The contradiction between China literature and world culture has been puzzling the modernization of China literature. Nationalization and Westernization are practical propositions that puzzle China's literary creation in the 20th century, and also theoretical propositions that puzzle China's literary theory research in the 20th century. Modernization of China Literature: Westernization or Nationalization? People have always been controversial. How to sum up the gains and losses of nationalization and westernization in theory is also inconclusive. This paper attempts to review the twists and turns of westernization and nationalization in the development of China literature in the 20th century, reflect on the basic proposition of "westernization and nationalization", which appears repeatedly in the process of China literature modernization, and put forward the concept of "globalization" in combination with the contemporary situation of China literature development. By analyzing the history of China literature in the 20th century, this paper holds that the nationalization and westernization of China literature in the 20th century were failures. Furthermore, this paper theoretically demonstrates that the failure of nationalization theorists lies in: China's national literature is completely different from western literature, and the two kinds of literature are completely different in code and lack of dialogue; The failure of westernizers lies in their dialogue with western literature, which spans the gap between China and the West, but makes us lose ourselves. Their dialogue has no practical significance to the whole China literature. The fundamental purpose of dialogue is to enhance mutual understanding and promote each other. A real dialogue should be established when there are * * * common issues to discuss. Now, China society has entered the process of "modernization", and the problems encountered by China literature have also become "cosmopolitan". This worldwide problem is the basis of a real cross-cultural literary dialogue. On this basis, the problems to be solved in China literature are isomorphic with those to be solved in the world literature today. Answers to China's literature. Now, what we want to ask is, in the face of these world problems, what is the original solution of China literature? Only this original thing will be needed by world literature. Therefore, I say that the cosmopolitanism of China's contemporary literature is not a problem brought from the west or inherited from national traditions, but based on these, we should face the "modernization" reality of the present society alone and come up with our own original artistic expression scheme. We want to create an original artistic expression scheme, which is unique in the world. Therefore, I oppose nationalization and westernization and advocate "globalization". First of all, we are a part of the world, and then on the basis of this molecule, we put forward our thing, which is itself worldwide.

I. "Westernization" and its history

The modernization of China literature began with the May 4th New Literature Revolution. According to Hu Shi's summary, this modernization is characterized by "vernacular" in language form and "human literature" in spirit. Hu Shi further believes that the concept of "vernacular Chinese" was put forward by him and the concept of "human literature" was put forward by Zhou Zuoren. Both Hu Shi, who put forward the theory of "authentic vernacular", and Zhou Zuoren, who put forward the theory of "human literature", were westernized schools at that time, that is, they advocated that the modernization of China literature must take the road of westernization. Zhou Zuoren's concept of "Westernization" mainly focuses on the literary spirit. In his view, the ancient things in China are always in our blood, just like genes, which do not need to be inherited or imitated deliberately, while the foreign things are the opposite. "We welcome Europeanization with a new air that we can enjoy and create new vitality" [1], and Zhou Zuoren hopes to borrow fresh blood from the West. Of course, Zhou Zuoren also stressed that this formulation must take "hereditary national character" as "its natural place" [2], which means that Zhou Zuoren has certain reservations about "westernization". Comparatively speaking, Hu Shi's view of "Westernization" mainly focuses on literary forms, and his attitude is more thorough and radical than Zhou Zuoren's. I only hope that today's writers are Fei and Ma Zhini, not Jia Sheng, RoyceWong and Qu Yuan.

What do westerners think of China's ancient vernacular literature tradition? Hu Shi affirmed China's vernacular literature tradition after Liao, Jin and Yuan Dynasties from the perspective of "vernacular", and highly praised Water Margin, The Journey to the West and Romance of the Three Kingdoms. However, his admiration for the above-mentioned classical ancient vernacular literature began with "a comparison between Luther and Dante who opposed Latin and established their own slang literature in Europe", and his original intention was still to encourage modern writers in China to learn from westerners. Indeed, Zhou Zuoren and Qian had a negative view on the above-mentioned China ancient vernacular novels from another angle-from the perspective of ideological content. Zhou Zuoren almost belittled China's ancient vernacular novels. In People's Literature [3], Zhou Zuoren regarded Strange Tales from a Lonely Studio as a demon book, Water Margin and Elvis Presley as stolen books, San Xiao's marriage as a talented woman and The Journey to the West as a superstition. On the one hand, Qian strongly agrees that "quotations are reasonable in vernacular, and lyrics are beautiful in vernacular, which is the evolution of the article" and "novels are authentic in modern literature, which is also an irrefutable theory". However, when it comes to content, his point of view immediately took a 180 degree turn. He said: "Songs and novels are truly authentic in literature, but they are rare in value. [4] "Qian chose China's ancient vernacular novels from the perspectives of" noble thoughts "and" sincere feelings ",but he almost rejected all those ancient vernacular novels. Zhou Zuoren and Qian criticized China's traditional vernacular novels from the perspective of ideological content. They positioned the novel as the propaganda and agitation of humanistic thought, and unanimously criticized China's ancient vernacular novels, such as "gifted scholars and beautiful women", "teaching prostitutes and thieves", "ghosts don't pass by" and "perverting unofficial history", and advocated that China literature must be spiritually westernized (enlightened).

From the above analysis, it is not difficult to understand why westernized writers in the May 4th period emphasized vernacular literature, but most of them were particularly uninterested in China's traditional vernacular novels. During the May 4th Movement, an important symbol of China's literary modernization was the development of modern cross-sectional short stories, which was related to the decline of China's traditional Zhanghui novels. Most of the vernacular novels in Ming and Qing dynasties have the formal characteristics of "telling stories", retaining the oral style of "telling stories" in novels However, in the process of modernization of China's novels, modern novelists, on the one hand, emphasized that novels should use "vernacular" and "spoken language", on the other hand, they just got rid of the "storytelling" characteristics of vernacular novels in Ming and Qing Dynasties and began to write in vernacular. This is contradictory, at least on the surface.

Why is there such a contradiction? Obviously, the May 4th Movement took "writing/writing at desk" as one of the standards of modern novels, and its source was the observation and comparison of the western "writing/writing at desk" created by intellectuals and printed in paper media. The May 4th generation compared China's novels with western novels, which led them to fail to see the oral advantages of China's ancient vernacular novels, especially vernacular novels. The May 4th Movement not only totally denied the tradition of China's literary intelligentsia in classical Chinese (from the perspective of enlightenment motivation, the May 4th Movement demanded that literature be a sharp weapon to publicize enlightenment thoughts, so they demanded the popularization of literature), but also denied the tradition of China's ancient vernacular literature, especially the tradition of story novels (enlightenment demanded that novels be knowledgeable, while story novels were non-knowledgeable), and its core motivation was "Westernization".

This "westernization" was manifested in the "enlightenment" of literature at that time. In this case, the May 4th Westernization School positioned the frame of reference of the literary revolution horizontally in the west, rather than vertically in a certain (vernacular) literary tradition in ancient China. They emphasized the vernacular tradition in ancient China literature because they only played a theoretical argumentation strategy of "vernacular literature existed in ancient times" (China people especially appreciated the argument of "what existed in ancient times", which was also adopted by modern reformist intellectuals, such as "Confucius' reform test"). This strategy was put forward only to provide public opinion support for the May 4th New Literature Revolution, but it was not really intended to be used in practice to guide the development of new literature. From the above analysis, it can be concluded that the May 4th Westernization School chose the road of China's literature modernization and made it "go to the West". The May 4th Westernization School turned a blind eye to the linguistic logic of China's ancient vernacular novels and the possibility of modernization transformation. The May 4th Westernization School had a China mentality that "everything is inferior to people", and China literature should "learn from the West" in both form and content.

This mentality of the May 4th Westernization School found a response in the 1980s. With the end of the May 4th Movement and the invasion of China by Japanese imperialism, the wave of westernization in literature gradually disappeared, especially after 1949. In the early 1980s, with Chinese mainland re-entering the open era, the wave of literature westernization surfaced again. After being imprisoned by ultra-nationalist literature during the Cultural Revolution, China writers in the early 1980s suddenly found that they were so close to western modernist literature in thoughts and feelings. At this time, Yuan Kejia translated Foreign Modernist Literature in time, and Xu Chi's promotion of Western Modernist Literature just met their needs, so an inexhaustible wind suddenly rose. This wave of westernization is first manifested in poetry, and the rise of obscure poetry is its first sign. There was a small group of people who loved poetry in Beijing. During the Cultural Revolution, they eagerly read western works printed by the authorities for leading cadres to read. They do not have a clear theoretical proposition and westernization tendency, but intuitively approach the western works they can see and imitate them. In this way, they inadvertently squeezed into the road of westernization. Since then, westernized modernist novels and dramas have become popular. In terms of novel theory, books such as "A Probe into Modern Novel Skills" appeared, emphasizing that novels should reveal modern social contradictions, explore the inner world of characters, express complex human nature and try new ways of expression, which was in sharp contrast with the class theory, typicality theory and instrumentalism literature view at that time and was naturally criticized. At that time, an old writer said: "In recent years, some young writers have divorced their creation from life and blindly pursued the so-called' novelty, strangeness and strangeness', which is to blindly imitate some techniques of modern western literature and embark on an evil path." In this case, the Westernization School at that time was under great pressure, at least as much as that of Hu Shi and Zhou Zuoren when they advocated Westernization during the May 4th Movement. Therefore, in the 1980s, Westernization only regarded western modernist literature as a skill to avoid the opposition of those who advocated that "modernist literature is a bourgeois ideology, and socialist countries do not need and cannot need modernist literature". They put forward that if the western modernist literature itself is a part of bourgeois ideology, its artistic expression techniques are not ideological and can be used for reference and learning by proletarian literature. Indeed, it is much easier to demonstrate skills than to demonstrate that "Western modernist literature is a literature that criticizes the bourgeoisie, so it is proletarian and can become a part of proletarian literature". In A Probe into Modern Novel Skills, the author's discussion is strictly limited to "the evolution and development of skills". Can the same skills serve different contents? Specifically, can the techniques used by western modern bourgeois writers to embody bourgeois thoughts, interests and feelings in their novels be used by contemporary proletarian writers in China to embody proletarian thoughts, interests and feelings? "This question has been answered in the affirmative. On the surface, the author is calling on China writers to learn from western modernist novels in skills. In fact, the author puts forward a westernized "modernist literary view" (comparatively speaking, we can call it the westernized "enlightenment literary view" put forward by the Westernization School during the May 4th Movement). In the preface of this book, Mr. Ye Junjian said, "According to some foreign works published by us and their print runs, our appreciation interest still seems to exist. We appreciate European18th century works, such as Balzac, Dickens, and even the earlier Revenge of Mount Kido, which is beyond modern works. As for domestic works, there is another strange phenomenon. Some people appreciate Elvis Presley, which seems to surpass the works of any modern writer in China-if the order of Xinhua Bookstore can be used as a criterion to judge the appreciation value of a work. I'm afraid this interest in' appreciation' still has the flavor of feudal times. The formation of this phenomenon may also be the result of our years of intangible cultural isolation. "As can be seen from the above analysis, the author is actually trying to promote western modernist literature, but this promotion is just shy. Its logic is that "the skills of western modernist literature can be used for reference by China proletarian literature, and the content of China proletarian literature can be expressed in the form of western modernism. "This way of argument reflects the typical thinking of a group of middle-aged and old writers and theorists who have experienced the Cultural Revolution and have fresh memories of its sufferings.

However, younger theorists are not satisfied with this secretive "Westernization Theory". They prefer to clarify their Westernization thoughts in a radical and straightforward way. A famous young theorist at that time thought that all the modernists in China at that time were "pseudo-modernists". "Writers are mostly bound by social rationality and moral norms, and the ideas they express are social, rational and moral, but they adopt modernist artistic techniques, resulting in the separation of external forms and internal concepts." ("crisis! In the eyes of younger theorists, the modernization of China's literature can not be achieved simply by drawing lessons from western modernism, but will only move towards "pseudo-modernization". The real modernization of China literature must start from scratch: not only technically, but also ideologically. There is a form of western modernism, but there is no content of western modernism, which is the crisis of China literature; We must make up our minds to modernize China literature in content and form. This view actually emphasizes that China literature should be westernized not only in form (modernism), but also in content (modernism of literary experience). [6]

This radical view of Westernization was severely criticized as soon as it appeared, which forced this school to go back in history under the guidance of China's new literature and provide historical evidence for its own views. Under the influence of this concept, there is an impulse to reinterpret the history of modern literature in China from the perspective of western modernism. Huang Ziping's three-person dialogue with Qian Liqun and Chen Pingyuan in 1985 "On China Literature in the Twentieth Century" [7] is such a passage, which reads: "China literature in the twentieth century is saturated with a sense of crisis and anxiety, and it is saturated with an aesthetic feature completely different from the rationality, justice, romantic passion or elegance of literature in the nineteenth century. Generally speaking, there are profound similarities between China literature in the 20th century and the world literature in this century. In fact, this paper completely overturns the previous judgments of China academic and political circles on the nature of China literature in the 20th century, and holds that China literature in the 20th century is a modernist literature with the same structure as western modernist literature in the 20th century. This is a reinterpretation of China's literary trend of thought in the 20th century. At the same time, this trend of re-reading also occurs in the specific field of writers' works. Wang Hui, Wang Xiaoming and Wu Jun began to pay attention to the modernist factors in Lu Xun's novels and essays. In Lu Xun's works, the importance of essays has obviously decreased, and for a time "Wild Grass" has become Lu Xun's masterpiece. Accordingly, the rereading of On Contradiction and works by writers such as Ba Jin has become popular. As a result, a wave of "rewriting the history of literature" developed.

Westernization not only exerted a great influence on the development history of China literature in the 20th century as the direction of guiding the development of literature, but also exerted an influence on the history of China literature theory in the 20th century as the guiding ideology of literary theory, such as Chen Pingyuan's Study on the Transformation of China Modern Literature. Chen Pingyuan's observation on the evolution of China's modern novels is actually based on a set of westernized evaluation models. Chen Pingyuan said, "... the mainstream of China's novels is still to push vernacular novels. The language of vernacular novels is fresh and popular, and they are good at describing the world. In addition, the transformation of literati in Ming and Qing Dynasties has infiltrated many colors of literati literature, resulting in a number of excellent works such as The Scholars and A Dream of Red Mansions ... Vernacular novels have strong artistic expression and occupy an important position in the history of China novels, but they can't get rid of the tone of storytellers-both of them (referring to classical Chinese novels and vernacular novels-Ge) can't afford to change. [8] After reading this quotation, we can't help asking: "Since China's classical vernacular novels have so many advantages, why should they be' reformed'? Why is the storyteller's tone not modern as a novel skill? "Obviously, the standards of Mr. Chen Pingyuan's modern novels come from the West. He asked China to "make great changes in novel concepts and communication methods", which is actually westernization. It is for this reason that he put forward the view that China's traditional vernacular novels are not modern novels, and vernacular novels must accept "modernization". In fact, the 20th century China literary circles did not study the narrative mode of China's ancient vernacular novels, especially the vernacular novels. We know little about the "modernity" factor in the narrative mode of China's ancient vernacular novels, and simply define it as "non-modernity" based on the indifference to the narrative of western modern novels.

Westernization played a leading role in the development history of China's new literature in the 20th century, and promoted the modernization of China's literature. The present situation of China literature can't be said to be related to other things, but it also caused some fatal deficiencies in China literature and its theory in the 20th century. This deficiency is just like what a theorist said: "(1) lacks its own basic proposition of originality and non-stealing;" (2) Lack of original concept system that is not "borrowing"; (3) Lack of original and non-transplant philosophical standpoint. " [9]。 During the growth and development of nearly a century, China's modern literature and its theory often lingered in the shadow of the West: its basic theme (the enlightened thought of "human literature") was western, and its basic forms, such as the modern narrative transformation of China's modern novels in narrative mode, also went to the west.