1, Ye Shengtao's "Mr. Pan is in trouble" marks the highest achievement in the previous period.
2. Ba Jin's love trilogy fog, rain and electricity, as well as the torrent trilogy, spring and autumn.
3. Shen Congwen is a leading figure in the novels of Beijing School. Border Town is a nostalgic work, a nostalgic feeling with regret, and a local novel with pastoral feelings.
4. Cao Yu's trilogy of life: Thunderstorm and Sunrise in Yuan Ye.
5. Zhao Shuli's "Little Black Married".
6. Ding Ling's early masterpiece Diary of Ms. Sha Fei and her later masterpiece The Sun Shines on the Sanggan River.
Second, the noun explanation
1, new culture movement-19 17, new youth moved from Shanghai to Beijing. Hu Shi published My Humble Opinion on Literary Improvement, and Chen Duxiu published On Literary Revolution. This literary revolution has set a distinct milestone in the history of China literature, marking the end of classical literature and the beginning of modern literature. Essentially, it is the enlightenment thought of seeking China's modernization. And in 19 19, the May 4th Movement was used to push the whole new culture and new literature movement to a climax.
2. Problem novel-1919 In early 2009, fashion magazine was founded. At that time, the whole society came to discuss such a serious question as "what is life". Readers demand that novels can sharply raise various social issues they are concerned about, and do not expect literature to give clear answers. Luo Jialun's Love or Pain, Yu Pingbo's The Gardener, Ye Shengtao's Is this also a person? ",and so on. , revealing the clues of "problem novels". Bing Xin published When You Are Lonely, Helpless and Poor in the Morning Post Supplement, which formally created the atmosphere of "problem novels". By 192 1, the Literature Research Association was established, which openly advocated literature to "express and discuss some common problems about life" and even led the creation of "problem novels" to a climax.
There are many reasons for its formation. First of all, the May Fourth Movement, as an enlightenment thought, itself shines with the rational light of ideological emancipation, which has created a "generation of ideas". Secondly, its appearance is directly stimulated by Europe and Russia, which mainly shows social life. Features: It has not been popular for a long time, but it is a typical product of the May 4th Enlightenment. It explores the ultimate of life, cares about everyone's life value and the true meaning of existence, and compares metaphysics with emptiness. The author's life vision is still relatively narrow, and the subject matter is limited to the life circle of small intellectuals. Most of his works start from general social propositions and combine a little life experience, and really start from unforgettable life experiences. There are not many works that are difficult to dig, conceptualized and simplified.
3. Three beauties-Wen Yiduo advocated "metrical new poetry" and advocated the "three beauties" of poetry, namely, the beauty of music, architecture and painting. The beauty of music emphasizes ruler, level tone and rhyme; Architectural beauty emphasizes the symmetry of knots and the uniformity of sentences; The beauty of painting emphasizes the communication between poetry and painting.
4. Yusi School —— Taking Yusi magazine, which was founded by 1924, as the creative assembly place, Lu Xun and Zhou Zuoren are both core writers of Yusi School. They insist that the main achievement of the ideological revolution is short and sharp miscellaneous feelings, and their critical discourse is full of witty language and irony, which is the so-called "diaosi style". It is characterized by "speaking freely, without scruple, urging the new generation. They try their best to verbally attack what is old and harmful to the new-but there is no clear expression of what kind of' new' should be produced. When they feel a little critical, they are deliberately vague."
5. Late Crescent School-the continuation and development of early Crescent School. It takes the new poetry column of the new moon monthly magazine founded by 1928 and the poetry quarterly magazine founded by 1930 as its main positions. Its basic members include old poets such as Xu Zhimo, Rao Mengkan and Lin of Crescent School, and young Nanjing poets such as Chen and Fang with Xu Zhimo as the main banner. His creation advocates: "The result of talking only about appearance is meaningless or even unconscious formalism", "The words of a poem are the shape of a body, the syllables are blood, and the' poetic sentiment' or the original poem is the beating of the heart, and only with it can the blood flow", and still adopts the dichotomy of "content" and "form", and its shift of focus is obvious. At the same time, it also means that Wen Yiduo's position that "meter is a necessary condition of art" is loose. We should return to the inner world and artistic world of poetry and emphasize the creation of lyric poetry.
6. Neo-sensationalism-popular among Shanghai urban readers in 1930s. It is the second generation of Shanghai School and the most complete modernist novel of China. Its appearance clearly shows that the introduction of western modernist literature in China has surpassed the initial stage, and then gained an independent status. For Shanghai School itself, because of its development hand in hand with the world's trendy literature, it finally broke out of the barriers of old literature and old novels, making citizen literature cross the boundary of popular literature and climb to the position of some avant-garde literature. Representative writers: Liu Naou and Shi Zhecun.
7. Beijing School Novels —— In 1930s, Beijing School literati were active in important northern literary newspapers and periodicals such as Modern Review, Mercury, camel grass, Ta Kung Pao Literary Supplement and Literary Magazine, and formed a distinct novel genre that was different from the left and confronted with Shanghai School. It shows the literary form in rural areas of China, and its aesthetic feeling is honest, calm and generous, which provides a mature lyric style and satirical style for modern novels.
Third, short answer questions
1, the method of spiritual victory-The core of The Spirit of Ah Q is the method of spiritual victory. Ah Q is at the bottom of underdeveloped society. He will always be a loser, but he has adopted an incredible attitude to defend and whitewash his failed fate and slavery. This "spiritual victory law" is one of the most serious ideological obstacles to the awakening and revitalization of the Chinese nation. Lu Xun's True Story of Ah Q is a self-criticism of our nation. From the perspective of anthropological connotation, Ah Q, as an "individual life", faces almost all human survival dilemmas. And all his efforts and struggles are a cycle of despair, and he can only return to himself helplessly. In this way, the choice of "spiritual victory law" is almost beyond reproach. This does not change the humiliating state of human failure at all, but makes people satisfied with the compensation of illusory "spiritual victory", and then surrenders to reality and becomes a slave to the existing environment. It is Lu Xun's face-up to this living state that reveals an important aspect of human spiritual phenomenon, thus making himself have significance and value beyond the times and the nation.
2. Mao Dun's novel achievements-Mao Dun's unique novel art exploration is first manifested in the choice of theme and the exploration of theme. His novels pay attention to the theme and the epochal significance of the theme, and require his creation to be as synchronized as possible with historical events, and consciously pursue "great ideological depth" and "broad historical content", which can reflect the panorama of the times and the epic nature of its development. He provided us with a chronicle of China society in the first half of the 20th century. Secondly, in order to meet the needs of the development of novel art, Mao Dun paid more attention to the versatility and complexity of the characters in the novel, unfolded their behaviors, emotions, psychology and personality, and pursued the "three-dimensional" oil painting effect. His characterization can better show the literary characteristics of the second decade of modern literature. Another important contribution of Mao Dun in characterization is that he consciously created "series of characters", mainly creating two series of images of national capitalists and new women of the times. For various reasons, the image of national capitalists has always been a weak link in the gallery of modern literary figures. Mao Dun's unique creation makes up for this defect to some extent, which has special historical and aesthetic value. In addition, as a conscious novel artist, his remarkable feature is that he attaches great importance to the novel structure. He pursues grand and rigorous layout, and his works are always full of characters, complicated plots, complicated clues, compact and complete. In the artistic expression of novels, he pays special attention to delicate psychological description and pursues the unity of social and historical analysis and social psychological analysis, which is of great significance to improve the status of psychological description in modern Chinese novel art.
3. Analysis of Wu Sunfu's character image-Wu Sunfu is a typical image of national capitalists during the Second Revolutionary Civil War. His basic characteristics are that he is strong outside and dry inside. With the development of the plot of the novel, Wu Sunfu's character constantly struggles with the strong and the weak, and its development trend is that the former constantly gives way to the latter. Wu Sunfu is a "newcomer" in China's modern society-a national bourgeoisie completely different from the old feudal landlord class. He is undoubtedly the brother of the western bourgeoisie in spirit. Mao Dun called him "a hero, knight and prince in the era of mechanical industry in the 20th century". He has great talent for developing China's independent national industry, active vitality, resolute and resolute iron fist and courage, and more talent for modern scientific management. It's a pity that he was born at the wrong time. He is a semi-feudal and semi-colonial society in China, and also a national capitalist in China society in 1930s when the imperialist economy invaded China under the impact of the world economic crisis. He has all kinds of insurmountable contradictions: his own feudalism makes him often isolated in his relations with people around him, including his wife; As a national bourgeoisie, in the struggle against the brazen comprador bourgeoisie supported by imperialism, we have to feel weak politically and economically. This weakness is projected on his mind and personality, which forms his essentially weak side. Behind the seemingly decisive decision is his doubt and confusion, behind the self-confidence is pessimism and despair, and behind the certainty is unprepared, which eventually leads to a mental breakdown. The complexity of Wu Sunfu's personality mainly focuses on the extremely profound social content he contains, which shows the duality of China's national bourgeoisie. His tragic fate just shows that under the rule of imperialism, China's national industry will never develop, and semi-feudal and semi-colonial China will never embark on the capitalist road.
4. Analyze the lyric heroes in Yu Dafu's works-most of these lyric heroes are so-called "strange people", that is, some intellectual youths who lost their way during the May 4th Movement. They are little people who are squeezed by society and unable to control their own destiny, and they are the weak who are oppressed and hurt. These "surplus personnel" are often out of tune with the real society, preferring to be poor and self-sufficient rather than colluding with the dark forces. They cursed the world for leaving, or expressed their resistance with various abnormal behaviors. Yu Dafu's image of "leftover women" is actually a self-report of his spiritual predicament, and he explores the spiritual world of the May 4th intellectuals through self-torture. These artistic expressions often show the unique sentimental beauty and morbid beauty of Yu Dafu's novels. The author tries his best to express the protagonist's depressed mood and decadent and abnormal psychological words and deeds, which implies a kind of "disease of the times", which is quite representative after the climax of the May 4th Movement. On the one hand, Yu Dafu tightly detained the physical and psychological illness of young intellectuals, on the other hand, he pointed out that the makers of young people are a dark and morbid society. The fate of the morbid characters in the works is also related to the fate of the motherland, and the poverty of the motherland is also an important reason for the youth's "disease of the times."
5. Analysis of Chueh-hsin's image-he is a "redundant person" who can clearly realize his tragic fate but dare not act. He is a tragic example of split personality poisoned by feudal family and old ethics. He accepted some new ideas in theory, but he still lingered on his old family emotionally and practically, so that he succumbed to tyranny and oppression. Every time he gives in to evil forces, he is sacrificing others, and he himself is trapped in the quagmire of sin. However, after all, he is a kind and weak person. The contradiction between thought and action often makes him fall into extreme pain, and his sobriety and cowardice make him unable to get rid of severe self-condemnation, which greatly strengthens the tragedy of the characters. The author is full of sympathy for him, and there is no criticism in sympathy. At the end of Home, I finally woke up and expressed my support for Chueh-hui's departure. In Spring and Autumn, there was an obvious change in thought, and his "bowism" was gradually abandoned.
6. Analysis of the image of Camel Xiangzi-This work is mainly a story of moral degeneration and spiritual corrosion caused by a simple farmer from rural areas standing on the opposite side of modern urban civilization. Xiangzi came to the city from the countryside and dreamed of being a stable laborer, but he was locked in a corrupt environment, oppressed by "bandits" and "detectives" and trapped by "tigress". His inherent defects such as unsociable, clumsy, selfish and desperate to make money determined his loneliness and fragility. Every stop in the journey of life is getting worse and worse, getting closer and closer to the darkest hell, and finally becoming a completely different person, truly becoming the "ghost of individualism". He wanted to fight against fate and finally gave in to it. All his fantasies and efforts were shattered, and the bad society destroyed all human nature of a person. He was swallowed up by the materialistic city and became a part of the ugly landscape of that city. The novel directly dissects the hearts of all kinds of people who make up the environment, suggesting how the anomie of civilization leads to "filth and animality hidden in people's hearts". From this, people can feel Lao She's deep concern about the harm caused by morbid urban civilization to human nature.
Fourth, analysis questions
1, Shouting and hesitation are the signs of the beginning and maturity of China's modern novels;
19 18 In May, Lu Xun's Diary of a Madman was published in New Youth. This is the first vernacular short story written in modern style in the history of modern literature in China. It became the great beginning of China's modern novels with "profound expression and special format", and opened up a new era for the development of China literature (novels). 19 18- 1922 The novel written continuously 15 was compiled as Scream,11The novel is in1924-/. (1) profound expression-unique theme, vision and novel mode (1) created two major themes of modern literature, namely "expressing farmers and intellectuals". (2) When observing and expressing the hero of the novel, it has a unique perspective: always pay attention to the spiritual "pain" of people (intellectuals and farmers) in the "sick society". He exposed people's mental illness in order to expose the pathological society that caused mental illness. (3) The plot structure of the novel is "seeing and being seen" and "leaving-returning-leaving again". A. "Seeing and being seen" can be divided into two categories: one is watching others while being seen by others, which constitutes binary opposition. In this kind of novels, there is often an author behind the curious spectators: mocking the numbness and cruelty of the spectators angrily with compassionate eyes, thus creating an ironic distance; Another binary opposition occurs between the pioneers and the masses. In this kind of novels, the distance between the characters and the author is greatly reduced, and the works are more about Lu Xun's life experience. B. "Leave-return-leave again" is also called "homecoming" mode. In this mode of novel, the narrator tells his own story as well as others' stories, which permeate and influence each other, forming a polyphony. (2) "Special Format"-The new format of China's modern novels established by Scream and Wandering is the result of consciously drawing lessons from foreign novel forms and unconsciously drawing lessons from the artistic experience of China's traditional literature (including traditional novels).
2. The ideological and artistic features of Lu Xun's essays;
(A) critical, passive and aggressive characteristics
It is believed that society can only make progress in this constant criticism, which requires individual spiritual independence and freedom. He pointed the edge of criticism at any form and scope of slavery and oppression of mankind. This incredible breadth of criticism, as well as unacceptable depth and sharpness of criticism, is rooted in his ideal of "establishing a person" and his concern for the other side.
(2) Sharp criticism and malice under the candle light of "unconventional" and "suspicious" thinking.
His critical edge is always aimed at people, their psychology and soul. What he is most concerned about and trying to reveal is that people are hidden and may not even be fully aware of their psychological state. His "push-back" way of thinking is deeply creepy and inherently vicious. His composition thinking is not standardized. Always find another way, be unique and open up new ideas. The sharpness of his essays also lies in his imagination, which also violates the "convention".
(C) prose thinking in the "case" and "class"
It can be said that sketching a type image that is unified with class is the basic artistic means of his essays. Instead of making a comprehensive evaluation of someone, he dissected someone's words and deeds at a certain time and place as a typical phenomenon, "attacking one point is not as good as the rest", only grasping a certain point with universal significance, and deliberately excluding someone's other intolerable personality and particularity for this reason, extracting a social type from it, "there is no personal enemy, only public hatred".
(D) the subjectivity of prose
His essay is triggered by an external objective person, but it pays attention to and expresses the author's own subjective reaction. All objective personnel have been filtered and refracted by his subjective mind before becoming the theme of his essays. Readers can see him alive through the description and description in prose.
(E) Free creation of prose language
The language of prose is free and creative. Freely banish all kinds of sentence patterns in China's Chinese, and give full play to the expressive and lyrical functions of Chinese. On the other hand, the language of the article is anti-standard. He seems to deliberately break the rules of grammar, violate the conventional usage, and create a discordant "awkward style" to break the shackles of language on thought, and at the same time achieve absurd aesthetic effects: all this is exactly what Lu Xun needs to express his unique response to external things and the "strangeness and absurdity" of his inner world.