Volume One Lily Ru Zhijuan's short story Lily shows the human warmth in the war through the profile description of the characters. Based on the background of the war, the novel describes a young, simple, honest and inarticulate correspondent, who has a near-holy emotional exchange with an emotional and personality "I" and a simple and kind rural new wife. Mainly through the description of details ("hole", "chrysanthemum" and "lily quilt", etc.). ), reflecting the beauty of human nature and human feelings, wrote a love pastoral without love. The novel is delicate in emotion, fresh and elegant in language and full of lyrical charm. The policy of letting a hundred flowers blossom and a hundred schools of thought contend is the full name of the policy of letting a hundred flowers blossom put forward by Mao Zedong at the Supreme State Council on May 2nd. 1956. Its main contents are: different forms and styles in art can develop freely, and different schools in science can argue freely ... The right and wrong problems in art and science should be solved through free discussion in art and science, not by simple methods. The literary and art circles, including literary theory, literary criticism and literary creation, have been actively implementing this policy. Liang San, an old man, is a typical farmer of the older generation in China. He is best portrayed in the history of entrepreneurship in Liu Qing: he started his business three times before liberation, failed three times, dreamed of becoming the owner of the "Sanhetou Wafangyuan", was emotional when he divided the land, and was dissatisfied and obstructed by Liang Shengbao's mutual aid group. As a small producer with thousands of years of private thoughts, he tends to make a fortune personally. At the same time, he has the qualities of hard work, kindness and simplicity of ordinary farmers. His personality has obvious duality, and he is a middle figure vacillating between collective wealth and personal wealth. The complexity of Liang San's spiritual world is an artistic portrayal of the older generation of farmers in China, which has typical significance. Tianshan Pastoral "Tianshan Pastoral" is the most representative collection of life lyrics by Wen Jie. With the theme of "recording the changes of people's lives of all ethnic groups", it sings a new era that has just begun. It has the style of ode and a real and simple living atmosphere. The poet created a soft, brisk and clear pastoral style, praising the customs and spiritual life of the northwest ethnic minorities, such as "Love Song of Turpan" based on the life of ethnic minorities. In particular, poems such as Horse Racing and Under the Apple Tree directly express the love life of young men and women, which combine love with the labor of creating a new life in conception, and the theme is still "ode to life". Short answer? On the theme and artistic features of Red Flag Spectrum 1. Theme: The Red Flag is an epic of peasant revolutionary struggle with national style. This is a tortuous history of China farmers seeking their own liberation. The situation in Central Hebei Plain not only became a portrayal of China society during the Great Revolution, but also combined farmers' resistance with China's new-democratic revolution. It sums up the history of the struggle of the democratic revolution by describing the process of peasants' resistance, and artistically shows that hundreds of millions of peasants are the main force of the democratic revolution in China, and the peasant's resistance struggle can only be won if it is integrated into the torrent of proletarian revolution led by * * *. 2, artistic features 1), the national form novel of literature organizes and refines the story by the sharp conflict between two farmers in three generations and a landlord in two generations in Suo Jing Town. Although the structure is not a quotation, it deliberately draws lessons from the layout skills of China's classical novels. Each part is six or seven thousand words, which is relatively independent and fascinating. 2) The characterization mainly uses the movements of characters, especially the dialogues of characters that are common in classical novels, and outlines the characters' personalities with thick lines. At the same time, it absorbs the expression techniques of foreign novels appropriately, and explores the inner world of characters through static narration and description of their psychological activities. 3) Nationalized language In terms of language, from vocabulary to grammar, the novel pays attention to the individualization, colloquialism and daily life of language, and comes from the peasants, making necessary refining and processing, making it as easy to understand as possible and full of strong local flavor. For the nationalization of language, Liang Bin made a meaningful attempt. 4) Folk painting novels also pay attention to the description of folk paintings and landscape paintings in the northern rural areas of China, so that the works are deeply rooted in the heavy national soil. ? On the Theme and Artistic Features of Guan Hanqing 1 The theme of "Pleading for the People" is Guan Hanqing's political theme, and the indomitable spirit of "Copper Doudou" is Guan Hanqing's character theme, which is embodied in Yuan's creation and experience. 2, artistic features 1), double-line structure, also known as "inside and outside the play" In Guan Hanqing's plot structure, inside and outside the play is a major feature. The drama Guan Hanqing is interspersed with the writing, performance and experience of the drama Dou Eyuan. It is very appropriate to summarize Guan Hanqing's life and personality spirit with Yuan's writing. The ingenious drama conception in the play improves the drama's ideological content and enriches its artistry. The plot is tortuous and varied, with various forms, and the combination of reality and reality is more legendary. 2) Playing and singing "Playing and singing" is Tian Han's consistent practice and his specialty. Guan Hanqing arranged many lyrical lyrics in combination with the plot, such as "Butterflies Fly Together" and "Dongfeng Drunk" and so on. These lyrics not only analyze the spiritual world of Guan Hezhu, but also enhance the poetic and lyrical nature of the play. This practice of "singing with drama" is Tian Han's inheritance of traditional drama and an attempt to nationalize drama. 3) Tragic endings Happy endings are certainly in line with the author's consistent romanticism and can also cater to the audience's love. However, after textual research on history and respect for the law of drama creation, the author finally decided to end with tragedy. Without permission, Zhu sang a song "Drunk East Wind" in the pavilion and said goodbye to Guan Hanqing with tears. The performance effect proves that this kind of tragedy has more profound power than the ending of comedy. ? The images of Lin Zhen and Liu Shiwu in Wang Meng's The Newcomer to the Organization Department are extremely contradictory. Liu Shiwu's image is vice minister of organization department. His mantra is "nothing more". He seems to see through everything, has no passion for anything, is used to it, and is indifferent to mistakes and shortcomings that harm the interests of the party and the people. At that time, this image was considered as a typical example of deep bureaucracy. 2. Lin Zhen's character image Lin Zhen is a young man who has just arrived in the organization department. He came to the organization department with more and more intense desire and anxiety. He found that the actual situation here was far from his ideal and imagination, and he was very dissatisfied with Liu Shiwu's cold and numb mental state. He has heroic qualities like Nazca. His heart is simple, his eyes are immature and his methods are simple, so he runs into a wall everywhere. Most of Lin Zhen's passion comes from the novels of the former Soviet Union. Using novels to guide life itself is a departure from the law of life. 3. The contradiction between Liu Shiwu and Lin Zhen mainly focuses on the sack factory incident. Wang Qingquan, the director of the sack factory, has degenerated into a new bureaucrat who "floats on the edge of life and enjoys himself". Liu Shiwu was well aware of this situation, but he put up with him again and again. Lin Zhen believes that this phenomenon does not conform to his understanding of the party's organizational work, and Wang Qingquan's mistakes should be corrected immediately and cannot be "tolerant". So he took active action. ? On the protagonist image in Chen Huansheng's Entering the City? Chen Shousheng in Chen Shousheng Into the City is no longer tired of hunger. Through the protagonist's experience of selling oil ropes, buying hats and staying in hotels in the city, and his subtle psychological changes, the novel writes the mental state of farmers with historical burdens when they enter the threshold of change in the new period. The author writes with a complex mood of "mourning his misfortune and angering him for not arguing". The image of Chen Huansheng is a portrait of a small producer in a weak position and without autonomy. His personality and psychology coexist and cross: kindness and weakness, simplicity and ignorance, simplicity and ignorance, honesty and credulity, perseverance and easy satisfaction, practicality and narrowness. His character defects are mainly manifested in the consciousness of "servility" and the spirit of "Ah Q". 1), that kind of "servility" feeling, Chen Shousheng was grateful for the kindness of the county party secretary, and even gave it enough proud capital. Moreover, after returning to China, its status has indeed improved. Not only the villagers admire it, but even the cadres of the brigade and even the buyers of agricultural machinery in the commune are much more friendly to it ... The author's powerful satire and enlightenment still exist in Chen Shousheng and Farmers. 2) On Chen Huansheng, the spirit of The True Story of Ah Q shows the same spiritual heritage as The True Story of Ah Q.. After paying five dollars, a desire to destroy others and a psychology to harm others will erupt. He pedaled the sofa and went to bed without taking off his shoes, thinking about getting enough sleep. From the vent of destructive desire to self-comfort: since I have lived for five yuan a night, I might as well buy a new hat and put it on. Finally, he used the "spiritual victory method" to achieve psychological balance and satisfaction. He thought that it was a rare honor for the county party secretary to send it and spend five dollars a night, so he "only bought spiritual satisfaction with five dollars". Even if all this makes people laugh, it is also thought-provoking. Discuss? The growth track of Lin Daojing, the protagonist of Song of Youth, and its structural role in the work. Song of Youth takes Lin Daojing's life track as the main line, showing the face of the anti-Japanese national salvation movement in Peiping in the early 1930s, and summarizing the life track of a generation of intellectuals, individual and collective, life and revolution. 1, the tortuous road to growth 1), from running away from home to committing suicide by jumping into the sea-the despair of personal struggle and special family circumstances made Lin Daojing develop the character of resisting oppression and sympathizing with the weak at an early age. The opportunity to study in Beiping improved her cultural quality, accepted the influence of the times, and sprouted the idea of personality liberation. All this made her choose to leave the arranged marriage and run away from home angrily. Lin Daojing, who lives in Beidaihe, feels helpless after being frustrated in the pursuit of self-reliance. She had to commit suicide by jumping into the sea to accuse the society of darkness and evil. 2) Hope and disillusionment of love-Lin Daojing's emotional transcendence When Lin Daojing committed suicide, Yu Yongze, a young student of Peking University, rekindled her hope for life with beautiful words and "knight and poet" demeanor. The two soon went from acquaintance, love to cohabitation. The romance of love didn't make her realize the pursuit of freedom and independence. * * * The arrest of Lu Jiachuan and other events stimulated Lin Daojing to transcend personal feelings, break with Yu Yongze and start a new turning point in his life. 3) Devote oneself to the cause of social liberation-Lin Daojing's spirit surpassed that of Lin Daojing who was awakened by warm-blooded young people and actively participated in revolutionary activities. At the same time, it also exposed the unrealistic fantasy, fanaticism and lack of struggle experience of the revolution, as well as some weaknesses of personal heroism. With the help and education of other revolutionaries, she constantly overcame her weaknesses, gradually matured and joined China, realizing her own life value and significance. 2. Song of Youth takes Lin Daojing's growth path as its work structure and Lin Daojing as its center, organizing the plot structure, which runs through many characters, complex events and numerous life scenes, thus summarizing a lot of social contents. 1), which shows the background of the times, puts the characters in Jinan industry and commerce from September 18 to February 9, which not only shows the sharp and fierce ethnic contradictions, class contradictions and complex social relations in the early 1930s, but also reproduces the historical background of the anti-Japanese national salvation movement centered on young students in Beiping. Song of Youth not only reflects the growth process of Lin Daojing, but also reflects the growth process of this country. She is a symbol of a group. Her emotional transcendence of spiritual transcendence also corresponds to the development of China society. The modern history of China is full of contradictions between humanitarianism and class struggle, which constitutes the basic conflict of modern intellectuals in China. Finally, Lu Jiachuan and Jiang Hua owned Lin Daojing, which means that Marxism owned China. 2) The shaping of the group image of intellectuals outlines various group images of intellectuals through simple strokes, revealing the profound influence of the times on the character and destiny of characters. Lin Daojing is an image of a young intellectual in China who has gone from pursuing personal liberation to dedicating himself to social liberation and realized the value and significance of life in the revolutionary struggle. Its political significance lies in proving that only by devoting themselves to social liberation can young people truly realize their pursuit of life and individual liberation. Wang Xiaoyan, who once wandered, degenerated and finally woke up; Yu Yongze, who pursues fame and fortune and is vulgar and humble; Bai Liping, who indulged in vanity and depravity, respectively represented various types of intellectuals at that time. The appearance and existence of these characters are all related to Lin Daojing, which highlights the image of Lin Daojing. ? Comparing the writing art of Yang Shuo and Qin Mu's prose "1" and Yang Shuo's poetic prose, Yang Shuo clearly put forward the artistic proposition of poetic prose, and pursued the goal and aesthetic ideal of poetry diligently in his own practice, forming a fresh, elegant and implicit style. 1), pay attention to artistic conception. Yang Shuo is good at focusing on the big picture, seeing the big picture from the small, grasping one person and one thing, one scene and one thing, generating association and imagination, and seeing the micro-knowledge, so that the ideas of his works can be expressed in artistic expression, and it has a poetic perspective and capacity. For example, "sakura rain" shows the extensiveness and profundity of the national strike movement through the changes of the seemingly timid hotel maid gentleman before and after the strike. Yang Shuo pursues novelty and originality in conception, and is good at learning from the experience of Yan Wen, an ancient prose, such as Snow Foam, which focuses on the word "bite" when waves bite rocks. Most of his essays are meticulous and exquisite, and his works are full of poetry and painting through deliberate conception. 2) Pay attention to the artistic conception of poetry. Many of Yang Shuo's essays use the metaphor of poetry to express their feelings and feelings through the scenery, thus creating a symbolic realm of poetry. For example, in "City at Sea", an imaginary mirage is used as a metaphor for the thriving Changshan Islands. In some of his essays, he makes the characters move in poetic images, making them artistic, integrating people, scenery and emotion into one, and becoming a touching artistic realm. For example, at the end of Snow Wave, the scene of Lao Taishan's exit is described, which integrates the beauty of natural scenery, the beauty of characters' spirit and the beauty of the author's lyricism, and euphemistically and poetically highlights the theme of Ode to the Evening. 3), pay attention to artistic structure Yang Shuo generally adopts a garden-like structure with a winding path leading to a secluded place and a "dead chapter showing ambition", which is circuitous in the fog barrier, layered and varied, and appears meticulous, exquisite and fascinating. For example, litchi honey describes the emotional change and course of "I" from being afraid and disgusted with bees to being willing to "become a bee" in a way of promoting and suppressing first. 2. Qin Mu's "Intellectual Prose" Qin Mu put forward creative ideas such as diversification of subject matter and forms of expression, knowledge and artistry of prose. 1), knowledge melts into a furnace of ideological content. Qin Mu's prose is called "Flower City" of knowledge by readers. The purpose of his prose creation is to combine profound thoughts with rich knowledge. For example, "Flower City" describes the long-standing customs of the Guangzhou Lunar New Year's Eve Flower Market, the southern sentiment, the festive atmosphere, and the grand occasion of all kinds of exotic flowers and herbs competing for each other. The mood and joy of all kinds of people enjoying flowers, as well as the evolution scenes and anecdotes of some rare flowers from wild to artificial cultivation, are unified and condensed in the interest of describing "Flower City" as the image of new China. 2) Combination of "Form Dispersion" and "Spirit Gathering" Qin Mu's prose combines "Form Dispersion" and "Spirit Gathering" to achieve abstinence in indulgence. For example, "Guo Tan Lyric" uses ancient altars to reflect on ancient love, and writes the meaning of five-color soil, Qu Yuan's poems of "Sorrow in the Air" and "Tian Wen", the concept of four directions and five elements and the exploration of ancient thinkers ... These associations that have been thinking for thousands of years all express the unity and prosperity of the motherland with the passion of "descendants of a historical nation". 3) Interesting and Humorous Qin Mu's aesthetic principles focus on "prose flavor" and humor. Most of his essays are mixed feelings, essays, essays, legends, stories and anecdotes of intellectuals. The comic color of his own knowledge subjects is that his essays are interesting and humorous. For example, Not Old quoted an anecdote that a French bishop saw in the street. 4) "Walking in the Woods" and "Talking under the Light" Qin Mu's prose is fluent, concise and vivid, and adopts the brushwork of "Walking in the Woods" and "Talking under the Light", which reveals the intimacy and language atmosphere of facing the readers directly. He pays attention to the use of cadence syllables and a series of parallelism, and is good at using metaphors to render and enhance the effect of language expression. Especially in Art North, he explained complex and profound literary thoughts and various artistic laws in a simple way through appropriate and vivid metaphors, which is approachable and readable. Wu Xunchuan and Wu Xunchuan is a historical biographical film directed by Sun Yu and adapted from the life story of Wu Xun. The film describes that in order to enable poor children to study, Wu Xun volunteered to be a slave, endured humiliation and begged, and set up three voluntary schools, thus praising the spirit of Wu Xun and affirming the way Wu Xun took. 195 1 criticized Wu Xunchuan, which was the first large-scale literary movement and literary ideological struggle against the so-called "bourgeois idealism" after the founding of New China, and started the literary movement struggle called discussion and criticism. Zhang Xianliang's Greening Tree describes the mental process of Zhang Yonglin, an intellectual, who was washed by his soul in physical pain. The author describes the remolding of Zhang Yonglin's character by laborers such as Hai Xixi and Captain Xie. Ma Yinghua, in particular, changed a humble figure with the milk of working people and the warmth of women. She will always be the Venus in Zhang Yonglin's heart, the counterpart and symbol of traditional virtues. Li Zhishuo's "Litchi Honey" describes the author's visit to observe the honey-making process of bees, and adopts the method of promoting first and then suppressing, and organizes the materials with the change of his feelings for bees as a clue: he never likes bees very much, wants to see bees, admires bees, and dreams that he has become a bee. By praising the sweetness of litchi honey and the hard work of bees, we enthusiastically eulogize the new socialist life, eulogize the working people who are working hard to create a better life, and express their feelings of loving life and working people. Middle-aged Man, a novel promoted by Middle-aged Man, mainly describes the tragedy that Lu Wenting, a middle-aged female doctor, almost died because of overwork for many years and myocardial infarction. The novel also describes the similar situation of some intellectuals around Lu Wenting. The author discussed the "middle-aged problem" earlier in his literary creation. The novel successfully created two artistic images, Lu Wenting and Qin Bo, an old lady of Marxism-Leninism. Lu Wenting is a typical figure who devoted himself to the socialist cause without complaint. Qin Bo is a figure full of revolutionary words and privileged thoughts. Short answer? On the dichotomy of historical stages in contemporary literature:1949 ~19761949. The first literary conference was a grand gathering of two literary and art teams in the Liberated Area and the Kuomintang-controlled Area, which marked the beginning of China's new literature and entered the stage of contemporary literature. From 1976 to today's 1976, the downfall of the Gang of Four and the end of the "Cultural Revolution" marked a new era in the development of China literature. Trigonometry:1949 ~19761976 ~19891989 Up to now, there are many subjects: 1949~ 1966: seventeen years. Briefly describe the main contents and artistic gains and losses of novels in 1950s and 1960s dominated by revolutionary realism. 1, the prosperity of historical novels In terms of historical themes, the novels of this period mainly reflect the democratic revolution and describe various historical stages of the revolutionary struggle led by China. There are many classic works: Red Sun, Red Rock, Red Flag Spectrum, Entrepreneurship History, Song of Youth, Defending Yan 'an, Linhai Xueyuan and so on. 2. Real life has become a prominent theme, which reflects the historical theme. Real life, especially the rural theme, is another prominent theme of novel creation in this period. Representative works include Zhao Shuli's short story collection Registration, Lee Joon's Biography of Li Shuangshuang, Zhou Libo's Great Changes in Mountainous Areas, Liu Qing's History of Entrepreneurship, Haoran's Sunny Days and so on. There are two kinds of works in this period that cannot be ignored. One is Wang Meng's New Youth in the Organization Department, which dares to face up to realistic contradictions and boldly intervene in life, and the other is Mu Ye Jr.' s Between My Husband and Wife, which breaks the forbidden zone of human feelings and describes people's rich and complicated inner world. 3. Created a number of characters with distinctive characteristics of the times. The novels of 1950s and 1960s created a number of characters with distinctive characteristics of the times. There are new heroes, such as Changjiang Dragon, Jie Jiang and Liang Shengbao; There are also "middle figures" with complex personalities, such as Yan, Liang Sanhan and Sheng Youting. The achievement of novels in this period is inseparable from the establishment of a huge professional creative team. This team includes experienced writers such as Zhao Shuli and Zhou Libo, as well as budding rookies such as Wang Meng and Gao Xiaosheng. 4. The lack of graphic politics The novels of this period formed a unified thinking mode of graphic concepts, and produced a tendency of formulation and conceptualization. Due to the mainstream of socialist realism, the novels of this period only unilaterally admit that positive praise is a true and objective reflection of real life, and many characters are typed and modeled. In the way of expression, one-sided pursuit of nationalization and popularization. In a word, the works of this period lack various colors in subject matter, characters, creative methods, expression techniques and artistic styles. ? On the artistic features of Guo Xiaochuan's poem 1 and the writing concept of "warrior and poet" with examples, Guo Xiaochuan thinks that "a poet is a warrior first, and he should have a keen eye to arouse people's struggle". He observed the reality from the perspective of "warrior-poet" everywhere, chose the theme from the major political issues in the real society, and put forward and answered the mental state, attitude towards life and moral sentiments that revolutionaries should have in different revolutionary stages. For example, "To the Sea" takes "the sea" as a symbol of revolution and explores its mental journey as a soldier-revolutionary. 2. An attempt to explore the true meaning of life Guo Xiaochuan tried to explore the true meaning of life in his poems. He believes that the core of literature is thought, "and this so-called thought is not a copy of popular political language, but should be the author's original thought." He tried to dig deep into people's rich emotional world, trying to show his unique observation, thinking and discovery of life. For example, "look up at the starry sky" and "look up at the starry sky,/can't help but be disappointed." This is a brand-new emotional experience after the poet broke through the satisfaction with reality, which not only means a warm reflection on the Great Leap Forward, but also an attempt to grasp life at the spiritual level. 3. Creation and Innovation of Poetic Form Guo Xiaochuan advocates "nationalization and popularization" of poetic form. The main body of his poetry is political lyric poetry, and the ideological content is political, so he attaches great importance to the formal innovation of poetic style. 1), a perceptual image full of passion. Guo Xiaochuan tried to let passion permeate into the perceptual image in order to obtain the best expression techniques, such as repeated rendering and layout. 2) Musicality of Poetry He pays special attention to the musicality of poetry, that is, to create "magnificent momentum" through rhythm and rhythm, and conducts experiments on syntax and composition around the rhythm of poetry. 3) "Stairs" He studied the poetic form of Mayakovski, a Russian futurist revolutionary poet, and generally adopted "Stairs", paying attention to the rhythm of long sentences and trying to rhyme neatly. ? On the protagonist image of Liu Qing's entrepreneurial history, Liang Shengbao is always at the center of all contradictions and relationships in the entrepreneurial history. He is the hero image of rural socialist entrepreneurs in 1950s. 1, the core of the character's ideological character As the son of a generation of poor peasants, Liang Shengbao inherited the enterprising spirit of fighting against the fate of poverty from his parents' blood, and soon accepted the education of the party. The simple enterprising spirit rose to a firm socialist belief in him, and he devoted his body and soul to the collective cause without reservation. He is eager to take the road of common prosperity, seek the happiness of all farmers and create the great cause of socialism, which is the core of Liang Shengbao's ideological character and the essence that distinguishes him from the older generation of entrepreneurs represented by Liang San. 2. Shaping the image of "entrepreneur" Around the core of Liang Shengbao's personality, the novel portrays him in many ways and shapes the image of a "loyal son of the party". In the process of starting a business, faced with difficulties and obstacles from all sides, social and natural, material and spirit, open contest and hidden destructive interference, he never wavered, went forward bravely, listened to the party's words and followed the party, which reflected the perseverance and tenacious fighting spirit of entrepreneurs. Going out to buy rice seeds, popularizing new methods to raise seedlings, going into the mountains to cut bamboo and other plots show his pragmatic style of thrift and housekeeping. Absorb Bai Zhankui into the league, patiently help his stepfather Liang San, correctly handle the contradiction with Guo Zhenshan, and show loyalty and kindness, sincerity and simplicity. 3. In a word, Liang Shengbao is a newcomer who has completely got rid of the shackles of small producers' private ideas, and he embodies the writer's social and political ideals and aesthetic concepts. However, due to various reasons, the life period reflected in the works exposed some political mistakes, and the image of Liang Shengbao showed an obvious tendency of heroism and idealization. However, the writers of that era were deeply impressed by their pursuit of art and their love for life.