The Literature And Art’s View And Practice Of Shao Xunmei Aestheticism

Shao xunmei(1906 1968)is a translator and literary activist of modern Chinese poets and writers.Shao Xunmei is in the changeable and ups and downs of the 20 th century China.The gap between her literary and artistic views and literary practice shows the struggling and hesitating,hesitating and persistent mentality of a generation of intellectuals.Faced with the constraints of the tradition of "literature and art carrying the Tao".Enlightenment,salvation,revolution and other themes of the times,and ideological discipline,Shao Xunmei never forgot her original heart in the "noisy" and never changed the poet’s original appearance,literature,art,aesthetic authenticity and aestheticism.The contradiction and perplexity of Shao Xunmei’s aesthetic modernity is a unique existence in the 20 th century Chinese literary landscape,and it is also a problem worthy of further study.The thesis adopts the deductive research method to discuss the crevice of Shao Xunmei’s literary view and literary practice.Accordingly,the contradictions and perplexities in Shao Xunmei’s modernity aesthetics are elucidated in three different fields of literary practice: literary creation,editing and publishing,and literary translation.The second chapter.Shao’s main reputation comes from poetry,but he has been active in poetry creation,publishing,translation,news writing and other fields.Even though Shao’s aesthetic pursuit is not the same in different fields,sometimes even contradictory,all his literary and artistic activities as a whole are under the concern of aesthetic pursuit.Shao’s pursuit of aestheticism originated from the trend of Western Aestheticism and was influenced by Japanese aestheticism literature.However,influenced by the historical environment of our country at that time,his pursuit of aestheticism was far from western aestheticism,which pursued vanguardism and regarded "beauty" as the entirety of art and life,but limited to the function.The pursuit of excitement and decadence beauty.Because of Shao’s advantageous family background and his devotion to the publishing industry with great enthusiasm,his aesthetic style of "alienation from politics" and "alienation from reality" gradually changed into active intervention in current affairs,and constantly voiced to criticize the social ugliness.After the outbreak of the War of Resistance Against Japan,Shao’s "Freedom Tan" magazine inspired the people and propagated the idea of resistance.His writing and attention points were quite different from those of the early aestheticism poetry creation.But he still insisted on poetry creation.The aestheticism pursuit left over from his early years also brought some contradictory characteristics to his writing.In a word,the contradiction of his literary and artistic view lies first in the contradiction between aesthetic tendency of aestheticism and the need of criticizing reality,secondly between the tradition of Chinese literature and the western aesthetic tradition.These two groups of contradictions intertwined in almost all literary and artistic activities of Shao Xunmei’s later period,and reflected his participation in Shao Xunmei’s literary and artistic activities at that time.A large number of intellectuals in literary and art activities are torn and plight.The second chapter.Sinicization of aestheticism and Decadence: Shao Xunmei’s aestheticism literary creation.Poets,young masters and publishers are three notable labels for Shao’s life.Literary creation is the most prominent part of Shao Xunmei’s achievements,values and influence in literary and artistic practice.Aestheticism and decadence are the aesthetic styles of Shao Xunmei’s literary works.Shao Xunmei’s "decadent aestheticism" is the common product of his personal life experience and the Sinicization of Western aestheticism.Shao Xunmei’s poems,comments,essays and novels are all marked by "decadence-aestheticism".In poetry creation,Saver and Swinburne are the theoretical origins of Shao Xunmei’s poetry creation.Their poetry creation and poetic exploration can be divided into two periods,the first is translation and imitation,the latter is self-examination,summary and exploration.Besides poetry,commentary,essays and novels are also indispensable parts of Shao Xunmei’s literary world.Realism is the main aesthetic tone of the commentary "A Man’s Speech".It records and writes the "story" of China’s enlightenment,salvation and transformation in the 20 s and 40 s.The prose collection "A Professional Who Can’t Lie" and the novel continue to export the aesthetic of "decadence-aestheticism".The third chapter Editing and publishing under multiple status anxiety.Editing and publishing is an important part of Shao Xunmei’s literary and artistic practice.Editing and publishing activities directly reflect her publishing concept.This chapter explores the contradiction and perplexity of Shao Xunmei’s modernity aesthetics from the historical context and realistic publishing activities.From the perspective of historical context,this paper expounds the formation of Shao’s publishing concept and its concrete contents from the collision between Shao Xunmei and Chinese literary circles in the 1920 s and 1930 s,and the significance of magic Shanghai to Shao Xunmei’s publishing.On the level of realistic publishing activities,Shao’s practice of editing and publishing can be divided into three stages,namely,literary publishing stage,cultural publishing stage and political publications publishing stage.In the stage of literary publishing,Shao’s publishing concept is not yet mature.His publishing originates from his interest.Most of his publications are aesthetic poems,essays,novels,theoretical articles and their translations.In the stage of cultural publishing,Shao Xunmei learned from the editing and publishing experience of Golden House Bookstore and formed a unique publishing concept of "culture".He believes that in order to have a deeper development and better construction of culture,we need to cultivate a large number of "cultural groups" among ordinary readers,and gather a group of people who are interested in cultural construction to make it a "cultural law protection".In the publishing stage of political periodicals,Shao shifted her focus to political criticism.The interweaving of aesthetics and enlightenment is the characteristic of this stage.Shao Xunmei’s publishing practice,to a certain extent,is imprinted with his personal and idealistic aestheticism.And the change of the times and the identity anxiety of Shao Xunmei are the main reasons for the gap between his literary view and literary practice,which leads to the contradiction and perplexity of aesthetics.The fourth chapter Literary translation of aesthetics,salvation and revolution.The contradiction between the theme of the times and individual aesthetics runs through Shao Xunmei’s literary translation.This contradiction is highlighted in his translation view,translation thought and translation works,and is aggravated in the changes of social times.Translation is a literary work.It has nothing to do with politics or interest.Shao Xunmei’s utilitarian aestheticism translation concept is particularly evident in his early translation works.The vast majority of Shao’s early translations were aesthetic works,focusing on the translation of works and literary theories by Saver and George Moore,with emphasis on the beauty of the text and the consistency of the form.During the Anti-Japanese War,Shao Xunmei’s translation practice echoed people’s worries and expectations about the current situation,helplessness and persistence of culture,neglect and persistence of aesthetics,and Reflection on the relationship with the times on the premise of adhering to the artistic standard.After the founding of the People’s Republic of China,Shao Xunmei’s translation lingered and wandered in the pull of ideology and artistry.On the one hand,she politically illustrated her works in accordance with the socialist literary and artistic view,on the other hand,she persisted in her artistic ideal and pursued form,language and melody.Shao Xunmei’s compromise and persistence in the context of politicization provide an excellent model for future generations to interpret the psychological changes of liberal intellectuals before and after the founding of the People’s Republic of China.Whether it is literary creation,literary criticism,editing and publishing,or translation,Philatelic hobby,patriotic posture,all point to an aesthetic beauty of Shao Xun.Throughout her life,Shao encountered many obstacles in her journey of practicing aestheticism,and there were inevitably many gaps between her literary view and practice.In the face of the rift,on the one hand,Shao Xunmei should respond to the realistic proposition revealed in literary and artistic practice,on the other hand,she should adhere to the pursuit of aestheticism and the adherence to literary aesthetics,there will inevitably be a tear between the two,coupled with the multiple identities of Shao Xunmei herself,causing her to always linger in the dilemma of contradiction and confusion,hesitation and struggle.Hesitating.It is precisely this indecision that,after the collision of ideas and practices,the adherence to aestheticism may be more attractive and charming than the ever-advancing and unswerving ideological literary and artistic practice.It can be said that in the aesthetic modernity,enlightenment modernity intertwined and conflicting vision,Shao Xun beauty can be called a typical beauty.