Research On Our Country’s Literature And Art Policy And Modern Aesthetic Discourse From 1928 To 1937

The connection between politics and aesthetics has always been an important topic accompanying the long history of thought and aesthetics.1928-1937,the transmutation of the literary and artistic policies of the Nanjing Nationalist Government prompted the differentiation of the modern national literary discourse,and along with this discourse differentiation,the patriotic sentiments and popular anxieties of intellectuals and their literary works grew,presenting a general feature of political self-consciousness in aesthetic experience.This dissertation is based on a combination of historical and theoretical research methods.In the introduction,the rationale for selecting the literary and artistic policies of the Nanjing National Government as the entry point for the study and the period1928-1937 as the time period for the study is explained,and the current status of research on literary and artistic policies,literary production and aesthetic discourse of the Nanjing National Government is outlined.The Chapter one aims to show that the construction of modern Chinese aesthetic discourse was closely linked to intellectual and political enlightenment.The political debate between intellectuals gradually evolved into a political debate over whether the state should be "democratic" or"dictatorial.Hu Hanmin and Chiang Kai-shek continued to deepen Sun Yat-sen’s "Three People’s Principles" theory.In this context,the emergence and evolution of modern Chinese aesthetic thought became an expression and response to the ideological and political circles’ search for modernization.Chapter two examines the turn of political discourse,the division of literary discourse,and the diversity of literary production to clarify the expression of aesthetic thought for political interests.In the face of the literary and artistic policies and movements of the Nanjing Nationalist Government from 1928 to 1937,left-wing literature and art,liberal literature and art,and the "third kind of people" responded,presenting different discursive choices in literary and artistic production.Chapter three explores the transformation of modern Chinese aesthetic thought.1928-1937,influenced by modern thought and politics,"sublime,""masculine," and "magnificent" aesthetic pursuits emerged in literary and artistic production.The aesthetic pursuit of "sublime," "masculine," and "magnificent" became the trend of modern aesthetic discourse,with the nation-state in mind,based on the transformation of nationalism,criticizing traditional culture,uniting various literary and artistic forces,and examining history and looking at reality.Chapter four analyzes how policy is transformed into ideological literary production,using the Literary Monthly as a case study.When intellectuals observe life,collect materials and create typical images,they always unconsciously present class positions,concepts and feelings,and their literary and artistic works thus carry a certain class political tendency.Chapter five focuses on the connection between modern politics and aesthetic discourse.In the historical process of moving from a dynasty to a nation-state,the literary and artistic policies of the Nanjing Nationalist Government had certain limitations.Under the requirement of "expounding our inherent culture," the propaganda function of literature and art was enhanced and used by intellectuals,and patriotic sentiment and public anxiety became mainstream.As a result,emotional and empirical changes were part of the political revolution and also served as the driving force of the political revolution.The concluding section points out that aesthetic thought is in flux,and that the transition from traditional to modern China in 1928-1937 largely influenced and regulated the development of aesthetic thought thereafter.