"art Is Partial To" To "political Sided"

The literary criticism of "chuang zao she" is of great significance to the development of 20th century Chinese literature as well as to the development of Chinese culture. This dissertation classifies the literary criticism of "chuang zao she" into three stages, namely, the early period, the middle period and the late period in line with its own development and the specific comments from Guo Moruo, Wang Duqing, etc, the members of "chuang zao she". The first chapter focuses on the characteristics of the early-period literary criticism of "chuang zao she" and puts forward that the basic attribute of literary criticism of "chuang zao she" is "art-oriented". This dissertation asserts that "chuang zao she" is the first new literary group that adopts the concept of literary aestheticism into literary criticism by tracing the root of modern literary criticism, meanwhile, fully explores the philosophical and ideological traits of literary criticism of "chuang zao she". It is also stated in my dissertation that "individualism" is the criterion cherished by "chuang zao she" according to which the "individualistic &subjective" theory takes shape that fully reflects the spirit of the "Five Forth" movement. Detailed analysis is given to how Guo Moruo, Yu Dafu, etc. accept the idea of "individualism" as well as to the discussion of the core of the literary criticism of "chuang zao she", that is, the concept of "true literature" which differs from that held by other literary criticism associations. Quoting the theories of French critic Albert Thibaudet, this dissertation generalizes that the early period literary criticism of "chuang zao she" is "aesthetically-bound" and points out the significance of and the contribution made by "chuang zao she" in the field of modern literary translation, which is more often than not ignored by the former literary studies of "chuang zao she". Last but not least, the dissertation makes clear the influence of the early period criticism of "chuang zao she" upon modern Chinese literary criticism.The second chapter centers on "conscious morale" theory, a theory which runs through the middle period critical practice of "chuang zao she". In the first place, this dissertation discusses the identity and spiritual crises characterizing this period of criticism and probes into Guo Muorou and Cheng Fangwu's intentional pursuit of "avant-garde" with regard to literary criticism. In thesecond place, it explores the significance resulting from Yu Dafu's insightful criticism of "proletarian literature" by means of comparing the differences between Yu Dafu and Guo Moruo. In conclusion, it is pointed out that Zhou Quanping, Hong Weifa, etc considered to be the "second generation" of "chuang zao she" develop the scope of literary criticism and defend "conscious morale" theory, therefore enriching the literary criticism in the modern period.The third chapter concentrates on the final stage of "chuang zao she"-which is "politics oriented". "Chuang zao she" at this moment joins the "main stream" and finally completes the whole process from "art-oriented" to "politics-oriented" criticism. The philosophy and ideology adjust itself by taking a stand against "individualism". "Ideological criticism" takes shape at the final stage of "chuang zao she". Consideration is also given to "revolutionary literature" under the guidance of "revolutionary literary theory." In the epilogue, this dissertation further clarifies and emphasizes the contributions, the limitations as well as the influence of "chuang zao she".