First of all, whether Chinese literature in the 20th century is modern or modern is a topic of endless debate. For example, Yang Chunshi and Song Jianhua believe that because there is a huge time difference between modern literature and world literature, our modern literature can only be regarded as modern. In addition, the vague meaning of the concept of modernity is also the key to the unresolved problem.
When analyzing the modernity or modernity of modern literature and its content, scholars mainly analyze it from the following aspects:
1. Modernity and world consciousness
< p>From a global perspective, the modernization of literature begins with the formation of “world history” and the emergence of “world literature” consciousness. According to the views of Marx and Engels on world history, modern capitalist large-scale industry and the world market have eliminated the isolation and closed state of various nations and countries formed in the past history, and increasingly connected the world into a whole economically, which "created the first world history". He said: "Due to the opening up of the world market, the production and consumption of all countries have become global. ... The past local and national self-sufficiency and seclusion have been replaced by the various interactions and interactions among various nations. Interdependence in all aspects has been replaced. This is true for material production, and so is spiritual production. The one-sidedness and limitations of the nation have become increasingly impossible, and the spiritual products of various nations have become the property of the public. National and local literature forms a kind of world literature. ”① As the literature of the 20th century, the distinctive feature that is different from the literature of various ethnic groups before the 20th century is that the mutual exchanges and dependence of nations make it a universal literature of mankind. . In other words, the historical process of worldwide exchanges of literature among various nationalities led to the birth of world literature in the modern sense. Cosmopolitanism and openness have become the unique characteristics of literature of all nationalities in the modern world. At the same time, from a global perspective, the modernization of literature is the process of the gradual awakening of the consciousness of "world literature". In fact, starting from the mid-to-late 19th century, especially after the First and Second World Wars, the long-term scattered and isolated development of literature of various ethnic groups has become history. The walls of ethnic barriers have gradually collapsed, and the entire human literature is moving towards world literature. Advance in the direction of integration. Especially in countries with frequent cultural exchanges around the world, some accomplished writers grew up under the influence of "world literature".As a process of overall human evolution, modernization has a worldwide diffusion and expansion nature. Modernization first started in Western Europe and then spread to the Americas, Australia, Asia and Africa through colonization. Therefore, the starting time and starting methods of the modernization process in different countries are different. American sociologist M. Levy divides them into two types: "endogenous developers" and "latecomers," that is, the difference between "early-onset endogenous modernization" and "late-onset exogenous modernization." The former takes Britain, the United States, France and other countries as typical cases. The modernization of these countries began as early as the 16th and 17th centuries. The initial factors for modernization originated from within the society and were a continuation of its own history. The latter include Germany, Russia, Japan and the vast majority of developing countries in the world today. Most of their modernizations began as late as the 19th century. The initial inducement and stimulation factors mainly came from the survival challenges in the outside world and the demonstration effects of modernization. ②Obviously, China’s modernization also belongs to this type. "As a late-developing exogenous country, China has entered the modernization process of transforming from agricultural civilization to modern industrial civilization since the 19th century. The hegemonic threat and civilization demonstration of the Western world is an indispensable key factor." In Before the 19th and 20th centuries, the main problem China faced was not challenges from the outside world, but material crises originating from within. "Only in the 19th and 20th centuries, when Western demonstrations showed a completely different development path, did China develop a somewhat changed response to the internal challenges of its own history. In this way, the internal requirements of Chinese history Together with the demonstration effect of Western civilization, it also restricts the response type and historical direction of China's modernization." ③ In other words, China only began to enter the modern period when it became an object of the West. Therefore, for China, For us, the true meaning of modernity is the reaction to the West and the world. The invasion and influence of the West became the starting point for China to talk about "modernity". The invasion and influence of the West brought a new "history" to China, causing the "stagnant" and "static" China to enter the "modern" transformation④ . Therefore, modernization is also called Europeanization or Westernization.
The impact of Western culture that gradually intensified with the invasion of foreign powers caused the emergence of Chinese writers' world consciousness. The introduction of Western literature caused classical literature to lose its sensational effect. The "poetry revolution" advocated by Tan Sitong, Huang Zunxian, Kang Youwei, Liang Qichao and others has marked the awakening of world consciousness. The "poetry revolution" and later the "literary revolution" and the "novel revolution" were very different from any previous literary revolutionary movement. Instead, they took the wind and thunder of the world and challenged the ancient civilization. When the May Fourth New Culture Movement took off, the pioneers of the May Fourth New Culture clearly put forward the cultural concept of "globalization". Chen Duxiu proposed in "New Youth" that one of the six ideological principles of the New Culture Movement was to be "global, not national."
Lu Xun pointed out in "Impressions Thirty-six": "What many fear is that the name 'Chinese' will be eliminated; what I fear is that the Chinese will be squeezed out from the 'world people'." Hu Shi 1915 At the beginning of the vernacular poetry movement in the United States in the summer and autumn of 2001, he clearly declared: "The new wave cannot stop, and the literary revolution is about to begin!" He linked his intention to launch a "literary revolution" with the "new wave" of the world at that time. This was the only way he could New knowledge can only be obtained through the conflict and blending of Western cultures. In short, the world consciousness in the 20th century is an open consciousness, that is, looking at the whole world, taking the world's ontological culture as the basis to engage in China's cultural and literary innovation movement, and taking China's cultural and literary innovation movement as the basis for the development of world culture in the 20th century. viewed as a component. This leap in awareness of cultural and literary innovation is undoubtedly a fundamental impact on China’s thousands-year-old traditional concept of self-reliance as the “center of the world.”
Driven by world consciousness, Chinese literature in the 20th century gradually moved toward full openness. From the initial opening in the late Qing Dynasty and the early Republic of China to the comprehensive opening in the May Fourth period, to the limited opening in the 1930s and 1940s, to the basic closure in the 1950s and 1970s, and then to the comprehensive opening after the 1980s, we have actually gone through a certain path. - Negation - the dialectical development process of negation of negation. Although the long-term seclusion during this period paid a heavy price, it led to greater opening up and more profound changes in the future. In general, only by learning from other national literatures can Chinese writers in the 20th century comprehensively and profoundly understand the characteristics of their own national literature and its position in the overall world literature, and realize their understanding of their own national traditions. The sublation, inheritance and development of literature. It was the awakening of world literary consciousness that made them begin to explore the path of Chinese literary innovation from various angles, creating a great era full of creation and change that had never been seen in the history of Chinese literature. The 20th century is a brand-new society for Chinese society; it is a brand-new literature for Chinese literature. In the 20th century, Chinese literature truly broke through the classical model of thousands of years and began the historical process of modernization; Chinese literature truly opened the door to the world and formed a pattern of convection, complementation and integration with world literature. It can be said that Chinese literature in the 20th century has indeed taken a completely different path from traditional Chinese literature and modern Western European literature, that is, it has explored the path of modernizing Chinese literature amidst difficulties and twists.
Objectively speaking, "modernity" itself indicates the formation of a new historical stage in the chain of human evolution. Under the influence of world literature, the modernization of Chinese literature has compressed and merged the two stages of Western modernity and modernity, and completed them together (it does not mean that it must go through a long modern period like Europe, as Mr. Yang and Song said. Only during the literary stage can Chinese literature enter the modern stage, otherwise it will have to make up for the history lesson), thus constituting the unique type and historical trend of Chinese literary modernization, which also determines that the modernity of Chinese literature itself is inclusive in nature. In other words, although the development of Chinese literature in the 20th century was not synchronized with world literature, especially European and American literature, and there were huge differences between them, this did not hinder its modern nature. This is because Chinese literature in the 20th century has experienced the baptism of historical storms from the late 19th century to the May 4th period, and then made great progress in the 1980s and 1990s. Chinese literature has completed the transition and transformation from a classical form to a modern form, and this transition and transformation, and often combines the modernity and modernity of world literature. Therefore, it is different from both traditional Chinese literature and modern Western literature. It is essentially the literature of modernity, or modern, Modern cross-complex literature.
2. Modernity and Pioneer Consciousness
The avant-garde nature of Chinese literature in the 20th century is not mainly reflected in the pursuit of Western modernism, but in the efforts of Chinese writers to adapt to China’s modernization needs, the rational absorption and comprehensive application of all advanced literary resources in the modern world, including modernism. Chinese writers in the 20th century regard the pursuit of modernity as the theme of literature, and do not regard modernism as the highest form of expression, but they do not reject Western modernism. Since China's modernization was hundreds of years later than that of Western Europe, it needed to transition from the classical form to the modern form all at once, and it lacked too many intermediate factors. In order to catch up with the pace of world modernization, the only way to "take" the history of Western Europe for hundreds of years is to adopt a horizontal approach. Therefore, in just a few decades, a process that took Western Europe hundreds of years to complete has been completed. The literary history of 2007 was rapidly repeated in the Chinese literary world. Various trends in modern Western European literature, such as romanticism, naturalism, aestheticism, realism, symbolism, futurism, expressionism, imagism, modernism, etc., all had their descendants in ancient China. Due to the urgency of "bringing", many things just passed by in a fleeting way and did not leave deep traces in the Chinese literary world. Only after a long period of isolation, Chinese literature absorbed and integrated world literature. Seems to be more mature.
Because China opened up to the outside world in a situation of being passively beaten, looked at the world in the crisis of national subjugation and genocide, and embarked on the road to modernization in a state of considerable social and cultural backwardness, therefore, the literature of Chinese writers in the 20th century Acceptance and creation bear moral, ideological and spiritual responsibilities. Their view of the world's modern literature is selective. Their creations do not only represent themselves or a few people, but speak on behalf of the entire nation and describe their lives and emotions. , mind, spirit and soul. Because of this, it was very difficult for modernist literature to grow in China in the 20th century. China's objective reality had such a great impact and suppression on it that it could not occupy more space in the Chinese literary world. Despite this, as a literary trend, it has been growing quietly in China in the 20th century and has flourished several times. During the May Fourth period, the seeds of its growth were sown, which can also be seen in the symbolism of Lu Xun's "Wild Grass", the expressionism of Guo Moruo's "The Goddess", and the imagism of Hu Shi's experimental poetry. In the mid-to-late 1920s, Li Jinfa founded the Symbolist Poetry School, and then the Modern Poetry School, which was formed by the Crescent School and the Symbolist School, took "Modern" and "New Poetry" as its base camp in the 1930s, forming a strong camp and intensifying In the novels of the New Sensation School, modernism became a major trend in the 1930s, competing for its prosperity and forming a pattern of confrontation and competition with realism.
Just as modernism was in the ascendant, a war of foreign aggression that was more threatening than the Opium War changed its historical course, that is, it no longer sought to achieve its goals in a confrontation with realism. We must develop independently, but strive to rely on realism. As a result, modernism was in decline and neglect in the 1940s. Although Chinese modernism was suppressed during the special period when the Anti-Japanese War broke out and the enemy was at present, when the Anti-Japanese War continued and social life and emotions became more complicated, modernism flourished again. Taking poetry as an example, there are modern poets such as Feng Zhi and Bian Zhilin who were active in creation. There were two consecutive waves of modernist poetry in the Southwest Associated University in the mid-1940s and in Shanghai in the late 1940s. This formed a modernist school of poetry that impressed future generations - the Nine-leaf Poets. This shows that modern China does not "lack the cultural environment and realistic soil for the growth and development of modernism." It is not that modern China does not need or accept modernism, but that the external conditions of modern China once restricted its development, and its midway decline has It is not mainly due to the internal development laws of Chinese literature, nor is it due to the limitations of modernism itself, but the result of the influence of the external social situation. In other words, the decline of Chinese modernist literature is in line with the purpose, but it is against the rules. As one of the components of the world's avant-garde literature in the 20th century, modernism is an important expression of modern emotions in the 20th century and must have a certain appeal to modern China. Therefore, when the new period comes when the ideological shackles are once again broken, it will inevitably be valued by Chinese writers again. The difference between this stage and the previous one is that most writers showed their unique preference for various modernist and postmodernist avant-garde arts developed before and after the two world wars, which made them develop rapidly in just over ten years. It has happened again on the land of China. Its variability, diversity, and richness are unparalleled before. Any modern concepts, techniques and schools that have appeared in the West in the past two years have also appeared here. Imitation and reference of modern Western literature have become a way for many writers to gain a foothold in the literary world. It has become a common fashion and a competition. A great strategy for gaining voice in the literary world. This not only shows that Chinese writers have an extremely strong subjective desire to integrate with world literature, but also shows that modernism is an irresistible trend in Chinese literature in the 20th century.
As a wing of Chinese literature in the 20th century, modernist literature has produced fruitful fruits in the difficult and tortuous living situation. It has formed its own characteristics in terms of expression techniques, ways of thinking and aesthetic taste. . Among the outstanding writers in China in the 20th century, many were modernist writers or writers who had been influenced by modernism to a certain extent. Among the best works in Chinese literary circles in the 20th century, modernist works account for a considerable proportion. In fact, modernism often exists in China not in a naked identity but in a hidden form. It penetrates divergently into the creations of many non-modernist writers, and is more or less present in many realist and romantic works. It absorbed the nutrients of modernism. Such is the case with famous writers such as Lu Xun, Guo Moruo, Wen Yiduo, Xu Zhimo, Mao Dun, Lao She, Hong Shen, Cao Yu, Shen Congwen, Zhang Ailing, Wang Zengqi, Ai Qing, Wang Meng, Zhang Xianliang, Han Shaogong, Wang Shuo, Jia Pingwa, Liu Sola, and Mo Yan. This shows that modernism, as the avant-garde art of the 20th century, consciously or unconsciously affects the artistic creation of Chinese writers.
It can be seen that Chinese modernist literature has not become the main trend of Chinese literature in the 20th century, or that modernism only exists as a literary trend. This is not only the difference between Chinese and Western 20th century literature in ** The development of temporality and diachrony are both caused by differences, and it is also caused by the fact that the two have completely different literary traditions. “When Chinese literature bid farewell to Chinese classicism under the banner of modernity, Western literature gained its own modernity in the process of bidding farewell to romanticism and realism. Their modernity is related to romanticism and realism. difference.
However, the influence of Western romanticism, realism and Western modernism in China have simultaneously participated in the efforts of Chinese writers to modernize Chinese literature. They have also played a role in promoting the transformation of Chinese literature from the old. New modern transformation. ”⑤ No wonder Mr. Wang Furen collectively refers to the new Chinese literature since the “May 4th Movement” as “Chinese modernist literature”. It includes not only modern and contemporary literary works influenced by Western modernism, but also modern literature influenced by Western romanticism and realism. This is not unreasonable for contemporary literary works. What I mean is that the modernity of literature cannot be viewed in isolation. It exists relative to its background, and its nature and significance depend on its position and position in its cultural structure. Function. Western modernist literature is modern compared to Western modern literature, and Western romantic and realist literature is modern compared to Chinese classical literature. They exist relative to their different cultural backgrounds and structures, ignoring cultural background and culture. Structure, abstractly talking about the modernity of literature in isolation, planning a unified value and reference for literature, the result is the cancellation of multiple civilizations, languages, cultures, life forms, and spiritual ways.
3. Modernity. Sexuality and National Consciousness
The long history and splendid culture of the Chinese nation have created a strong national self-esteem and thus a tradition of loyalty to the nation. Since entering modern times, this national traditional spirit has been affected by foreign aggression. It has become the forerunner of modern nationalist ideological trends. In the anti-feudal struggle, modern nationalism has found a new direction for national progress and national independence. If the Chinese nation wants to truly achieve national progress and independence, it must first make itself stronger. To be strong, we must learn from the advanced countries in the world and learn from each other's strengths, so opening up to the outside world is inevitable; at the same time, if we want to get rid of the danger of being invaded and divided, we must firmly use social reform as a means to build a unified modern nation. In fact, the unification of the two is the realistic starting point for China's modernization. However, in the actual implementation process, the two are often unbalanced when the national crisis becomes quite serious, and the introduction of Western trends is suppressed. , such as in modern times and the 1930s and 1940s, when the national crisis eased, the introduction of Western trends was bold and confident, such as the May Fourth period and the New Period. During this period, our international exchanges were basically closed. What we pursued during this period was nationalism. To be precise, it was narrow nationalism. It can be seen that the nationalist trend of thought was a highlight in the ideological and cultural field of China in the 20th century. It is a condenser that captures and reflects the thunder and lightning of that era. In the face of the powerful challenges of modernity, our Chinese literature in the 20th century is often wrapped up in nationalism. The effective way of nationalism is to develop the original things. and the transformation and renewal of their own established value systems. We have seen that in the Chinese literary world in the 20th century, there were many waves of root-seeking. Root-seeking consciousness became a means for Chinese writers in the 20th century to respond to foreign ideological trends and to vent their national self-defense sentiments. At the same time, we see that in the 20th century, the Chinese literary world was extremely Westernized (Europeanized) and artistic, and on the other hand, it emphasized national forms and national styles, sometimes to the point of extremes. On the whole, in its efforts to nationalize, Chinese literature has indeed adapted literature to the cultural psychology and collective unconscious aesthetic tastes accumulated over a long period of time, and has rediscovered many excellent heritages of folk literature and corrected them. It has eliminated some of the drawbacks of Westernization in the development of literature and enriched the means and techniques of literary expression. Of course, the confrontation between nationalist trends and anti-traditional Western trends will also lead to an appropriate balance for modernization. Only through effective conservatism and effective radical force can Chinese literature achieve creative transformation on the basis of a reasonable allocation of "old and new, Chinese and Western". For example, Chinese modernism developed under the influence of Western modernism, but Chinese modernist writers were strongly restricted by nationalist ideas in their acceptance of Western modernism, although they often showed clear rebellion in the face of tradition. posture, but they have to be restrained by traditional cultural complexes and national aesthetic psychology in their creations, so Chinese modernist literature has characteristics that are different from Western modernist literature. Among them, writers such as Dai Wangshu, Bian Zhilin, Feng Zhi, Mu Dan, Shi Zhecun, Mu Shiying, Qian Zhongshu, Wang Meng, Mo Yan, Can Xue are the best examples. This also shows that the modern transformation of Chinese literature is not only the result of the influence of Western literature, but also the result of modern Chinese writers synthesizing and developing Chinese and foreign literary traditions in their own way, and the result of being restricted by China's modern and contemporary cultural environment. That is to say, only if “the outside world does not lag behind the world’s ideological trends, but the inside world still retains its original blood”, and both externally respond to world trends and internally inherit national traditions, can the modernization of Chinese literature be truly realized, that is, only by paying attention to The high degree of unity of cosmopolitanism and nationality, that is, the creation of modern literature with Chinese characteristics is possible only through the two-way transformation of the nationalization of foreign literature and the modernization of national literature.
IV. Modernity and Humanity Awareness
The free and comprehensive development of human nature is the true idea of ??modernization and the source of all values.
However, there are also contradictions and conflicts between modernization and the free and comprehensive development of people, because modernization itself is a historical change, and the Western modern world marked by industrialization, urbanization and rationality has increasingly exposed many shortcomings, which has caused The new alienation of human beings has caused new restrictions, erosion and even enslavement to the free and comprehensive development of human nature. China's modernization is a process of gradual transition from backward agricultural civilization to industrial civilization. Therefore, in the process of seeking people's free and comprehensive development, it is inevitable that there will be many difficulties and major twists and turns. However, modernization has provided people with new conditions after all, allowing them to develop themselves comprehensively and freely at a new level. A developed and open modern industrial society is completely different from a closed agricultural society with backward culture and education in terms of allowing human beings to develop their own potential and gain freedom. "Human freedom and liberation is a dialectical process. Modern society is a higher level stage in this process and will transition to a higher stage." (10)
5. Modernity and creative consciousness
Mr. Yang and Song believed: "In the history of Chinese literature in the 20th century, we have not created a truly mature modern literary form." This is actually a reflection on the Chinese writers of the 20th century. Neglect of the creative spirit. The creative consciousness of Chinese writers in the 20th century was quite strong, and their creative achievements were multifaceted. Writers like Lu Xun, Mao Dun, and Guo Moruo who combine multiple creations are rare in the history of world literature in the 20th century; high-quality and prolific writers like Lao She, Ba Jin, and Shen Congwen, and excellent drama writers like Cao Yu Outstanding poets such as Dai Wangshu, Ai Qing, and Mu Dan are no less prominent in the history of world literature in the 20th century; there are not a few writers who have quite unique creations in a certain aspect. It is the radiance of the creative spirit of these many writers that constitutes the modern pursuit of Chinese literature and the modern trend of seeking novelty and difference in Chinese literature.
Chinese literature in the 20th century has obviously achieved higher artistic consciousness than ancient Chinese literature. This kind of artistic consciousness mainly means that writers break away from the "spiritual animal world" and break away from the shackles of thousands of years of psychological prejudice. They understand life with a strong sense of freshness, showing a wide range of spiritual interests and profound feelings. In their spiritual pursuit, "Every person is a whole, a world in itself. Everyone is a complete living person, not an allegorical abstraction of some isolated character traits." (11) From them, we can see the unparalleled breadth and sensitivity of the ancient writers, as well as their rich artistic creativity. It should be said that the artistic consciousness of Chinese writers is composed of many aspects of their creations, but the most important aspect is the vividness and richness of their artistic creations. Brand-new external influences gave them spiritual stimulation and inspiration, expanded their horizons, enabled them to adopt novel views on things, and adopt an attitude of doubt, attack or re-evaluation of old literature. Breaking the shackles of traditional thinking, they explore in many directions without restraint, accompanied by a high degree of excitement, enthusiasm and vitality. The general trend of the development of literature during this period was from homogeneity to convergence, from singleness to hybridity, from unity to pluralism. If traditional literature has not completely collapsed, it is at least partially weakened, which must greatly stimulate the creative enthusiasm of writers. The advocates of the "literary revolution" in the late Qing Dynasty had begun to show unique creativity. The creative spirit reached unprecedented heights during the May Fourth Movement. Nietzsche's theory of self-created value and Bergson's theory of creative evolution are popular in the cultural world. Guo Moruo and others even called their literary society "Creation Society". The May 4th Movement was a period of ideological emancipation, as well as a period of bold exploration and pursuit of innovation. The trend of the times of individual liberation and independent personality has a profound impact on the development of writers' creativity and the liberation of potential; the psychology of the times, which loves the new and dislikes the old, greatly stimulates writers' novelty consciousness and originality spirit. They constantly challenge the norms, using new, strange and strange artistic practices to impact the old literary norms of a unified model. They replace the boring and single flowers with a variety of flowers. They use the most unconventional ways to challenge the usual ways. Treat the most sacred and immutable things of the past with the most heretical suspicion. It was in this vivid creation that they created a variety of literary forms, diverse creative methods and colorful artistic styles, making new literature form a diversified development trend. In particular, the novels of Lu Xun and Yu Dafu and the poetry of Guo Moruo show a completely different way of existence and meaning from ancient literature, thereby establishing the modern form and dominant aesthetic standards of Chinese literature. Even in the 1930s and 1940s when social and national crises attracted people's attention and social transformation and national salvation became prominent central issues, the creative spirit of writers was still strong. They have opened up the development path of Chinese literature in various ways and enriched the multi-faceted character of Chinese literary modernity. Not only writers such as Lao She, Ba Jin, Shen Congwen, Cao Yu, Lu Ling, Ai Wu, Sha Ting, Dai Wangshu, and Ai Qing have explored art in many ways and maintained their unique artistic personalities, but a group of promising young writers are not satisfied with monotony. artistic methods and styles, and the pursuit of synthesis is getting higher and higher (such as the July Poetry School and the Nine-leaf Poets). In the 1950s and 1960s, the creative passion of writers did not disappear.
In the 1980s, when the mind was liberated, writers burst out with extremely strong creative enthusiasm. Excellent writers all have the characteristic of unfettered free creation in art. A beginning (the May Fourth period) and an ending (the 1980s and 1990s) constituted the peak period of Chinese literary and artistic consciousness in the 20th century. A hundred schools of thought contend and a hundred flowers bloom, which indeed provides rich literary resources for Chinese literature and greatly revolutionizes the face of Chinese literature.
Of course, the flourishing of artistic creativity consciousness of Chinese writers in the 20th century is also relative to the writer's own situation. In fact, Chinese intellectual writers in the 20th century have always been faced with the contradictions and confusions between ideals and reality, foreign culture and traditional culture, and preservation and innovation. They are always chewing on the involuntary spiritual pain of being exposed to various contradictions in reality. For example, when it comes to the choice of Chinese and Western cultures, an obvious impression is that Chinese intellectual writers are prone to swinging. Yesterday they completely negated tradition, and today they are eagerly searching for tradition; tomorrow they regard this as a norm, and today they worship that. This kind of frequent The turn and replacement show that Chinese intellectual writers have not yet established a positive and healthy psychological structure of their own nation. When a nation does not know what it needs, is at a loss as to what to do with the complex world trends, and has not yet established a psychological structure to learn from the old and adopt the new, then it is impossible for the nation to produce truly stable modern culture and literature, and its potential creativity cannot be more powerful. played to a great extent. This situation may continue to exist before Chinese society is truly strong in politics, economy and other aspects and ranks at the forefront of the world. This is independent of human will.
The last thing I want to talk about is that Chinese literature in the 20th century has a modern nature, which does not mean that it has a completely mature and complete modern form. Due to the complicated situation in China, the modernization of Chinese literature is far from complete, and there are still many gaps and flaws in its form and connotation. The limitations brought about by the time difference between Chinese and Western literature are still considerable in some aspects. protrude. However, "modernity" is not a time concept, but a dynamic concept. It means a state of flexibility and vitality, an unfinished process, and an ongoing historical evolution of the contemporary world. Therefore, the modernization of Chinese literature is still in a process of continuous development and improvement, and it needs to further accelerate its pace of progress.