Explanation of terms for thirty years of modern literature (3)?

Nanguo Society: Founded in Shanghai in 1923, its leader Tian Han first founded the semi-monthly magazine "Nanguo" and published the drama "The Night of the Tiger Harvest", etc., and later published "Nanguo Special Issue" and "Nanguo Film Drama" Society, Nanguo Art Institute. Nanguo Society mainly carried out drama creation activities in XXXX, and performed all the plays written by Tian Han, "Voices in the Ancient Pool", "Suzhou Night Talk", "Tragedy on the Lake", "Death of a Famous Actor" and "Return to the South" wait. Nanguo Society developed American-American dramas during the May 4th Movement, and their resistance to the dark reality often contained sentimental elements and romantic overtones. It plays an important role in connecting the past and the future in the history of Chinese drama. Many of its members later became key talents in Chinese drama, film, music, art, etc.

Symbolic Poetry School: The Symbolic Poetry School, represented by Li Jinfa, appeared in the mid-1920s. Wang Duqing, Mu Mutian, and Feng Naichao of the later creative societies were also important authors of symbolist poetry. Symbolist poets were mostly influenced by French symbolist poetry. Their works are characterized by focusing on the artistic expression of one's own soul, emphasizing the suggestive function and mystery of poetry, and pursuing the so-called "strange connection of ideas." ①Use a symbolic image and imagery to express your subtle and complex inner world and convey your keen feelings and impressions of the external world. ② Use novel imagination and metaphors to express subtle situations. ③Rely on the hints of artistic images to express feelings and emotions. ④Pursue omissions and jumps in poetic language. Li Jinfa's "Light Rain", "Songs for Happiness", and "Diners and the Bad Years" published from 1925 to 1927 are representative works of the early symbolic poetry school in China, and have made useful explorations and contributions to the development of Chinese new poetry art. try. Symbolist poetry later matured, and it was in the hands of Dai Wangshu in the 1930s that he achieved higher achievements.

Modern Commentary: In 1924, Hu Shi, Chen Xiying, Xu Zhimo and others founded the weekly "Modern Commentary", which was called the Modern Commentary. Most of its members are liberal intellectuals who have returned from studying in Europe and the United States. They use "Modern Review" as their main position to support U.S. imperialism and the comprador bourgeoisie, support the Beiyang warlord authorities, and slander the mass revolutionary movement. In July 1927, "Modern Review" moved to Shanghai, and then switched from being attached to the Beiyang government to the Kuomintang regime.

Sun Society: Founded in Shanghai in January 1928. The main members include Jiang Guangci, Qian Xingtunnan (A Ying), Hong Lingfei, Meng Chao, etc., all of whom are members of the Communist Party. "These writers under the Sun demand light and a new life. They strive to create new literature and art that expresses social life." At the same time, he founded Sun Monthly and actively advocated the proletarian revolutionary literary movement. When the League of Leftists was established, the association disbanded on its own.

Left-wing League: is the abbreviation of the Chinese Left-wing Writers Alliance. It was established in Shanghai on March 2, 1930. The main founders are Lu Xun, Shen Duanxian, Feng Naichao, etc. Lu Xun made the famous " The speech "Opinions of the Left-wing Writers' Union" is its platform. The establishment of the "Left-Left Alliance" actually formed a relatively broad revolutionary literary united front and promoted the rapid development of the left-wing literary and artistic movement. Left-wing literature shattered the Kuomintang’s cultural “encirclement and suppression” campaign. The Left Federation attaches great importance to theoretical criticism. Carry out the dissemination of Marxist literary and artistic theory. A movement to popularize literature and art was launched. Literary creation is very prosperous, and the Leftist League also attaches great importance to cultivating young literary authors. Representative writers include: Jiang Guangci, Rou Shi, Yin Fu, Ye Zi, etc. The "Left-Left Alliance" also has some shortcomings. There are "Left" errors in ideological tendencies, serious dogmatism in theory, relatively serious closed-doorism and sectarian tendencies in organizational work. In terms of literary creation, many works have serious Formulation, conceptualization of the problem.

Revolutionary Literature Debate: Refers to the debate on proletarian revolutionary literature between Lu Xun, Mao Dun, and the Chuangshe Society and the Sun Society in 1989. The reason is that when the Creation Society and the Sun Society were advocating revolutionary literature, due to the influence of left-leaning trends in the domestic and foreign revolutionary camps and their own world views, they had serious mechanistic errors in their theoretical propositions. They criticized and liquidated Lu Xun, Mao Dun, Yu Dafu, etc., and comprehensively Deny the May Fourth New Literary Tradition. Lu Xun affirmed that the emergence of proletarian literature had its historical background, and criticized them for ignoring the characteristics of literature and art, exaggerating the role of literature and art, and tending to sectarianism. Mao Dun also criticized them for being too narrow in subject matter and prone to slogans.

The nature of this debate is an internal debate among revolutionary writers. It has expanded the influence of revolutionary literature, promoted the study of Marxist literary theory, and improved ideological and cognitive knowledge. In the debate, Lu Xun translated Plekhanov's "On Art" and other Marxist theories. Literary and artistic theoretical works, thus preparing the conditions for the establishment of the Leftist League.

Literary and Art Popularization Movement: The resolution "New Tasks of Chinese Proletarian Revolutionary Literature" passed by the Executive Committee of the Left Federation in November 1931 proposed that literature in the future must be "belonging to the masses and understood by the masses" ", what you like as the principle", clearly stipulated that "the popularization of literature" is the "first major issue" in the construction of proletarian revolutionary literature, and the "Popular Literature Committee" was established for this purpose. The issue of popularization has become one of the focuses of left-wing literary theory . There were three large-scale discussions on the popularization of literature and art during the League of Leftists: the first was around the founding of the League in the spring of 1930, and the second was in 1930. These two discussions focused on the significance of popularizing literature and art. The form issue of popular literature also involves the issue of content and language learning from the masses. The third time was in 1934, when the adoption of old forms was discussed and the issue of Latinization of popular language and writing was raised. Lu Xun's idea of ??"appropriationism" in "On the Adoption of Old and New Forms" is an important theoretical gain from the discussion of popularization of literature and art.

Promoted Literature: The early stage of revolutionary literature in 1988 was the stage of Promoted Literature. Writers from the Creation Society and the Sun Society were the main authors of Promoted Literature. Popular literature reflects certain social realities during the Northern Expedition and after the failure of the revolution, describes the lives and struggles of workers and peasants, and expresses the mentality of some petty bourgeois revolutionaries under the white terror during the low ebb of the revolution. There are many works with a strong revolutionary flavor. They were popular in the literary world and had a great social impact. However, popular literature has serious flaws. The main erroneous tendency is "revolutionary romanticism", which idealizes and romanticizes the cruel real struggle. At the same time, the tendency of the early revolutionary literature to illustrate left-leaning and blind policies has not been liquidated. Therefore there are not many successful works. Representative works include Jiang Guangci's "Pants Party" and "Ju Fen".

Revolutionary Romanticism: During the advocacy period of the proletarian revolutionary literary movement, there were also some naive tendencies in creation, the most prominent of which was the so-called "revolutionary romanticism" sentiment. In terms of ideology, it reveals the fanaticism and sentimentality of the petty bourgeoisie, and in terms of artistic methods, it has the weakness of formulaic conceptualization. His works include "Fuxing" by Hua Han and "The Shorts Party" by Jiang Guangci. As soon as this phenomenon appeared, it was immediately criticized by Lu Xun and soon attracted the attention of more revolutionary writers. People like Zhang Tianyi, Ding Ling, Ai Wu, Sha Ting, etc. no longer regard their works as illustrations of political concepts, but start from life and truly reflect reality to inspire people's enthusiasm to criticize and transform the old world. Petty bourgeoisie The ideology has also been overcome, thereby improving the ideological and artistic level of revolutionary literary works.

Revolution + Romance Novels: Revolution and love between heroic sons and daughters are important contents of many works of popular literature and have become a popular theme for a while. On the one hand, it reflects the common problems faced by young intellectuals before and after the Great Revolution in the conflict between individuals and the revolution, which gave birth to the first image of the new intellectuals in the 1930s. On the other hand, it also exposes a certain one-sided understanding and expression of life. But it was this type of novel that actively influenced a generation of young people to take the road of revolution, which shows that they are indeed in tune with the times. Even the stories and characters with strong traces of ideas can cater to the excited pursuit of light by some educated young people at that time. ***Same psychology.

Huahan's "Diquan" and its reprint: The reprint of Yang Hansheng's "Diquan" in 1932 can be seen as an important example of the Leftist League's planned liquidation of erroneous tendencies in early revolutionary literary creation. . The trilogy "Earth Fountain", "In-depth", "Transformation" and "Revival" is an influential masterpiece in early revolutionary literature. When reprinting, Qu Qiubai, Mao Dun, Qian Xingtunnan, and Zheng Boqi respectively wrote prefaces to it, liquidating the "romanticism of the revolution" and denying the simplistic writing and conceptualization of turning character description into "the trumpet of the spirit of the times". , the shortcomings of formulary, and proposed that emerging literature should spurn such creative methods and resolutely move towards the "materialist dialectics creative method".

The creative method of materialist dialectics: proposed by "Rapp" (Russian Proletarian Writers' Federation) and confirmed by the International Revolutionary Writers' Union Congress in November 1930.

Emphasizing the linear decisive role of worldview in creation, completely replacing artistic methods with philosophical methods or worldviews, and believing that the key to the success of works lies in embodying materialist dialectics through the description of specific characters and lives, then it is reasonable to illustrate political concepts.

Socialist realism: a proletarian literary movement with the Left Federation as its core. This slogan was later introduced from the Soviet Union. As a creative method, its influence was more profound than other previous methods, and even lasted until contemporary. As a basic creative method of proletarian literature, socialist realism was determined by the First Writers’ Congress of the Soviet Union in 1932. It requires writers and artists to proceed from the actual revolution and describe reality in a true, historical and concrete manner. This artistic description must also be combined with the task of ideologically transforming and educating the working people in the spirit of socialism. This slogan was put forward to clean up the errors of "Lapp's" mechanical literary thought and the "materialist dialectical creative method", so it emphasizes the aspect of "writing the truth". (It was somewhat deformed when it was introduced. Due to Zhou Yang’s leadership in the League of Leftists, the article almost set the tone for the left-wing literary world’s exploration of creative methods in the future. That is, it not only absorbed the factors that are conducive to the recovery and development of realism, but also failed to fundamentally Freemen and the Third Man: From 1931 to 1932, the "Left-Left Alliance" debated with the "Freemen" and the "Third Man". The "free man" refers to Hu Qiuyuan of "Cultural Review", and the "third type of person" refers to Su Wen of "Modern Times". The debate centered on the class nature of literature and art, and the relationship between literature and art and politics. First, Hu Qiuyuan published "A Dog's Theory of Literature and Art", criticizing the fascist nature of nationalist literature and criticizing the left-wing literary world for "reducing art to a political gramophone." Later, he published "Don't Invade Literature and Art" and other articles. The "Literary News" of the "Left-Left Alliance" published an article criticizing Hu Qiuyuan, and Su Wen immediately published an article in support of Hu Qiuyuan. Lu Xun, Qu Qiubai, Feng Xuefeng and others respectively published articles such as "On the Third Type of Man", "The Freedom of Literature and Art and the Unfreedom of Writers", and "On the Tendencies and Theories of the "Third Literature"", and started discussions with Hu and Su. Debate. They criticized Hu and Su for their erroneous tendency for literature and art to be separated from politics, class and freedom. At the same time, they also reviewed the mechanistic errors and left-leaning sectarian errors of the "Left-Left Alliance". This was an important gain from the debate.

The debate between two slogans: refers to the debate in the left-wing literary circle in Shanghai in 1936 about the two slogans of national defense literature and popular literature of national revolutionary war. These two slogans were put forward due to the expansion of the Japanese invaders' aggression against China and the new changes in domestic class relations, and to adapt to the strategic requirements of the Party Central Committee on establishing an anti-Japanese national united front. The slogan of national defense literature was first proposed by Zhou Yang, the underground party leader in the school community, and from this the national defense literature movement, national defense drama, and national defense poetry activities were launched. The popular literature slogan of the National Revolutionary War was proposed by Feng Xuefeng, the special commissioner of the Party Central Committee, after going to Shanghai to discuss with Lu Xun, Hu Feng and others, and then wrote an article by Hu Feng. Controversy arose after being criticized by some writers who advocated national defense literature. Lu Xun wrote an article proposing that the two slogans can "coexist" and criticized the errors of closed-doorism and sectarianism of some left-wing leaders who advocated national defense literature. This is a debate in the left-wing literary circle around the establishment of a united front in the literary and art circles under the new situation due to certain ideological differences. Through the debate, a new unity was achieved, which prepared the ideological conditions for the transition to the Anti-Japanese War literary and art movement and the establishment of a broad anti-Japanese united front in the literary and art circles.

Drama League: The abbreviation of "Chinese Left-Wing Dramatists Alliance" is a united front organization of progressive dramatists led by the Communist Party of China. Founded in Shanghai in 1930. Liu Paulo, Tian Han, Zhao Mingyi, Yu Ling, etc. once served as party secretary. After the Drama League was established, it drafted and passed the "Chinese Left-wing Dramatists Alliance's Recent Action Program". In addition to establishing the main alliance in Shanghai, it also established branch alliances and groups in Peiping, Hankou and other places, making the left-wing drama movement rapidly spread across the country. develop. In terms of drama, progressive drama workers have been united to form more than 50 left-wing theater troupes. Among them, Shanghai has Art Drama Du, Nanguo Society, etc. The drama activities led by the Drama Federation have revolutionary, mass and militant characteristics. In order to carry out workers' drama activities, the Drama Federation established a workers' performance committee, which promoted the development of the workers' drama movement. The left-wing drama movement prepared the conditions for the later transition of drama to professionalism and practicality. It initially paved the way for the Chinese proletarian drama movement and cultivated a number of outstanding drama talents. At the beginning of 1936, according to the needs of the development of the situation, it was automatically declared to be disbanded.

Chinese Poetry Society: a mass poetry group under the leadership of the Leftist League.

Founded in Shanghai in 1932, it was co-initiated by Mu Mutian, Yang Sao, Ren Jun, Pu Feng and others. The main publication is "New Poetry". The purpose of the establishment of the Chinese Poetry Society is to clarify some of the fog caused by the New Moon School and the Modern School in the poetry world, and to promote and develop the revolutionary poetry movement. In terms of content, the Chinese Poetry Society advocates "grasping reality and singing the consciousness of the new world" and in terms of form, it advocates "popular tunes", which means to create popular poetry so that poetry can be popularized among the masses. After the establishment of the Chinese Poetry Society, it not only paid attention to poetry creation, but also paid attention to theoretical research. They explored ways to popularize poetry and published "Special Song Issues" and "Special Creation Issues" to practice. The Chinese Poetry Society played a certain role in promoting the development of the revolutionary poetry movement in our country.

Beijing School: It was a unique literary school in the 1930s. Its main members include Zhou Zuoren, Fei Ming, Shen Congwen, Li Jianwu, Zhu Guangqian, etc. It was called the "Beijing School" because its authors were engaged in literary activities in Beijing and Tianjin at that time. Most of his works are published in Beijing and Tianjin publications, and his artistic style is essentially consistent. The main publications include "Literary Magazine", "Literary Quarterly", and "Ta Kung Pao Literature and Art". The basic characteristic of the "Beijing School" is to pay attention to life, but keep a distance from political struggles, and emphasize the unique character of art. Their thoughts are about the ontology of literature embodied in "pure literary taste" and the aesthetic consciousness based on the basic principles of "harmony", "temperance" and "appropriateness". Shen Congwen is the first Beijing-style writer. Beijing-style writers mainly focus on expressing "rural China", and their works are rich in cultural connotations. Most of the writers of the Beijing School are realists, who have developed some changes in realism and developed lyrical novels and satirical novels. The novel is poetic, prose, realistic yet romantic.

The Analects of Confucius: The Analects of Confucius is a prose school in the 1930s. The main character is Lin Yutang. The main publications include "The Analects of Confucius", "Human World" and "Universal Wind", which mainly publish short articles and promote humor, leisure and spirituality. He advocates "self-centeredness and leisurely style" and adopts a liberal stance that distances himself from politics. The early articles of "The Analects of Confucius" can still touch on current problems and contain irony in their humor. After 1934, the edge of satire was gradually weakened, and humor became more about telling jokes and having fun. This triggered a debate among left-wing writers.

Crescent School: An important poetry school in the history of modern new poetry. This poetry school is generally divided into two periods with 1927 as the boundary. The early stage started in the spring of 1926, based on Beijing's "Morning News Supplement? Poetry". The main members included Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Sun Dayu, Liu Mengwei, etc. They were dissatisfied with the style of "free poets" who ignored poetic art after the "May Fourth Movement", advocated new metrical poetry, advocated "rational restraint of emotion", opposed sentimentalism and the prose tendency of poetry, and questioned the rhythm of new poetry from theory to practice. have been carefully explored. Wen Yiduo put forward the famous "Three Beauties" proposition in "The Rhythm of Poetry", namely "the beauty of music, the beauty of painting, and the beauty of architecture." Therefore, the Crescent School is also called the "New Metrical Poetry School". The Crescent School corrected the weakness of early new poetry creation that was too prose, and also brought new poetry into a period of conscious creation. In the spring of 1927, Hu Shi, Xu Zhimo, Wen Yiduo, Liang Shiqiu and others founded the Crescent Bookstore, and the following year founded the monthly magazine "Crescent". The main activities of the "Crescent School" moved to Shanghai, and this was the later period of the Crescent School. It takes the "New Moon" monthly magazine and the "Poetry Magazine" quarterly magazine founded in 1930 as its main positions. New members include Chen Mengjia, Fang Weide, Bian Zhilin, etc. The late Crescent School put forward the principles of "health" and "dignity", and still adhered to the position of "pure poetry" that is ultra-utilitarian, self-expression, and aristocratic, and emphasized "the mellowness of essence, the meticulousness of technique and the rhythm of rhythm." Rigorous", but the artistic expression and lyrical style of poetry are close to those of modernism.

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