Lu Xun
(1) Crying and hesitating; 2) The influx of foreign literary thoughts and the rise of new literary societies; 2) endless ah q; 3) Hu Shi, Zhou Zuoren and the early theoretical construction of new literature; 3) weeds and flowers in the morning; 4) Trends and trends of literary creation; Appendix to the chronology of this chapter; Appendix to the chronology of this chapter; Chapter three: Novel; 1) The May 4th novel achieved the authentic status of literature; Chapter four.
Popular Fiction (1) Popular Fiction in the Republic of China (2) From Problem Fiction to Realistic Life Fiction (2) New Literature Forcing the Old School to Vulgarity (3) Autobiographical Lyric Fiction and Other Subjective Narrative Fiction (3) Appendix to Chronology of this Chapter (5) Chronology of this Chapter (5) Self-lyrical Hero Image Guo Moruo, Goddess (1) Four historical dramas represented by Qu Yuan; Four normative appendices of new poetry; Five representations of the concept of pure poetry; Six appendices to early proletarian poetry; Chapter VII Prose; (1) a new youth "essays" writer; Chapter VIII Drama; (1) new civilized drama; Two weeks of expressionist writers and essays; Three strategic choices of the May 4th Movement and the construction of western-style new dramas. Bing Xin, Zhu Ziqing and Si Yu Dafu, writers of literature research society, advocates of the Three Small Theater Movement, the staff school prose and the modern literary criticism school, pioneers of drama literature such as Si Tianhan and Ding Xilin, and their appendixes. The appendix of this chapter is compiled from Thirty Years of Modern Literature in China, which is an innovative monograph on the study of literary history after the Cultural Revolution. It has obvious differences and characteristics from the previous literature history textbooks in compilation theory. Different from the previous "New Democracy" as the guiding ideology, the authors of China's modern literature in the past 30 years have highlighted the "modernity" factor of new literature. The modernity of literature is not only manifested in modern consciousness, modern mode of thinking and emotional mode, but also in the corresponding modern art form, thus raising the readers who are in the ignorant state and the low-level stage in terms of ideas, modes of thinking and artistic appreciation ability to the modern level. Qian Liqun and others successfully introduced this concept, which made China modern literature get rid of the narrative mode of opposing thinking and emphasizing struggle in the previous literary history for 30 years, and more saw the other side of the development of different literary forms and the trend of mutual integration and reference. Therefore, in the introduction of specific writers' works, thirty years of modern literature in China can provide a new perspective for Tuo. For example, in this special chapter of Shen Congwen, the value of Shen Congwen and other writers' works is excavated and given a reasonable historical position-this is also a conclusion based on "modernity".
As far as research is concerned, "Thirty Years of Modern Literature in China" pays more attention to the "all-round" overall research, breaking through some old models of modern literature history research and writers' works criticism. Unlike previous monographs on literary history, it does not talk about the writer's life creation path and artistic characteristics of his works in isolation, but turns the individual analysis of a single article into a comprehensive overall study, taking "Lu Xun" as an example. Combined with the development of the times, the author divides Lu Xun's introduction into two chapters. In the first half of the first decade and the second half of the second decade, they analyzed the artistic changes it brought to writers according to the influence of the social situation. The author thinks that China's modern literature is not the accidental accumulation of isolated and independent individual phenomena, but an organic whole connected by warp and weft. They put China's modern literature as a whole into the larger historical unit of China literature history and world literature history to discuss its value and position, and put it into another whole of China's modern history, especially the history of ideological development to study the laws and characteristics of China's modern literature itself. At the same time, the genre, style, theme and other factors in modern literature are also regarded as a whole unit, each showing its own context and the law of change, development, emergence and extinction. For example, the authors deliberately set aside several sections to elaborate on the development of Beijing School and its influence on later generations, describing the various connections between Beijing School and Shen Congwen. In the face of complicated literary thoughts and associations, the author often understands its development track in modern literature as a whole and gives it a historical evaluation through its horizontal and vertical relations with neighboring countries. For example, when talking about the New Literature Society, Hourman not only expounded the influence of foreign literary thoughts on it from the perspective of external world literature, but also explained how the "troublemakers" should "introduce" and "choose" foreign thoughts according to the needs of the times and society and their own personality from the internal perspective of China literature, thus forming a group of writers with different creative tendencies. Wang Yu: "From these discussions about' popular literature', we can see that in the past 30 years, modern literature in China has got rid of the narrative mode of opposing thinking and emphasizing struggle in the past literary history, and paid more attention to the other side of the development of different literary forms and the trend of mutual integration and reference."
Zhao Guohong: "It determines the coordinates of modern literature in China from the network of mutual training of Chinese and foreign literary theories. It is the crystallization of China intellectuals' calm reflection and self-consciousness, and it is a new milestone in the study of the history of modern literature in China. "
Li Wei: "Thirty years of modern literature in China is a distinctive work. It not only absorbs and brings together the new achievements of modern literature research, but also shows the author's unique ideological vision. It came out in the low period of modern literature research, which is of great significance-it has obvious traces of "transition"-it marks the end of the old literary history view and lays the foundation for the emergence of new literary history works. "
Yao Yao: "Thirty Years of Modern Literature in China, written by young researchers such as Qian Liqun with their own unique personality and attitude, undoubtedly brought the study of modern literature history in China into a new stage."
Zhao Linghe: As far as research is concerned, they pay more attention to "all-round" TIC-tac-toe research, highlighting some old models of modern literary history research and past writers' works criticism. They no longer talk about the writer's life creation path and the ideological and artistic characteristics of his works in isolation, but turn the individual analysis of a single article into a comprehensive overall study. Born on February 9, 1939, Zhenhai, Zhejiang. Director, deputy curator and researcher of the Research Office of China Modern Literature Museum, editor-in-chief of China Modern Literature Research Series, executive vice president of China Modern Literature Research Association, and vice president of China Mao Dun Research Association. His monographs include Thirty Years of Modern Literature in China, Shanghai Style Novels in the Urban Vortex, and Initial Maturity of Modern Satire Novels in China.