People's Daily published Mao Zedong's editorial "Attention should be paid to the discussion of the film" Wu Xunchuan "
Taking this as a conclusion, the national media unanimously criticized its "reactiveness" and labeled it as idealism, reformism, individualism, class surrender, slave thinking, distorting history, slandering the peasant revolution and covering up class contradictions. Zhou Yang published "Anti-people, Anti-historical Thought, Anti-realism Art" as a summary. The "fundamental problem" put forward by Mao Zedong requires that literature and art must use the concept of class to evaluate historical phenomena and historical figures. The "authenticity" of historical events and characters reflected in literary and artistic works must be redefined by the values and standards of the proletariat and the socialist revolution, not by history itself.
2. Criticize Yu Pingbo's study of a dream of red mansions.
1954, Li Xifan and Lan Ling published Comments on A Dream of Red Mansions in Literature, History and Philosophy, and Guangming Daily also published their comments on A Dream of Red Mansions. This attracted the attention and intervention of Mao Zedong, who criticized it in a letter to the Political Bureau of the Central Committee about the study of A Dream of Red Mansions.
Linking the study of A Dream of Red Mansions with Hu Shi's bourgeois idealism will intensify the academic debate into a political and ideological struggle.
Criticize The New Dream of Red Mansions from three aspects: one is an autobiographical legend based on naturalism and idealism, which recognizes the red theme as the author's lamenting his own views and obliterating its anti-feudal social significance of expressing reality; Secondly, The New Dream of Red Mansions emphasizes the concepts of color and emptiness to cover up its sharp criticism of feudal orthodoxy and feudal rulers. Thirdly, Yu's generalization of the overall style of "no regrets" in red negates the inheritance of China's literary fighting tradition and devalues its value.
3, inventory "Hu Feng counter-revolutionary group" and its literary thought.
Since the founding of People's Republic of China (PRC), Mao Zedong has always regarded literary and artistic work as a political struggle. Hu Feng advocates the writer's "subjective fighting spirit" and emphasizes the "melting and casting" of the subject and the "embrace" of the objective. Advocating the profound expression of the characters' "trauma of spiritual slavery"; It is different from Mao Zedong's literary thought that the key of realism lies in that the creative method is greater than the world outlook.
1953 Lin Mohan's Hu Feng's Anti-Marxist Thought on Literature and Art and He Qifang's The Road to Realism or the Road to Anti-realism were published in the Literature and Art Newspaper respectively? Criticize Hu Feng's literary thought.
On 1955, People's Daily published an editor's note written by Mao Zedong himself, and published some materials about Hu Feng's anti-party clique.
4. In 1956, a new cultural policy of "letting a hundred flowers blossom and a hundred schools of thought contend" was put forward.
Policy of "letting a hundred flowers blossom": On May 2nd, 1956, Mao Zedong put forward the policy of "letting a hundred flowers blossom and a hundred schools of thought contend". On May 26th, Lu, Minister of the Propaganda Department of the CPC Central Committee, made a report entitled "Let a hundred flowers blossom and a hundred schools of thought contend" to the literary and art circles and scientific circles, and made a systematic exposition of this policy. "This is not to weaken the dominant position of Marxism in the ideological circle. On the contrary, it is precisely to strengthen their position. "
A. The field of literary theory: it is manifested in the interest and debate on the authenticity and typicality of realism, the relationship between human feelings and humanity in literary and artistic creation, the relationship between literature and life, the world outlook and creative methods, the law of literary and artistic production and leadership mechanism, praise and exposure, characterization and other issues.
B, the field of literary creation: face to face with realistic contradictions; Break through the forbidden zone of human feelings and humanity that has been blocked for a long time, extend the brush strokes to the emotional world of characters, and overcome the disadvantages of formulation and conceptualization.
5, the second meeting:
1953 formally established the socialist realism method as the highest criterion of new China's literary creation and criticism, emphasized the class consciousness and political stance of writers, required writers to write "the inevitable trend of historical development" and emphasized the political education function of literature and art.
First, the central task of literary creation: shaping the heroic image of workers, peasants and soldiers.
B. Typical view: Typical should reflect the essence of the times and class relations, and then the shaping of typical images should be replaced by the shaping of heroes, reflecting the humanistic view of emphasizing class theory for seventeen years.
C. dominant concept: more and more emphasis is placed on the epochal, class and revolutionary nature of heroes and typical figures.
6. "The combination of revolutionary realism and revolutionary romanticism": 1960 or so, which replaced socialist realism.
First, the basic characteristics of the connotation of "revolutionary romanticism": "revolutionary idealism" and "revolutionary optimism".
B, the theoretical norms of "two combination" in literary practice: emphasizing the perfection of new heroes and optimistic imagination of the future.
Seventeen-year novel
Revolutionary Historical Fiction: A narrative literary work based on the revolutionary history since modern times, which reproduces the inevitability and correctness of the new-democratic revolution led by China's * * * production party, and popularizes and publicizes the historical knowledge and basic ideas of China's * * * production party.
Defend Yan 'an in Du Pengcheng.
Write about the revolutionary war in the late 1940s. From March to September in 1947, Hu Zongnan led the Kuomintang troops to attack Yan 'an, and Peng voluntarily gave up and recovered Yan 'an. It is the first seventeen-year novel to be evaluated as an epic. The novel shaped the image of Peng, a senior general who commanded the campaign. In the late 1950s, under the criticism of Peng, the novel was banned from circulation and destroyed on the spot.
Red Sun, Wu Qiang.
The narrative object is similar to defending Yan 'an. This paper narrates several battles fought by Sulu in Lianshui, Laiwu and Meng Lianggu in the early 1940s, and reveals that militia is the source of strength for the people's army to win. It describes the activities of people at all levels in the army during the war (such as Shen Zhenxin, Liang Bo and Shi Donggen), and also describes the daily life of people in the rear. The characters in The Red Sun have rich emotional and psychological connotations, and the characterization (such as Shi Donggen) makes the characters rich in personality differences.
Lin Yuan, Qu Bo.
Legendary features are most skillfully combined with the cruelty and viciousness of war, which is called "the legend of revolutionary heroes". This novel tells the story of the PLA detachment fighting the enemy in the civil war in the early 1940s. It is good at using traditional narrative methods and endows the story with a thrilling and tortuous legend by exaggerated and magical means. The characters are active in the "legendary" environment of deep mountains and forests and vast snowfields, and their personalities are more or less romantic.
Hongshi Town, Luo Guangbin City, Yang Yiyan.
It tells the story of the revolutionary movement led by the underground organization of the China Communist Party and the persecution of revolutionaries by the enemy in prison. By portraying the images of revolutionary martyrs such as Jiang Jie and Xu Yunfeng, the works let people know what is the loyalty and lofty personality of revolutionaries and the ideals behind their firm revolutionary stance and enthusiasm, and educate young people how to cherish and safeguard the dignity of proletarian revolutionary moral ideals. That year, the novel formed a great attraction to readers' revolutionary morality. In addition, the way of underground struggle is legendary, and the image of an old woman with two guns led by guerrillas is also very special. These factors are all a fresh artistic temptation for the teenagers of that year.
Li Zicheng, Yao.
The novel is about the peasant uprising led by Li Zicheng in the late Ming Dynasty, which echoes and talks with the modern revolutionary history of China under the framework that class struggle is the motive force of history. The first volume of Li Zicheng describes the history of the Ming Dynasty in Chongzhen 1 1, and the second volume describes the momentum of Li Zicheng from low tide to high tide. The first volume of the novel has a broad vision, a magnificent structure and successful characterization. In the second volume, the narrative subject was influenced by the political ideology at that time, and the narrative of the peasant uprising army in Li Zicheng was of great significance.
Red Flag Spectrum, by Liang Bin.
China's epic of peasant revolutionary struggle with national style. It consists of three novels: Red Flag Spectrum, Fire Stories and Landscape Map.
Red Flag is an epic of the peasant revolutionary struggle in China with a national style. It reflects the characteristics of the peasant movement in central Hebei, and echoes with the peasant movement, the Northern Expedition, the April 12th coup and the Autumn Harvest Uprising. During the national revolution. It combines peasant resistance with China's new-democratic revolution, sums up the history of the struggle for democratic revolution by describing the process of peasant resistance, and artistically shows that hundreds of millions of peasants are the main force of China's democratic revolution. If the peasant's resistance struggle does not merge into the revolutionary torrent led by the * * * production party, it will.
Song of Youth, Yang Mo.
Song of Youth is a novel that explores the path of young intellectuals during the democratic revolution. It describes Lin Daojing's growth path in layers, shows in detail the complicated mental journey of the protagonist Lin Daojing's farewell to the "old self", and creates an image of a young Chinese intellectual who has realized the value and significance of life in the revolutionary struggle from pursuing individual liberation to dedicating himself to social liberation. 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.
"Rural novel": a novel with the theme of rural reality, history and farmers' life. This kind of novels usually describe the unique rural environment, farmers' labor, struggle, psychology and folk life customs, create farmers' images with distinctive personality, vivid images and typical significance, reflect the fate, ideals and pursuits of farmers in different historical periods, reveal the trends, economic conditions, class opposition and various complex contradictions under specific social, political and economic conditions, highlight some essence in the process of rural social development, praise farmers' excellent quality and hard struggle spirit, and expose their specific characteristics.
Zhao Shuli
Registration, begging for rain, exercise, unlocked hands, short stories such as the novel Three Mile Bay. Published on 1955. Primary agricultural cooperatives have been established in Sanliwan, Taihang Mountain, but farmers from all walks of life have shown different attitudes around events such as autumn harvest, party consolidation, expansion of cooperatives and canal opening. The novel combines social reform in rural areas with daily family conflicts and love entanglements, showing a colorful picture of rural life.
Zhao Shuli's literary thought: problem novel consciousness and instrumentalism literary view: paying attention to the satire and warning function of novels; Closely reflect the reality, but not blindly follow the reality, and have independent thinking about the reality; Reject the May 4th new literary tradition and foreign literary tradition, and attach importance to folk cultural tradition.
Zhou Libo: Great changes in the mountain village.
The inevitability of writing the road to collectivization depicts many characters: rural grassroots cadres (Deng Xiumei, Li Yuehui), activists (Liu Yusheng, Sheng Shujun), wavering backward middle peasants (Sheng Youting, nicknamed "pavilion batter", is the most vivid "cartoon character"), and hidden class enemies (such as Gong Ziyuan). He wrote a "tragic epic" of the relationship between farmers and land as his operetta. Zhou Libo narrates the psychological activities of farmers in an interesting style, showing the regional characteristics, customs and people's feelings of various rural life and rural daily life, showing a unique narrative personality.
Liu Qing, entrepreneurial history.
A. Content of the work: It reflects the agricultural cooperative movement in Hamatan, Xiabao Township, Weihe Plain, points out the urgency and importance of carrying out mutual aid and cooperation movement and educating farmers on socialist ideology under the situation of serious polarization in rural areas at that time, and reveals the realistic possibility and historical inevitability of farmers taking the socialist road. Instilling Mao Zedong's truth "The serious problem is to educate farmers".
B. Toad Beach's "Three Talents":
Guo Shifu, a well-to-do middle peasant —— The spontaneous force of taking the capitalist road in rural areas.
Yao Shijie, a reactionary rich peasant, is a hidden class enemy.
Guo Zhenshan, village head-the representative of the capitalist road in the Party.
C advanced proletarian elements: poor peasants and workers such as Liang Shengbao and Gao Zengfu who resolutely follow the road of "* * * with prosperity". Liang Shengbao: Open-minded, self-denial, honest and selfless, full of self-sacrifice, loyal to the cause and interests of the party.
D, the middle figure: Liang San, the old man. On the one hand, influenced by the concept of private ownership and small-scale peasant economy, the old peasants can't understand or even resent the road of cooperation; On the other hand, the contrast between his class status and his old life made him instinctively close to the new party and government. On the one hand, the work shows the lingering influence of private ownership on the older generation of farmers, on the other hand, it shows the importance of the party's guidance and help to them, thus proving the truth that "the serious problem is to educate farmers". Liang San, an old man, is a farmer with a heavy burden of old thoughts and heading for a new life, which is quite representative and universal. (Shao Quanlin's "middleman" theory)
E, artistic technique: meticulous description of psychological process; Incorporate political inclination into narrative and lyrical discussion; Humorous language always involves stories and reveals the emotional and psychological motives of characters.
vast
Representative novels include Sunny Days and Cotai Strip.
Sunny Days is a masterpiece that can best show Haoran's creative style and artistic achievements in the 1950s and 1960s. Through a series of contradictions and conflicts that occurred before and after the wheat harvest in Dongshanwu Agricultural Production Cooperative in Beijing suburbs, it outlined a thriving life picture in the period of agricultural cooperation, carefully portrayed the mental outlook and ideological character of people from all walks of life in rural areas, and enthusiastically eulogized the new forces that grew up in the stormy waves. The plot of the novel is tortuous, the structure is complete and compact, the characters are vivid and vivid, and the language is simple and plain, showing distinctive artistic characteristics.
Seventeen-year poetry
Political Lyrics: (Shi's long poem "The Strongest Sound of Peace", He Jingzhi's long poem "Singing aloud" and Guo Xiaochuan's group poem "To Young Citizens". )
A. Source: "Left-wing" poems in 1930s, and a large number of inspirational works (Jiang Guangci, Yin Fu, Ai Qing, Tian Tian) appeared during the Anti-Japanese War; /kloc-20th century, a romantic poet in the contemporary Soviet Union, especially Mayakovski's poems. (Byron, Shelley, Petofi, Mitzi Kevic)
B, general characteristics:
A. In political lyric poetry, the "poet" will appear as the spokesman of "class" (or "people") to express his comments and emotional reactions to contemporary important political events and social trends of thought.
B, in the form of poetry, it shows a strong combination of emotional catharsis and political narrative, that is, "it is actually an abstract concept, an abstract concept, just expressed in visual language".
C. Political lyrics are generally long poems, and a large number of parallelism sentences are usually used to render and elaborate the thoughts and feelings to be expressed. Pay attention to clear rhythm and sonorous rhyme.
D, this kind of inspiring poetry, a large number of large-scale political movements, such as the late 1950s, such as the eve of the Cultural Revolution, during the Cultural Revolution. Its appearance is accompanied by the upsurge of poetry reading.
Guo Xiaochuan:
A. "Ma Tieding": Guo Xiaochuan, Chen Xiaoyu and Zhang Tiefu use the pen names * * *.
B, three creative stages:
1. 1955 ~ 1956, Propaganda Drum Mobilization for Young Citizens, Stair Poems. The newly liberated generation of China people's strong sense of social mission and heroic national spirit have been embodied in a concentrated way, which has had a great social impact.
B, 1957 ~ 1959, lyrical vision extends to personality, humanity and universal life. Facing the sea, praising the snow, staring at the starry sky in the deep valley.
C, after 1962, expound political opinions. Cane forest-green curtain, green curtain-cane forest, toast song, etc. There are two lyrical directions: there is always a storm of class struggle in new China, and we should always be prepared for the battle; Everyone should always be vigilant, stick to their posts, carry forward the revolutionary tradition, and maintain the true colors of soldiers.
C, the innovation of poetry form:
A, actively seek the best expression technique to let passion penetrate into the perceptual picture, such as repeated rendering, laying out and using parallelism.
B, pay attention to create momentum through the musicality of poetry, and constantly experiment around the rhythm of poetry. For example, the rhyme of "The Song of Toast": the use of "thirteen strokes" is narrow and dense; Four tones pass through the mouth, and one rhyme is in the end; Dual and parallel applications;
C, extensive reference, multi-party testing. For example, the stair style in March to Difficulties-To Young Citizens Again, the folk song style in Toast, and the new word style in Sugarcane Forest-Green Zhang Sha.
D, the lack of poetry: save the lack of "content" with the carving of "form".
He Jingzhi:
A. Poetry types: The first category is relatively few, drawing lessons from folk songs and classical poems, such as Returning to Yan 'an (Pilgrim's Progress), Guilin Landscape Song, Sanmenxia Song, Window of Westbound Train, etc. The other category is representative works, such as Singing at once (1956), Ode to Ten Years (1959) and Song of Lei Feng (1963). Such works have played an important role in the establishment of the contemporary "political lyric poetry" system.
B, folk art: full of emotion, sincere and simple; Vivid use of verbs; Sentence relations are rich and varied; The use of exaggeration; Distinctive local characteristics.
C. evaluation of political lyrics: most of the works are based on a political proposition, with strong political color and political characteristics of a specific era. However, the political transformation put the poet in a dilemma (reflected in the constant revision of his works); He is obsessed with affirming the status quo and lacks a broad and detached vision of the times and reality, which leads to a lot of unrealistic exaggeration in his poems.
D, the artistic characteristics of political lyrics:
A, full of passion and image. Thoughts pour in a passionate way, and images give abstract ideas a perceptual effect.
The characteristics of "image" are: the natural scenery and life scenery in the poem are not objectively presented, but the carrier of emotional and ideological sublimation; The figurative description is virtualized and given symbolic color, and some abstract propositions are contained in the logical development of thoughts and emotions.
Influence and limitation: This method was imitated by political lyrics at that time. Because it is more and more divorced from the experience and generalization of specific life scenes, it gradually floats and eventually evolves into a conceptual symbol lacking perceptual characteristics.
B, "stair body" acceptance and transformation:
The specialty of "stair body": depicting a wide picture; Convey complex ideas and concepts; Produce a majestic emotional momentum.
Transformation: Combined with traditional poetic techniques, the overall irregular and bold lines contain neat, moderate and symmetrical factors.
Seventeen-year prose
Yang Shuo, prose collection Sunrise in Asia, Haicheng, the First Branch of the East Wind and the Fountain of Life.
A. Poetic prose: 1959, practical works: Penglai fairyland, sea city, extreme Mount Tai, litchi honey, Camellia Fu. Specific proposition (Yang Shuo model): Conceptually, it is greater than small, from far to near, artistically more meaningful and symbolic, and structurally full of twists and turns.
B, artistic features:
A. Seeking "poetic sentiment" in prose writing: including exquisite layout, careful choice of words and sentences, and the creation of "poetic sentiment". Among them, the most important way is the way of thinking and emotion, which highlights the characteristics of current human history from the silhouette of some east scales and west claws. Such as blooming camellia-the motherland is thriving; Red leaves in Xiangshan-the revolutionary spirit of getting redder as you get older; Worker bees-workers who only want to contribute without asking for remuneration, and so on.
B, the use of symbolism: In Yang Shuo's prose, ordinary things and daily life have no independent value, only by lodging and discovering great significance can they be expressed.
C, lack: individual life and emotion are "hollowed out"; The structure is single and rigid, "there is suspense at the beginning, and the pawn chapter shows ambition."
Qin Mu: lyricism on the rural altar, dawn on the ancient battlefield, land and flower city. Pursue prose "scattered in form" and "gathered in spirit"
A, artistic characteristics: A, pay attention to knowledge. Flowers, birds, insects, fish, rare birds and animals; Scenic spots and historical sites, scenery and human feelings; Historical legends and anecdotes. His prose is called "Flower City" of knowledge and "Little Encyclopedia" of prose. B, the conceptual framework and logical clues of prose are clear. C, rich associations, narrative discussion.
B, lack: lack of lyricism, lack of personal color. The feelings expressed are lost in emptiness.
Liu: The Collection of Red Agate represents his prose writing style.
A, artistic features: pursuing a magnificent artistic realm; Vent violent emotions through narration and description; The mode of interweaving real life scenes with wartime memories is often adopted.
B, lack: the materials are the same, and the ideas are monotonous and repetitive; Passion brings frankness and exaggeration.
Seventeen-year drama
Teahouse, Lao She
A, Three Ups and Three Downs: 1957, premiere, directed by Jiao Juyin and starring Yu Shizhi. Critics are nostalgic, alluding to public-private cooperation and opposing socialism. It premiered twice on 1963. At that time, he advocated "capitalization for thirteen years" and was criticized as "old realism" and "naturalism". The third performance of 1979 is recognized as a masterpiece in the history of China drama.
B, artistic conception
1, introducing the disclosure method. He considered the relationship between the theme and the typical environment. The key to the success of Teahouse lies in Lao She's clever choice of an ordinary big teahouse in Beijing. This makes the teahouse have a strong local color and national characteristics as soon as it opens. Lao She chose such a place as the environment for the development of his drama, which can not only bring people from all walks of life in China together according to his wishes, but also let them show their abilities, without suspicion of stubbornness and reluctance. Because people from all walks of life in China are active in teahouses, the contradictions and conflicts of political forces from all walks of life and factions are bound to be reflected here. Such as the great contrast between the feudal ruling class represented by eunuch Pang and the peasant class represented by him, and the conflict between the bourgeois democrats represented by Qin Wei and the feudal die-hards represented by eunuch Pang described in Teahouse. Besides its real nature, the teahouse is symbolic. The teahouse has become a window of China, or a microcosm of old China society. This successful choice and description of the typical environment enabled Lao She to show his profile.
2. Lao She consciously abandoned the "one person, one thing" method of Chinese and foreign traditional drama writers, and adopted the portrait exhibition method to construct the whole drama, unfold the scene, portray the characters, put all kinds of characters in three eras on the stage, and present all kinds of ugly phenomena to the audience incisively and vividly.
3. Teahouse adopts the coordinate structure of crisscross and combination of reality and reality in its artistic structure. This coordinate art structure takes the modern history from the late Qing Dynasty to the collapse of Kuomintang rule as the vertical line and the life of three selected times as the cross section, which embodies the author's creative intention at the intersection of history and events. This artistic structure has the advantages of combining history with events and combining emptiness with reality.
C, characterization
1, personalized language. This personalized language does not need to intensify conflicts, unfold actions and promote plots. It only needs to "speak loudly", express personality and "outline a character in a few words".
2. Lao She does not absolutely reject the creation of conflict characters in Teahouse. But because there is no conflict in Teahouse, Lao She can only portray characters in the sparks that occasionally collide between them. For example, Qin and Pang met unexpectedly in the first act, and their attitudes towards the Reform Movement of 1898 were different, so there was a conflict. However, this conflict lacks continuity, with neither cause nor consequence. Lao She portrayed people in this brief spark.
3. Lao She carefully selected some highlights of the characters that can best reflect his thoughts and character, and made a concise description, instead of paying attention to the overall introduction, he paid attention to the angular expression. Qin's life, how to get rich, how to get rich, how many industries there are, and how to decline, Lao She did not introduce, we don't know. Lao She only chose three highlights in his life-deep pockets in front of Wang Lifa, arrogance in front of eunuch Pang, and self-pity after stepping down-to describe this character. However, the character's personality is clearly displayed in these three bright spots that have no causal relationship. This kind of characterization method has the freehand brushwork meaning of traditional painting "the dragon sees the head but does not see the tail".
Teahouse is a tragicomedy. The tragic fate of the people in the play, the comedy of the characters, the humorous personality and the satirical brushwork of the playwright make the work have a unique tragicomedy style.