Symbolic Poetry School: Symbolic Poetry School appeared in the mid-1920s, and Wang, Mu and Feng Naichao of the later creation society were also important writers of symbolic poetry. Symbolism poets are mostly influenced by French symbolism poetry, and their works are characterized by paying attention to the artistic expression of self-mind, emphasizing the suggestive function and mystery of poetry, and pursuing the so-called "strangeness of conceptual connection". ① Use a symbolic image and imagery to express a person's subtle and complicated inner world and convey his keen feelings and impressions of the external world. ② Use novel imagination and metaphor to express subtle situations. (3) Relying on the hints of artistic images to express feelings and emotional appeal. ④ Pursuing the ellipsis and jumping of poetic language. Li Jinfa's Slight Rain, Ode to Joy, Diners and fleeting time, published from 1925 to 1927, are representative works of early symbolism poetry schools in China, which made a beneficial exploration and attempt for the development of China's new poetry art. Symbolism poetry later matured and made great achievements in the hands of Dai Wangshu in the 1930s.
Modern Criticism School: 1924, Hu Shi, Chen Xiying and Xu Zhimo founded Modern Criticism Weekly, which was called Modern Criticism School in history. Most of its members are liberal intellectuals who have returned from studying in Europe and America. They took Modern Review as the main position, vindicated American imperialism and comprador bourgeoisie, supported the authorities of Beiyang warlords and slandered the mass revolutionary movement. 1927 In July, Modern Review moved to Shanghai, so it changed from being attached to the Beiyang government to taking refuge in the Kuomintang regime.
Sun Society: 1928 1 was founded in Shanghai. Its main members are, Qian Xing Tun (), Hong, etc. , is party member. "These writers under the sun demand a bright and new life, and 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 literature movement. When the Left League was established, it was dissolved by itself.
The League of Left-wing Writers is the abbreviation of the League of Chinese Left-wing Writers. Established in Shanghai on March 2, 1930. The main promoters are Lu Xun, Shen Duanxian and Feng Naichao. Lu Xun made a famous speech at the inaugural meeting of the Left-wing Writers' Union, which is its program. The establishment of the "Left-wing League" actually formed a relatively broad revolutionary literature United front, which promoted the rapid development of the left-wing literature movement. Left-wing literature shattered the cultural "encirclement and suppression" of the Kuomintang. The Left League attaches great importance to theoretical criticism. Carry out the dissemination of Marxist literary theory. A movement to popularize literature and art began. Literary creation is very prosperous, and left-wing writers also attach importance to cultivating young writers. Representative writers are: Jiang Guangci, Rou Shi, Yin Fu, Ye Zi, etc. The "Left-wing League" also has some shortcomings, such as "Left" mistakes in ideological tendency, serious dogmatism in theory, serious tendency of closed-doorism and distributionism in organizational work, and serious problems in the formulation and conceptualization of many works in literary creation.
Debate on revolutionary literature: refers to the debate on proletarian revolutionary literature between Lu Xun and Mao Dun, Creation Society and Sun Society in * *. The reason is that when the Creation Society and Sun Society advocated revolutionary literature, due to the influence of the left-leaning ideological trend and their own world outlook in the revolutionary camps at home and abroad, there appeared a serious mechanistic error tendency in their theoretical propositions, criticizing and liquidating Lu Xun, Mao Dun and Yu Dafu, and completely denying the May 4th new literary tradition. Lu Xun affirmed the historical background of proletarian literature, criticized them for ignoring the characteristics of literature and art, exaggerating the role of literature and art and sectarian tendency, and Mao Dun also criticized them for their narrow theme and slogan tendency. The nature of this controversy is that among revolutionary writers, it has expanded the influence of revolutionary literature, promoted the study of Marxist literary theory, improved the ideological controversy over Lu Xun's translation of plekhanov's On Art and other Ma Yi's literary theory works, and prepared the conditions for the establishment of the Left League.
Popular Movement of Literature and Art:19311Executive Committee of the Left-wing League 10. The resolution of "The New Task of Proletarian Revolutionary Literature in China" adopted in October puts forward that the future literature must be based on the principle of "belonging to the masses, being understood and loved by the masses" and clearly stipulates "literature". There were three great discussions on the popularization of literature and art in the period of the Left Alliance: the first time was around the establishment of the Left Alliance in the spring of 1930, and the second time was in * * * * * *. These two discussions focused on the significance of the popularization of literature and art, the form of popular literature, and learning content and language from the masses. The third time is 1934, which discusses the old form and puts forward the Latin of popular words and characters. Lu Xun's "takenism" thought in On the Choice of Old and New Forms is an important theoretical achievement of the discussion on the popularization of literature and art.
General literature: * * * * * The early revolutionary literature is the general literature stage, and the general literature is mainly composed of writers from the Creation Society and Sun Society. General literature reflects some social realities during the Northern Expedition and after the failure of the revolution, describes the life and struggle of workers and peasants, and shows the mentality of some petty-bourgeois revolutionaries in the low tide of the revolution under the white terror. There are many works with strong revolutionary flavor, which are popular in the literary world for a while and have great social influence. However, there are serious defects in the general literature. The main wrong tendency is "revolutionary romanticism", which idealizes and romanticizes the cruel realistic struggle. At the same time, the deviation of the left-leaning blind policy in the early stage of revolutionary literature has not been liquidated, so there are not many successful works. Representative works include Jiang Guangci's Shorts Party and Inulin.
Revolutionary Romantic Tick: During the advocacy period of the proletarian revolutionary literature movement, there were also some naive tendencies in the creation, among which the so-called "revolutionary romantic Tick" was prominent. It reveals the fanaticism and sentimentality of the petty bourgeoisie ideologically, but it has the weakness of formulation and conceptualization in artistic methods. His works include Hua Han's Renaissance and Jiang Guangci's Short Party. As soon as this phenomenon appeared, it was immediately criticized by Lu Xun and attracted the attention of more revolutionary writers. People like Zhang Tianyi, Ding Ling, Ai Wu and Sha Ting no longer regard their works as illustrations of political ideas, but set out from life to truly reflect reality and inspire people to criticize and transform the old world. The ideology of the petty bourgeoisie has also been overcome, thus improving the ideological and artistic level of revolutionary literary works.
Revolution+Love Fiction: The revolution and love of heroic sons and daughters are important contents of many works in general literature and have become popular themes for a period of time. On the one hand, it reflects the common problem that young intellectuals faced with personal and revolutionary conflicts before and after the Great Revolution, which gave birth to the initial image of new intellectuals in the 1930s. On the other hand, it also exposes some one-sided understanding and expression of life. However, it is this kind of novel that has had a positive impact on the revolutionary road of a generation of young people, indicating that it really keeps pace with the times, and even stories and characters with strong ideological traces can impress some intellectual youth's excited pursuit of a bright mind at that time.
Hua Tuo's Di Quan and its second edition: 1932 Yang Hansheng's Di Quan can be regarded as an important example of the Left-wing League's planned liquidation of erroneous tendencies in early revolutionary literature creation. The trilogy Diquan Depth Transformation Revival is an influential masterpiece in early revolutionary literature. In the second edition, Qu Qiubai, Mao Dun, Qian Xing Tun and Zheng cleaned up the "revolutionary romanticism", denied the disadvantages of simplified writing, conceptualization and formulation, and proposed that emerging literature should abandon such creative methods and resolutely move towards "the creative method of materialist dialectics".
The creation method of materialist dialectics was put forward by Lapp (Russian Federation of Proletarian Writers) and confirmed by the Congress of the International Revolutionary Writers Union in 1930+065438+ 10. It emphasizes the decisive role of world outlook in linear style creation, and completely replaces artistic methods with philosophical methods or world outlook. It holds that the key to the success of the work lies in the embodiment of materialist dialectics through the description of specific characters and life, so the graphic political view is reasonable.
Socialist realism: a proletarian literary movement with the left-wing alliance as its core, which later introduced this slogan from the Soviet Union. As a creative method, its influence is more profound than other methods in the past, and even continues to the present. Socialist realism, as the basic creative method of proletarian literature, was determined by the first Soviet writers' congress in 1932. It requires literary and art workers to describe the reality truly and historically from the realistic revolution, and this artistic description must also be combined with the task of transforming and educating the working people with the socialist spirit. This slogan was put forward to clear up the deviation between the literary thought of Lapp mechanism and materialist dialectics, so it emphasized "writing the truth". (There was some distortion when it was introduced. Because of Zhou Yang's dominant position in the left-wing alliance, the article almost sets the tone for the left-wing literary world to explore creative methods, that is, it not only absorbs the factors conducive to the recovery and development of realism, but also cannot fundamentally get rid of the shackles of the left-leaning mechanism. )
Free man and the third kind of person: from 193 1 to 1932, the "left-wing alliance" had an argument with "free man" and "the third kind of person". "Free man" refers to Hu in Cultural Review, while "the third kind of man" refers to the modern one. The focus of the debate is the class nature of literature and art and the relationship between literature and art and politics. First of all, Hu published A Gou's Theory of Literature and Art, criticizing the fascist nature of nationalist literature and criticizing the left-wing literary world for "throwing art into the political phonograph". Later, he published articles such as "Don't infringe literature and art". The Literary and Art Newspaper of the "Left League" published an article criticizing Hu, and then published an article supporting Hu. Lu Xun, Qu Qiubai, Feng Xuefeng and others published articles such as On the Third Kind of Man, Freedom of Literature and Art and Illegality of Writers, Tendency and Theory of the Third Kind of Literature respectively, and launched a debate with Su Hu. They criticized the erroneous tendency of Su Hu and Su Hu's literature and art to be divorced from politics and class, and at the same time reviewed the mistakes of the "Left" mechanism and left sectarianism, which was an important gain of the debate.
The argument of two slogans: refers to the argument of 1936 between national defense literature and popular literature in Shanghai's left-wing literary circles. These two slogans are based on the expansion of Japan's invasion of China and the new changes in domestic class relations, and are put forward to meet the strategic requirements of the CPC Central Committee on establishing an anti-Japanese national United front. The slogan of national defense literature was first put forward by Zhou Yang, the leader of the underground party in the upper academic circles, and from this, national defense literature movement, national defense drama and national defense poetry activities were carried out. The popular literary slogan of the National Revolutionary War was put forward by Hu Feng after the Central Committee of the Communist Party of China Commissioner Feng Xuefeng went to Shanghai to discuss with Lu Xun and Hu Feng. Because of the criticism of some writers who advocate national defense literature, a debate has been triggered. Lu Xun wrote that these two slogans can coexist, criticizing the closed-door and sectarian mistakes of some left-wing leaders who advocate national defense literature. This is a debate in the left-wing literary and art circles about the establishment of a United front in the literary and art circles under the new situation, which is caused by some ideological differences. Through the debate, the new unity was realized, which prepared the ideological conditions for the transition to the anti-Japanese literary movement and the establishment of a broad anti-Japanese United front in the literary and art circles.
Drama Troupe: referred to as "China Left-wing Dramatists Union", it is a United front organization of progressive dramatists led by China * * * Production Party. 1930 was established in Shanghai. Liu, Tian Han, Yu Ling, etc. Have served as party secretary. After the establishment of Dramatists Association, the Close Action Program of China Left-wing Dramatists Union was drafted and adopted. In addition to establishing a general alliance in Shanghai, sub-alliances and groups were established in Peiping and Hankou, which made the left-wing drama movement develop rapidly throughout the country. In drama, United progressive dramatists have formed more than 50 left-wing troupes. Among them are Shanghai's art dramas Du Fu and Nan Guo She. The drama activities led by the Drama Association are revolutionary, mass and combative. In order to carry out workers' drama activities, the Drama Association set up a workers' performance committee, which promoted the development of workers' drama. The left-wing drama movement prepared the conditions for the later transition of drama to professionalism and practicality. It paved the way for the proletarian drama movement in China and trained a group of outstanding drama talents. 1936, automatically dissolved according to the needs of the development of the situation.
Chinese Poetry Society: a mass poetry group under the leadership of the Left League. 1932 was founded in Shanghai, initiated by Mu, Yang Sao, Ren Jun and Pu Feng. The main publication is New Poetry. The purpose of the establishment of the Chinese Poetry Society is to dispel some fogs caused by the crescent school and modernism in the poetry circle and promote and develop the revolutionary poetry movement. The Chinese Poetry Society advocates "grasping the reality and singing the new world consciousness" in content and "popular songs" in form, that is, creating popular poems and making them popular 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, published "special number ballads" and "special number creation" and put them into practice. The Chinese Poetry Society has played a certain role in promoting the development of the revolutionary poetry movement in China.
Beijing School: It is a unique literary school in 1930s. Its main members are Zhou Zuoren, Fei Ming, Shen Congwen, Li Jianwu and Zhu Guangqian. Because its author was engaged in literary activities in Beijing and Tianjin at that time, it was called "Beijing School". Most of his works are published in periodicals in Beijing and Tianjin, and their artistic styles are essentially the same. The main publications are Literature Magazine, Literature Quarterly and Ta Kung Pao. Literature and art The basic feature of "Beijing School" is to pay attention to life, but keep a distance from political struggle and emphasize the unique character of art. Their thoughts are embodied in the literary ontology with pure literary flavor and aesthetic consciousness based on harmony, moderation and appropriateness. Shen Congwen was the first writer of Beijing School. The writers of Beijing School mainly express "local China", and their works are full of cultural implications. Most writers of Beijing School are realists, who have developed realism, lyric novels and satirical novels. Make the novel poetic, plain, realistic and romantic.
Criticism: Criticism is a school of prose in 1930s. The protagonist is Lin Yutang. The main publications are The Analects of Confucius, Life on Earth, and Cosmic Wind. They mainly publish essays and advocate humor, leisure and spirituality. Advocate "self-centered, leisure as the style of writing" and adopt a liberal stance of keeping a distance from politics. The early articles in The Analects of Confucius can still touch the disadvantages of the times, and there is irony in humor. After 1934, the edge of irony has weakened day by day, and humor has also flowed into telling jokes and having fun. This led to an argument between left-wing writers and them.
Crescent school: an important school of poetry in the history of modern new poetry, generally divided into two periods by 1927. The early stage began in the spring of 1926, supplemented by Beijing Morning Post? Poetry magazine is the front, and its main members are Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Sun Dayu and Liu. They were dissatisfied with the style of "liberal poets" who ignored the art of poetry after the May 4th Movement, advocated new metrical poetry, advocated "rational restraint of emotions", and opposed the disorderly and prosaic tendency of poetry, and made a serious exploration of new metrical poetry from theory to practice. Wen Yiduo put forward the famous thought of "three beauties" in "The Metre of Poetry", that is, "the beauty of music, the beauty of painting and the beauty of architecture". Therefore, the crescent school is also known as the "new metrical poetry school". The crescent school corrected the weakness of the early poetry creation that was too informal, and also made the new poetry enter the period of conscious creation. /kloc-in the spring of 0/927, Hu Shi, Xu Zhimo, Wen Yiduo, Liang Shiqiu and others founded Crescent Bookstore, and the monthly magazine Crescent was founded the following year. The main activities of the "Crescent School" moved to Shanghai, which was later the Crescent School. Its main positions are New Moon and Poetry, which were founded in 1930. The new members are Chen, Fang and Bian. In the later period, the Crescent School put forward the principles of "health" and "dignity", and still adhered to the position of "pure poetry" which was super-utilitarian, self-expression and aristocratic, emphasizing "purity in essence, thoroughness in technique and rigor in meter", but the artistic expression and lyric way of poetry approached the modernist school.
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