernist tendency in the late War of Resistance and the War of Liberation. The main members were Xin Di, Mu Dan, Chen Jing Rong, Du Yun Xie and nine others. The main publications were Poetry Creation and New Chinese Poetry. They emphasize the unity of reflecting reality and digging into the heart, and their poems have a broad vision and a strong sense of the times, history and reality. Artistically, they consciously pursued the combination of realism and modernism, focusing on creating novel and strange imagery and realms in their poems. They took up the tradition of modernism in new Chinese poetry and contributed to the development of new poetry.
The Warring States Policy School: This school emerged around 1940 as a literary school in the Nationalist Region that glorified KMT rule and propagandized fascism, and got its name from the publication of the magazine Warring States Policy and the opening of a supplement called Warring States in Ta Kung Pao. The representative figures were Chen Guoji, Chen Quan and Lei Haizong. They advocated the theory of historical re-enactment and power politics. In literature, they tried to make literature respectfully serve the fascist politics of the Kuomintang and advocated "terror? Carnival? Piety" for the creation of the "three mother themes", and the literature into the performance of the terror of the secret service literature and performance of the carnival of the color literature track. Chen Quan's play "Wild Rose" glorifies the KMT spies as national heroes, which is a specimen of his creation.
Yan'an Literary Symposium:The symposium was held in May 1942, during the toughest phase of the anti-Japanese war. At that time, the mainstream of literature in the liberated areas was good, but the ideological outlook of the writers' team also had many problems. In order to summarize the lessons learned, overcome the wrong views, and let literature and art give greater help to the war of national liberation, a symposium on literature and art was held in Yan'an. Mao Zedong first made a speech on "Introduction", and after three discussions among the writers, Mao Zedong made a speech on "Conclusion"." The "Introduction" and "Conclusion" are collectively known as the "Speech at the Yan'an Symposium on Literature and Art". The Speech put forward the direction that literature and art should serve the people, emphasizing that in order to truly serve the people, writers must shift their foothold to the proletariat. The Address made it clear that people's life is the only source of literature and art, and called on literary and art workers to penetrate y into the lives of the people, to fulfill their ideology, to gain access to an infinite and rich source of art, and to inherit and learn from the outstanding literary heritage of China and foreign countries, so as to be able to create literature that truly serves the people. The Speech also discussed the relationship between literature and art and politics, arguing that literature's service to politics was basically unified with literature and art's true reflection of the historical style and social psychology of the times under the then acute situation of struggle and correct revolutionary policy, and that it played a positive role in the main aspects. In short, the Speech is a profound summary of the lessons of the new literary movement since May 4, a development of Marxist literary theory, theoretically solves the key problems of the development of new literature, and has a significant and far-reaching guiding significance for new literature.
The national form controversy: It took place in the middle of the War of Resistance. 1939 and 1940, Mao Zedong successively published "The Position of China's **** Producers in the War of Nationalism" and "The Theory of New Democracy", which put forward the issues of "Chinese style and Chinese style for the delight of the Chinese people" and "Chinese culture should have its own form, which is the national form". Two opposing points of view emerged during the study and discussion in the literary and art circles in the Nationalist Region. One was the view of Xiang Linbing. Xiang Linbing's point of view was: 1) "the central source of the national form should be found in the folk form", and he believed that joyfulness should be based on the common experience, and the folk form was the common experience of the public; 2) the form of the new literature and art since the May Fourth Movement was denied. Another viewpoint is represented by Ge Yihong: 1) a total rejection of the old forms; 2) denial of the shortcomings of the new forms of literature and art while affirming the efforts and achievements of the new forms of literature and art in the national forms. Guo Moruo, Mao Dun, Hu Feng and others, in their writings and discussions, all discussed the problem of national form in terms of the dialectical relationship between form and content; Hu Feng linked the national form to the problems of realism and popularization, which was a unique insight; Guo Moruo pointed out that the central source of the national form was the reality of life, and Mao Dun pointed out that the establishment of the national form of the new literature and art should be based on learning from and absorbing the excellence of Chinese and foreign literature and art, and that it was necessary to continue to carry forward the excellent style of writing since the May Fourth Movement. style, but also to penetrate into the national reality and to refine and fuse the fresh and lively qualities. This discussion was a continuation and development of the discussion on the popularization of literature and art during the period of the Left League in the new reality, and had an important influence on the development of new literature and art in the direction of nationalization and popularization.
The controversy between realism and subjective fighting spirit: it took place in the late period of the War of Resistance and the War of Liberation. One side of the controversy was dominated by Hu Feng, who wrote an article on the dialectical relationship between subjectivity and objectivity in the creation of writers, emphasizing the role of the subjective spirit, overcoming the objectivist and subjectivist bias in the creation of writers, and striving for the victory of realism. Hu Feng's theory was profound and insightful. After the article was published, it was censured by some people. The controversy continued into the late 1940s, when Shao Tsuen-lin, Lin Mo-han, Hu Jiao and others published critical articles, and Hu Feng wrote On the Path of Realism in reply.
The controversy over the relationship between literature and the war of resistance:
In December 1938, Liang Shiqiu published "Words of the Editor" in a supplement he edited: "Materials unrelated to the war of resistance are good as long as they are true and fluent, and there is no need to force the war of resistance to be carried on them. As for the empty anti-war eight stocks, that is not beneficial to anyone." Although he could not be said to be propagandizing literature "has nothing to do with the war", his attitude towards anti-war literature was not without bias. Luo Sun, Song Zhi's and Zhang Tianyi wrote articles criticizing it. Yu Dafu's "On the question of the eight stocks of the war" fully affirmed that literature serves the war, but also criticized and analyzed the causes of the eight stocks of disease.
The New Rice-planting Song Movement:After the Yan'an Literary and Artistic Symposium, the spirit of the Speech showed its first achievements in literature and art. Literature and art workers changed the attitude of belittling the folk art rice-planting songs, and together with the masses, guided the transformation of the old rice-planting songs into small square song and dance dramas reflecting the new content of the class struggle and the production struggle, and combining drama, music and dance in one furnace. 1943 Spring Festival rice-planting songs were in full swing, and a number of popular rice-planting song dramas, such as the "brother and sister opening up the land" of the "LUYI", etc. The new movement demonstrated that literature and art are not the same, but they are the same as the old one, which is the first time in the world. The new rice-planting song movement demonstrated the practice of literary and art workers to face the masses and popularize the work of the workers, peasants and soldiers.
The writers' group of the "Record of Sentiments": In April 1918, New Youth set up the column of "Record of Sentiments", specializing in miscellaneous essays. Most of the writers were advocates of the New Culture Movement, including Li Dazhao, Chen Duxiu, Qian Xuantong, Liu Bannong, Zhou Zuoren, etc., and Lu Xun's essays were the most representative. These writers of miscellaneous feeling are called "New Youth", "Record of Sentiments" writers group, this writers group has established the status of miscellaneous writing in the history of modern prose. Chen Duxiu's spiciness, Qian Xuantong's unrestrained style, Liu Bannong's straightforward humor and Lu Xun's sharpness and gravity show the different styles of this group of writers. And the solid thesis, short and concise, rich in combat, is its **** the same tendency.
Problem Novel:It is the first trend in the development of modern Chinese novels, which appeared in the second half of 1919 to 1922, and the representative writers are Bing Xin, Xu Dishan, Ye Shaojun, Lu Yin, Wang Tizhao, etc. They used the May Fourth New Culture as a reference point. Taking the May Fourth New Culture as a reference, they rethought the problems of society and life and expressed them artistically in the form of novels. The "problem novels" of the writers of the Literary Research Association dealt extensively with such issues as marriage, education, employment, family, women, and children, etc. The writers' keen sense of social ills gave May Fourth literature a strong color of enlightenment and a spirit of rational criticism. The main shortcoming is that due to the eagerness to express the author's criticism of reality and thinking about life, the tilt of social utilitarianism makes it inevitable to carry the ugly disease of conceptualization and abstraction, and the character image is diluted by the social problems, which weakened the aesthetic value of the works. Representative works include Bing Xin's "Two Families" and "Siren".
Village Literature:The emergence of village 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, and their creations were influenced by Lu Xun, with rural life as the theme and the plight of the peasants as the main content, which led to the formation of the so-called "VILLAGE LITERATURE". Representative writers include Peng Jiahuang, Lu Yan, Xu Jie, Xu Qinwen, Wang Renshu, and Tai Jingnong. Under the influence and development of the literary idea of "life for life", these wanderers living in the metropolis of Beijing and Shanghai witnessed the difference between modern civilization and the patriarchal countryside, and inspired by Lu Xun's idea of "transforming the national character", they brought back memories of their childhood and hometowns, and with pen strokes of implicit nostalgia, they put "the death and life of the countryside, and the scent of the soil, onto the paper", which showed distinctive local colors, and in general, presented a relatively conscious and honorable style of literature, which was not only a novel, but also an important one. They showed a relatively conscious and valuable pursuit of nationalization, and created what can be called a major creative trend in the history of modern literature. Representative works include Peng Jiahuang's The Goon, Wang Renshu's The Weary, Xu Qinwen's The Madwoman, and Tai Jingnong's Children of the Earth.
Self-narrative lyrical novels: the first form of modern Chinese lyrical novels, the authors are mostly concentrated in the Creation Society. During their study in Japan, the main members of the Creation Society accepted the influence of 19th-century European Romantic literature and modern Japanese "private novels", and emphasized "engaging in literary and artistic activities in accordance with the requirements of the heart". They emphasized "engaging in literary activities in accordance with the demands of the heart", reproducing the writer's own life and state of mind, reducing the depiction of external events, and focusing on the bold exposure of the writer's state of mind, including the exposure of the conflict between the spirit and the flesh and the perverted sexual psychology of one's personal private life, as an artistic means of challenging all the old morals and old rites and customs. The self-narrative biography of the lyrical novel as a creative trend began with Yu Dafu's collection of novels "Down" published in 1921.
The Zero Remnant: Yu Dafu's novels use lyricism to create a real and touching image of the lyrical protagonists, most of whom are the so-called "Zero Remnant", i.e., a part of the intellectual youths who were at a loss during the period of the May Fourth Movement, who were small people who suffered from the squeeze of the society and were unable to grasp their own destiny, and who were the weak ones who were being oppressed and harmed. These "Zero Remnants" were often at odds with the real society, and preferred to be poor and self-conscious rather than to be in the same boat with the dark forces. They scolded the world for being so deviant, or showed their resistance with all kinds of perverted behaviors. Yu Dafu's image of the "Zero Remnant" is in fact a kind of self-reporting of his own spiritual dilemma, and exploring the spiritual world of the intellectuals of the May Fourth Movement by torturing himself.
Small Poetry:It was created under the influence of Zhou Zuoren's translation of Japanese short songs and haiku and Zheng Zhenduo's translation of Rabindranath Tagore's The Collection of Birds. The main authors are Bingxin, Zong Baihua, Xu Yuno, He Shisan and others. Small poems are a kind of improvisational short poems, usually in three or five lines, showing the author's momentary sensation, and implying the philosophy of life or the beauty of the sentiment. The appearance of small poems, on the one hand, shows the poets' efforts to explore various aspects of poetic form, and on the other hand, it also shows the poets' efforts to capture the subtle emotions and feelings of their own inner world. The small poetic form has a transitional significance in the history of the development of new poetry.
Pure Poetry:In 1926, the early Symbolist poet Mu Mutian put forward the concept of "pure poetry" in "Tan Poetry--A Letter Sent to Moruo", i.e. "pure poetry". Mu Mutian's so-called "pure poetry" includes two aspects, one is that poetry and prose have completely different fields, advocating that "the world of pure expression is given to the field of poetry, and the life of the world is given over to prose"; the second is that poetry should be different from the way of thinking and expression of prose, "poetry is to be hinted at, and poetry is the most taboo to explain". The concept of "pure poetry" put forward by the early Symbolist poets implies, at a deeper level, a transformation of the concept of poetry: from emphasizing the lyrical and expressive "expression" function of poetry to the "expression of self-feeling" function.
Beauty: Zhou Zuoren was the first to introduce the concept of "beauty" from the West, and published "Beauty" in 1921, advocating "narrative" and "artistic" narrative and lyric prose, "opening up a new land for new literature". Wang Tuanzhao, Fu Sien, Hu Shi and other writers have written and responded, Bing Xin, Zhu Ziqing, Yu Dafu, Yu Pingbo, Xu Zhimo and Zhou Zuoren himself and a large number of writers fruitful pioneering, completely breaking the superstition that the beautiful text can not be used in the vernacular. The status of American literature as an independent genre was then established in the history of literature.
The Chunliu Society: Formed in Tokyo in the winter of 1906 by Chinese students studying in Japan, the society had a great influence on the founding of early Chinese drama by engaging in theatrical activities. The members were Li Shutong, Zeng Xiaogu, Ouyang Yuqian, etc. In 1907, the official performance of "Negro Appeal to Heaven" was held. This was one of the most representative creative activities of Chunliu Society, and the performance caused a sensation in Tokyo, and its influence reached China. After the 1911 Revolution, members of Chunliu Society returned to China one after another, and at the beginning of 1912, Lu Jingruo invited Ouyang Yuqian and others to set up the New Drama Comrades' Association in Shanghai, and formally engaged in professional drama. It has always maintained the purpose and traditional style of the Spring Willow Society, so it can be regarded as the "late Spring Willow".
Shanghai People's Drama Club: the first new theater group after the May Fourth Incident, founded in March 1921 in Shanghai. The initiators were Shen Yanbing, Zheng Zhenduo, Xiong Fosi, Chen Dabei, Ouyang Yuqian and other thirteen people, and in May, the monthly magazine Drama was founded, which was the earliest of the new form of a specialized drama magazine. The People's Drama Society emphasized the need for drama to reflect reality and to bear the burden of social education, believing that it "is a wheel that drives society forward and an X-ray mirror that searches for the roots of social ills". Generally speaking, the Society was basically in line with the Literary Research Society's realist literary ideology of "for life". In addition, they introduced Romero's "Popular Theater" and the small theater movement in Western Europe in order to boost the popularity of the "Love of American Drama". The main contribution of the Popular Drama Society was to give full play to the spirit of the May Fourth Revolution in terms of drama theory, but also to emphasize stage practice and encourage young students to participate in the "Love of American Drama" movement.
The National Drama Movement: In 1926, a group of American students, including Zhao Taiyi and Yu Shangyuan, founded the Drama Journal in the supplement of the Beijing Morning Post, which was chaired by Xu Zhimo, and advocated the "National Drama Movement". They advocated the establishment of a "New Chinese Opera" by organizing and utilizing old operas: in terms of theatrical conception, they advocated the development of the "pure art" tendency of traditional operas; in terms of theatrical expression, they proposed "exploring the depths of the human heart and expressing the power of life", thus appreciating Western symbolism and expressionist art, and then proposing to combine the characteristics of Eastern and Western dramas, and to establish a bridge between the two peaks of the "realistic" and the "realistic", and prophesied that "national drama" would be a bridge of the "new Chinese Opera". He also predicted that "in a few decades, most Chinese drama will become a form of rhyme between prose and poetry". --This vision of theirs, with its strong idealistic coloring, was not realized because it did not suit the needs of the society at that time, but it left its mark in the history of the development of modern drama as a possibility of choice
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