Psychoanalytic school: (psychoanalytic novels) represented the writer Shi Jincun. It is characterized by the use of Freudian doctrines to describe in depth and seriously the sexual psychology of the characters, sexual repression, sexual transference, sexual perversion and so on. Previously, Lu Xun, Guo Moruo, Yu Dafu, Ye Shaojun, Lu Yin and some other works, there are sexual repression, sexual psychology analysis of the components, but generally are realism, romanticism as the main creative features, sexual psychology depicted as one of the factors, components. And Shi Jincun in this period created a number of psychosexual analysis of the novel, representative works are "Plum Rain's Eve", "Spring Sun", "Shi Xiu" and so on. Psychoanalytic novels are unique in modern fiction, enriching the content and techniques of literary expression of life.
New Sensationalism: (Sea School Novels, New Sensationalist Novels) New Sensationalism is a modernist novel genre that arose in the 1930s in Shangtan, with representative writers such as Liu Naou, Shi Jingshun, Mu Shiyin, Ye Lingfeng, and so on. Mu Shiying is known as the saint of the New Sensibility School and the general of the Hai School. Neo-sensationalism originated in Japan in the 1920s. The content of neo-sensationalism mostly shows the life of semi-colonial metropolis Shanghai, focusing on the depiction of pathological life, deformed gender relations and psychology, etc. Nightclubs, dance floors, bars, speculators, and socialites are often depicted in the scenes and objects of the novels to capture novelty feelings and impressions, project the subjective feelings of the characters into the objects, psychoanalyze the consciousness and subconsciousness of the characters, and focus on the expression of the doppelganger, and pursue the formal techniques of the novels to make it more interesting. He also pursued the novel's novelization of form and technique. Representative works include Mu Shiying's Five Men in a Nightclub and Foxtrot in Shanghai. The New Sensibility School developed the content of literary expression, but some of them had a decadent and pessimistic tendency.
The Association of Literature and Art: short for the All-China Association of Literature and Artists Against the Enemy, founded in Wuhan in March 1938, was a nationwide united front organization of literature and art against the Japanese during the War of Resistance Against Japanese Aggression, and its initiators included nearly a hundred representatives of all aspects of literature and art in the country. The Council elected Lao She as the director of the General Affairs Department to preside over the daily work of the Association. "The Association also put forward the slogan of "articles in the army", which had a positive effect on encouraging writers to penetrate into the realities of life and actual struggles. The Association's journal, "Anti-war Literature and Art", was the only publication of its kind throughout the entire period of the War of Resistance against Japanese Aggression, and it played an outstanding role in promoting the anti-war literature and art movement and the prosperity of anti-war literature and art creation.
Island Literature: It refers to the literature of the Shanghai Concession during 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, the Concession was surrounded by the Japanese invasion of the fallen areas, and only within the Concession was a place controlled by the British and the French before the arrival of the Japanese forces, so it was called the "isolated island". Literature and art workers use this special environment of the Concession to carry out anti-Japanese literary activities, called "isolated island literature". Literature on the isolated island has an impact, one is miscellaneous articles, isolated island writers Tang Tao, Ke Ling, Wang Ren Shu (Ba Ren) published a lot of close contact with reality, love and hate miscellaneous articles, Wang Ren Shu and A Ying about miscellaneous articles had an influential "Lu Xun style" controversy, and later published miscellaneous publications "Lu Xun style" two is a particularly active theater activities, Yu Ling and "Night Shanghai", "Long Night Journey", "The Long Night Journey", "The Long Night Journey", "The Long Night Journey", "The Long Night Journey", "The Long Night Journey", "The Long Night Journey" and "The Long Night Journey". Night Shanghai", "Long Night Journey" and other plays reflecting the people's lives and struggles in the fallen areas, A Ying's "Bixianhua", "Heroes of the Sea" and other historical dramas of the Southern Ming Dynasty, glorifying patriotism and nationalism, which has 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 fallen regions of Northeast China after the September 18th Incident in 1931, and the literature of the fallen regions of North China centered on Peking after the July 7th Incident in 1937, collectively known as the "literature of the fallen regions". "When Shanghai completely fell in 1941, the 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 Shiduo's The Pavilion Owner of the Village of Hopelessness, Zhang Eiling's collection of novels Legends, Su Qing's Ten Years of Marriage, and so on. In the fallen area of Peking, what stands out 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 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)：(New Poetry School of China) 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 with a strong sense of the times, history and the spirit of 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 themes", and the literature into the performance of the terror of the secret service literature and the 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 Literature and Art Symposium: It was held in May 1942, during the grueling 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. First, Mao Zedong made an "Introduction" speech, and after three discussions among the writers, Mao Zedong made a "Conclusion" speech. The "Introduction" and the "Conclusion" are collectively called the "Speech at the Yan'an Literary and Artistic Symposium". 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 unlimited 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 a 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 controversy over the question of the national form: It took place in the middle of the War of Resistance, when Mao Zedong published "The Position of China's ****anization Party in the National War" and "The Theory of New Democracy" in 1939 and 1940, in which he put forward the principles of "Chinese style and Chinese style for the enjoyment of the common people" and "Chinese culture should have its own style" and "Chinese culture should have its own style". "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 literature and art circles of 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 denied the form of the new literature and art since the May Fourth Movement. Another viewpoint represented by Ge Yihong: ① total rejection of the old form ② affirmation of the efforts and achievements of the new literary art in the national form, denying the shortcomings of the new literary art in the form. Guo Moruo, Mao Dun, Hu Feng and others, in their articles 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 the literature and art of the Chinese and foreign countries, and that it was necessary to continue to carry forward the excellent style of the May Fourth and, more importantly, to penetrate into the national reality. style, but also to penetrate into the national reality, and to distill 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 under 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 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 from the Editor" in a supplement he edited: "Material unrelated to the war of resistance is good as long as it is true and fluent, and there is no need to reluctantly hitch the war of resistance to it. As for the empty antiwar hachures, 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 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 folk art and literature Yangge, together with the masses, guided the transformation of the old Yangge into a small square song and dance drama reflecting the new content of the class struggle and production struggle, and combining drama, music and dance in one furnace. 1943 Spring Festival Yangge was in full swing, and a number of popular Yangge dramas emerged, such as the "LUYI" "Brother and Sister". A number of popular Yangge operas emerged, such as "Lu Yi"'s "Brother and Sister Open Land". The new rice-planting song movement demonstrated the practice of literary and art workers to face the masses and popularize to 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 representative. These writers were called "New Youth", "With Feelings" writers group, this writers group established the status of miscellaneous essays in the history of modern prose. Chen Duxiu's vividness, 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 novels: the first trend in the development of modern Chinese novels, appeared in the second half of 1919 to 1922, the representative writers are Bing Xin, Xu Dishan, Ye Shaojun, Lu Yin, Wang Tizhao and so on. They used the May Fourth New Culture as a reference to rethink social and life issues and expressed them artistically in the form of novels. The "problem novels" of the writers of the Literary Research Society extensively dealt with the problems of marriage, education, employment, family, women and children, etc. The writers' keen perception of social ills gave May Fourth literature a strong color of enlightenment and a rational and critical spirit. 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".
Vernacular Literature: The emergence of vernacular literature can be traced back to Lu Xun's "Hometown," and in the 1920s, a group of young writers close to the countryside appeared on the modern literary scene, and their creations were influenced by Lu Xun's writings, which were based on the theme of rural life, with the plight of the peasants as their main content, forming the so-called "vernacular 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 used their memories with the implied sentimentality of nostalgia. Inspired by Lu Xun's idea of "transforming the national character" and with memories of his childhood and hometown, he moved "the life and death of the countryside and the smell of the soil onto the paper" with the brushstrokes of implied nostalgia, showing a distinctive local color, and a relatively conscious and valuable pursuit of nationalization in general, which created a major trend of creation 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 were mostly concentrated in the Creation Society. During their study in Japan, the main members of the Creative 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 portray a real and touching image of the lyrical protagonists, most of whom are the so-called "Zero Remnant", i.e., a part of the divergent and wandering intellectuals during the May Fourth period, who suffered from the social squeeze and were unable to control their own destiny. They are the small people who are squeezed by the society and are unable to grasp their own destiny, and they are the weak ones who are oppressed and damaged. These "Zero Remnants" were often at odds with the real society, preferring to be poor and selfless rather than to be complicit with the dark forces, and they denounced the world's deviation or rebelled 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 predicament, 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 Flying Birds. The main authors include Bingxin, Zong Baihua, Xu Yunuo, and He Shisan. Small poems are a kind of improvisational short poems, usually in three or five lines, showing the author's momentary feelings, 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, Mu Mutian, an early Symbolist poet, put forward the concept of "pure poetry" in his "Tan Poetry--A Letter to Moruo", which means "pure poetry". The concept of "pure poetry" was put forward by Mu Mutian in his 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 should be given to the field of poetry, and the life of the world should be given to the prose", and the other is that poetry should have a different way of thinking and expression from prose. Secondly, poetry should have a different way of thinking and expression from prose, "Poetry is to be implied, poetry is to be avoided". 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 "self-perception" function. "
The beauty of poetry
Beautiful writing: Zhou Zuoren introduced the concept of "beautiful writing" from the West as early as in 1921, and published "Beautiful Writing," which advocated "narrative" and "artistic" narrative and lyric prose. In 1921, he published Meiwen (Beautiful Writings), which advocated "narrative" and "artistic" narrative and lyric prose, "opening up a new land for new literature". Wang Tuanzhao, Fu Sinnian, 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 American essay 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 significant impact on the early period of Chinese drama because of its theater activities. The members were Li Shutong, Zeng Xiaogu, Ouyang Yuqian, etc. In 1907, it formally performed "Negro Appeal to Heaven". This was a representative creative activity 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 Society: the first new theater group after the May Fourth Movement, 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, it founded the monthly Drama magazine, which was a specialized drama magazine that appeared early in a new form. The People's Drama Society emphasized that drama must reflect reality and bear the task of social education, considering it "a wheel to push society forward and an X-ray mirror to search for the root causes of social diseases". Generally speaking, they were basically in line with the Literary Research Society's realist literary ideology of "for the sake of 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 People's Drama Club was to bring the spirit of the May Fourth Revolution into full play in terms of drama theory, and also to emphasize stage practice and encourage young students to participate in the "Love of American Drama" movement.
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