After the outbreak of War of Resistance against Japanese Aggression, Hu Feng served as the leader of the All-China Anti-Enemy Association for a long time, and kept close contact with Zhou Enlai and other party leaders in the rear. He successively edited July, Hope Magazine, Selected Poems in July and Literary Works in July, wrote a large number of literary theories and critical articles, and introduced and commented on the works of a large number of progressive young writers in Kuomintang-controlled areas and writers in liberated areas. With his guidance and help, a number of young writers such as Ai Qing, Zou Difan, A Long and Lu Ling have emerged in the literary world.
The main achievement of July School lies in poetry. 198 1 has won the reputation of "July School" poet. They are: A Long, Lu Li, Sun Yun, Peng Yanjiao, Fang Ran, Ji Yun, Zhong Xuan, Zheng Si, Ceng Zhuo, Du Gu, Lv Yuan, Hu Zheng, Lu Dian, Xu Fang, Han Niu, Lumei, Hua Tie, Zhu Jian, Zhu Guhuai and Luo Luo. White Flower (note: edited by Lvyuan and Han Niu, published by People's Literature Publishing House, with Lvyuan as the preface. ) said in the preface, "Even if this genre is recognized, it cannot be represented by these 20 authors; In fact, some poets have made greater achievements. Although it is inconvenient and unnecessary to invite them to this collection of poems for non-artistic reasons, their works in those years can better represent the early style of this genre. " These unspecified poets refer to Ai Qing, Tian Tian and Zou Difan, and may also include Hu Feng, the leader of July School. Since Hu Feng's literary and artistic thoughts were criticized by organizations from the late 1940s, this school of poetry was under great pressure. After the 1950s, the creation of these poets decreased obviously. Some works were criticized when they were published. The most important example is Hu Feng's creation at that time: Five Heroic Epics written from June 1949 65438+ October to June 1950 65438+ October, with more than 3,000 lines. This long poem named Time Begins is divided into ode to joy, ode to glory, ode to youth, requiem and another ode to joy. Hu Feng expounded the significance of the birth of New China from the history of humiliation and struggle in China since modern times, including the praise of Mao Zedong. However, his narration of "history" and praise of heroes and leaders did not completely adopt the general "discourse mode" at that time, and the extravagant participation of personal experience and subjective emotion also made it far from the writing norms of poetry at that time. Shortly after its publication, Hu Feng was criticized from the perspective of his "subjective idealism" literary thought. At this time, Lu Li, Lu Yuan and Han Niu came. I have also written many poems, but the original style has been lost and the chances of publication are decreasing.
"July School" is a literary school born in War of Resistance against Japanese Aggression, and its genre character is determined by its relationship with reality. The mutual promotion of national salvation and enlightenment is also the spiritual pursuit of the July School. With the change of the Anti-Japanese War, the overall creative style of the July School has also changed obviously, and it tends to be depressed and miserable in the later period.
July School is a literary school active in War of Resistance against Japanese Aggression time and space, sharing weal and woe with War of Resistance against Japanese Aggression. Accompanied by War of Resistance against Japanese Aggression, the July School experienced the evolution from emergence, development to extinction. Among them, the differentiation and reorganization of school personnel and the change of school style are closely related to the turmoil and the change of war state in War of Resistance against Japanese Aggression. What is more noteworthy is that under the cultural background of the Anti-Japanese War, the July School adhered to the enlightenment posture of the May 4th New Literature and combined the enlightenment thought with the actual needs of the Anti-Japanese War, thus developing and deepening the enlightenment spirit of the New Literature.
"July School" is a literary school full of exploration spirit and tragic fate in the history of modern literature in China. Fiction writers represented by Lu Ling, Qiu Dongping and Peng Baishan, with their strong subjective consciousness and profound life experience, have adopted modernism techniques such as expressionism, neo-sensualism and symbolism, which greatly enriched the aesthetic communication of realism. The novels of "July School" are deep, rough, dignified and tragic. The most prominent aesthetic feature lies in the brand-new grasp of the authenticity of the novel. The high authenticity of the July School novel is reflected in the deep integration of the reappearance truth and the expression truth, and the characters are close to the original ecology of life. "July School" not only emphasizes the indispensable subjectivity of writers in the creative process, but also fully respects the principle of the primacy of social life. In a word, "July School" is a new attitude of modern China.
Hu Feng's poetic theory, as an integral part of his literary theory, was also criticized in the early 1950s. Along (Chen Yimen)' s works such as Man and Poetry (1948), Poetry and Reality (195 1), What is Poetry (1954), his views on poetry, and his views on modern poets in China. However, the criticism of these works in the early 1950s was regarded as an integral part of Hu Feng's literary criticism. During this period, Aaron's On Tendency and On Positive and Negative Figures (Note: On Tendency and Literature Learning (Tianjin)No. 1950; On Positive Characters and Negative Characters (signed by Zhang Huairui), Starting Point (Shanghai), No.2, 1950. Critics believe that the former advocates the idealism that "art is politics" and "resists Marxism-Leninism's party spirit thought on literature and art" (Chen Yong's The Relationship between Literature and Politics-Comment on Aron's On Tendency, People's Daily, March 1950), while the latter accuses Marx of distorting his propaganda. ) and other articles have also been severely criticized. In Hu Feng School's view of poetry, the remarks about poetry in 1948 are the most continuously criticized. Hu Feng believes that poetry should be a voice that accuses people of suffering and praises people's progress, and poetry should advance among the advancing people. However, "it is not necessary to walk in the advancing crowd to have poetry", "Because history is unified, anyone's living environment is the bottom side of history and connected with the other side, so anyone can walk into the bottom side of history. ..... where there are people, there is history. Where there is life, there is struggle, and where there is life and struggle, there should and can be poetry. " Hu Feng went on to say, "Where are the people? Around your ass. The progress of poets and the progress of the people complement each other. Where is the starting point? At your feet. Where there is life, there is struggle, and the struggle always advances from here and now. Hu Feng's theoretical criticism involves a variety of literary styles, works by Chinese and foreign writers, and theoretical problems in the May 4th New Literature Movement. But the center is around the principle, practice and development of realism. There have been different opinions, criticisms and disputes about some theoretical propositions of Hu Feng for a long time. Hu Feng insisted on his own point of view and made counter-criticism. 1954, he wrote a report on literary and artistic practice in recent years to the Central Committee of the Communist Party of China (namely "300,000-word book"), was designated as the head of Hu Feng's counter-revolutionary group, was arrested and imprisoned, and launched a nationwide criticism and struggle. Published on 1979. 1980 rehabilitated.
Jiuyepai
Jiuyepai
One of the characteristics of kuya School is that it pays attention to reality.
1948 The most important event was the official appearance of the Nine Leaves School. Because of Cao Xinzhi's different views on art, he and Xin Di, Chen, Tang Qi, Tang? Others started the monthly China New Poetry, and got in touch with Mudan, Du, Yuan Kejia and others who returned to Beijing and Tianjin from Kunming National Southwest United University, forming a new poetry school "China New Poetry School" (later named "Jiuye Poetry School", published by Jiangsu People's Publishing House 198 1).
"Nine Leaves School" is another group of poets in the 1940s (also known as "China New Poetry School"), and its representative poets are Xin Di, Mu Dan, Du Fu, Chen, Hang Youhe, Tang Qi, Tang Xie and Yuan Kejia.
In the 1980s, they published Nine Leaves Collection, a collection of poems by nine of them, hence the name Nine Leaves School. Most of them are campus poets, who perceive people's voices from the war and attach importance to the poet's unique experience of social and historical phenomena; Deeply influenced by western modernist poetry, they strive to break through the traditional way of subjective lyricism, pursue the combination of realism, symbolism and philosophy, and explore the "drama" of poetry expression (mainly referring to the contradictory tension in the emotional development and language expression of poetry, rather than directly expressing their hearts), so that poetry can further express the complexity of modern people's thinking mode and inner life. In the history of literature, it is generally believed that the artistic exploration of "Nine Leaves Poetry School" is very valuable, and a group of poets with high artistic level have made great breakthroughs in the expression of new poetry and poetic concepts.