(Chinese Department of Hainan Normal University, Haikou 57 1 158)
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Zhou Quangen's Concept and Historical Facts —— Analysis and Restoration of "Beijing School" [A], Journal of Hainan Normal University, No.4, 2007 [J]. 1. Analysis of the concept of "Beijing School"
In the history of China literature, Beijing School is a very complicated and thorny literary phenomenon. There are many differences in people's understanding of the time, place and content of its existence. Among different researchers and schools, the signified and signified of Beijing School often slide, and some even deny the genre characteristics of Beijing School. Modern academic circles are far from reaching an agreement. Xu even classified Lu Xun, the leader of the left-wing spiritual alliance, as a Beijing school. He said: "For Lu Xun, a considerable part of his experience, education, emotion, interest and style are related to the Beijing School. It is not groundless to say that he is a Beijing School." [1](p24) Xiao Gan, who is usually regarded as a standard member of the Beijing School, is not a "Beijing School writer" in Wang Jialiang's view, but a "Life School" writer. [2](p44) This difference in understanding of the existence of Beijing School and its genre nature is actually an extension of the respective theories of various schools in the history of modern literature.
First of all, most of the Shanghai parties in the Beijing-Shanghai dispute denied the fact that the Beijing school existed. For example, after Zhu Guang's potential change, he recalled: "The Beijing School is mostly an old intellectual in the literary and art circles, and the Shanghai School mainly refers to the Left Alliance." [3] He himself won the title of "Beijing Literati". [14] Xiao Gan also said that the study of Beijing School as a literary school is "not very scientific in itself". [4] Shen Congwen more seriously blurred the boundaries of schools, canceled the proper meaning of literary schools, and gave people the impression that Beijing School had no schools and Beijing School had no boundaries. Moreover, he didn't mention the word "Beijing School" at all, only words like "Beijing School" and "Northern Literati". [5] (P93) Secondly, people who leave the Shanghai School of Beijing School all make Jinghai their home. Cao Juren once used the connotation of Shanghai style explained in Shen Congwen's On Shanghai Style to prove that there is no difference between Beijing and Shanghai. After that, he simply equated the two, blurring the boundary between Beijing School and Shanghai School. [6] Similar to Cao Juren's view that both factions in Jinghai are regarded as "heartless", Lu Xun also rewarded the Jinghai with 50 boards each. He developed from the regional essence of Beijing and Shanghai, and with the style of nearly four or six rhymes, he turned the Beijing-style Shanghai-style comics into the helpers of officials and businessmen with great interest, each doing his own thing. [7](p655) Third, in the eyes of later proletarian literary theorists and writers, the face of Beijing School was also classified. Yang Hui, for example, has a deep relationship with the Beijing School. He once set fire to Zhao Jialou during the May 4th Movement and was also a senior official of the Shenzhong Club, but later he skillfully adopted the class analysis method and published it in Wen Wei Po? New literature and art skillfully replaced Beijing school and Shanghai school with peasant school and people school. From the War of Liberation to the end of the Cultural Revolution, with the military and political victory of the * * * production party, this thought of the left wing was rapidly spread and strengthened. For example, in the 1 series of popular literature and art series published in March 1948, Guo Moruo's Refuse to React to Literature and Art, Feng Naichao's A Brief Comment on Shen Congwen's Xiong Mansion, and Shao Quanlin's Cowardice and Reactivity of Zhu Guangqian were all very powerful. This view has long influenced people's understanding.
However, their speeches all have their own positions. As far as objective historical facts are concerned, they are quite subjective and even have ulterior motives. Mingda, like Zhu Guangqian, was inevitably obscured by subjectivity in the second half of his life, and he was proficient in spring and autumn brushwork. What he called "Bo" got the word "Bo" in the title of "Beijing School Literati", which euphemistically implied that "Beijing School" was just a fiction. The transfer of war terms such as "occupation", "assembly" and "position" reveals his criticized new democratic cultural view and Marxist class analysis method. Xu once commented: "It is Chen Xiangyin's most bizarre theory to point directly at Shanghai School or to be a left-wing writer, which seriously confuses the audience." Even in his later years, Zhu Guangqian did not hesitate to extend this statement in his autobiography in order to ensure a certain sense of security and express a certain ideological change. [1](p2 1) Shen Congwen's attitude towards the debate between Beijing and Shanghai is based on the aesthetic essence of his liberal literary view. Others, such as Yang Hui, Guo Moruo, Feng Naichao, Shao Quanlin and Zhu Guangqian in his later years, formed their own thoughts of Beijing School from the understanding of class essence. Among many different opinions, Lu Xun and Cao Juren are the most profound. On1934+1October 30th, Lu Xun wrote two famous essays, Beijing School and Shanghai School, northerners and southerners. Lu Xun's seemingly humorous articles also made Shen Congwen most angry. In the article "About Shanghai School", Shen lamented that Lu Xun was just interested and said some funny things. [5](p93) From the surface of the article, it is really just a casual feeling, as Shen said, but in essence it reveals the deeper disharmony between Shen and Lu. Lu Xun has been criticizing the inertia, pedantry, boredom and aristocratic spirit in China culture with a cultural vision that contains a strong class vision but is deeper than the class vision, especially the dependence of intellectuals representing China culture. It is with this sharp cultural criticism that he saw the deep cultural agreement between Beijing School and Shanghai School, and revealed the same essence of their "help" and "leisure".
From the above, we can clearly see that the difference in the concept of Beijing School is because different people look at the achievements of Beijing School from different angles such as aesthetics, class and culture. "Whether Beijing School exists" and "in what form" is a historical issue with contradictory subjective understanding and objective facts. In fact, although this problem has been mentioned unilaterally by many people, it has never been thoroughly cleaned up, especially what is the original ecology of the cultural community of Beijing School? In the past, it focused on the debate itself or the case study of writers, works and their literary theories. Therefore, it is necessary for us to reveal, define and describe the historical facts of Beijing School as a literary school and literary trend of thought through various one-sided perspectives in the fog of history.
It takes a process to develop from a literary viewpoint to a literary trend of thought. In the second decade of China's modern literature history, the process from the convergence of liberal literary thoughts scattered and cultivated by some cultural groups or individuals to the gradual rise of a liberal literary trend is the formation process of Beijing School. 1928 After the end of the Northern Expedition, the political, military and cultural patterns in China were quite different from those in the May 4th period. The first cooperation between the Kuomintang and the Communist Party broke down completely, and the Kuomintang was formally unified after changing its flag in the northeast. During the May 4th Movement, intellectuals were divided and reorganized, and various schools of literary societies were transformed and integrated accordingly, forming several new literary schools with their own characteristics. The "Beijing School" was formed in this kind of differentiation and reorganization.
Before 1928, literary societies and schools of all sizes mainly included: new youth, trendy society, literary research society, creative society, crescent school, modern criticism school, silk society, Yuanyang butterfly school, Jiayin school, Xue Heng school, Hubin society, Asakusa society, Chen Zhongshe society, Wuming society, Mangyuan society, Kuanfeng society and so on. After 1928, although some of them continued to exist, they either declined or completely changed their heads. Most of them have formed a new tension pattern in which left-wing literature dominates the whole country, nationalism-three people's principles literature, liberal literature, popular literature with a high degree of commercialization and secularization, and modernism pursuing new skills and new feelings repel each other. After the political center moved south, Beijing changed its name to Beiping and became a famous cultural city, with more than 20 national nine schools, 5 ministerial schools, 5 famous private schools and 2 public and missionary universities. It is the center of academic research and cultural communication. Shanghai, on the other hand, has become a diverse and mixed place where merchants gather, the west wind is immersed and the revolution is brewing because of its nature as a port city and many concessions. Liberal literary activities are active in the northern cities with Peiping as the center, while others are mainly in Shanghai. Liberal literati are mainly composed of some literary research societies (such as Zhu Ziqing and Zhao), silk societies (such as Zhou Zuoren and Yu Pingbo), modern critics and crescent societies (such as Liang Shiqiu and Shen Congwen). Most of them work in university campuses and some cultural institutions, and oppose politicized left-wing literature, official Kuomintang literature, commercialized popular literature and modernism full of Machamp's confusion with rational spirit, freedom principle and classical taste.
In a letter to Zhang Tingqian () in July 1929, Lu Xun expressed his sensitivity to this reorganization: "Qingdao University has started school, and Yang Zhensheng, the director of liberal arts, is in contact with Zhou and others recently. Chen Yuan also went to Qingda, as well as Zhao and Yi Jiayu. " [8](p 196) Shen Congwen described the situation in a highly praised tone. He said: "However, in the north, in the so-called dead big cities, a group of powerful and energetic writers have grown up slowly. Cao Yu, Lu Zhuo, Bian, Xiao Gan, Lin, He Qifang, Li Guangtian ... are all familiar with this period. They are not only familiar with their names, but also with their excellent works created with a modest attitude! ..... Speaking of this educational work, Ta Kung Pao's ideal of literary supplement, Zhu Guangqian, Wen Yiduo, Zheng Zhenduo, Ye Gongchao and Zhu Ziqing's attitude of presiding over the literature department of the university, and Ba Jin and Zhang Jinyi's attitude of presiding over large-scale publications are unforgettable. " [9] It can also be seen that the Beijing School formed after the reorganization has very obvious genre characteristics. Among many later researchers, Wu Xiaoru defined the scope of the literary group of Beijing School. He said: "In fact, the so-called' Beijing School' is vague and general in its connotation and extension, and generally refers to a group of writers with Peiping as the center. In terms of time, it seems to refer to 1937 which broke out in War of Resistance against Japanese Aggression in 1927 after the failure of the Great Revolution, including 1945- 1948 after the victory of the Anti-Japanese War and before the national liberation. " [10](p2) This is a historical fact that accords with the formation and development of Beijing School.
2. Hook up the historical facts of the rust of the "Beijing School"
However, the establishment of the concept does not mean the identification of the phenomenon, and the true face of this historical fact is not easy to identify. To this end, we start with the definition of literary thoughts and literary schools. There is a difference between "genre" and "ideological trend". However, if literary ideas and literary thoughts can become a temporary trend, they will inevitably be accompanied by a unified literary movement and literary creation, thus giving birth to certain literary schools. So, in a word, we don't need to subdivide literary schools and literary trends of thought. So what is a literary genre? Generally speaking, literary genre refers to a comprehensive literary movement, literary theory and literary creation formed by some literary theorists or writers under the guidance of the same or similar world outlook, outlook on life, values and aesthetics in a specific historical period. It is reflected in the specific historical facts of literature, such as literary works, literary societies, newspaper supplements, fan magazines, literary salons, teahouses, poetry clubs, fellow travelers and mutual attacks between different species corresponding to their literary concepts. What's more, in order to consolidate the achievements and spread the influence, various literary awards were held and the publication of series was planned.