Shen Congwen And Haipai's Feelings Of Home And Country

In the discourse of modern Chinese literature,Shen Congwen always appeared as the representative of Beijing school,but he has complicated and obvious relationship with Shanghai school,such as the social and political significance of literature,the personal expression of sexual desire and the mentality.Based on the background of modern historical development in China,taking revolutionary literature as reference and " modernity " theory as reference,this paper discusses the various aspects of the above feelings from the perspective of comparative analysis.The analysis of home countries feelings of Shen Congwen and Shanghai school will be an important supplement to the previous study,and may have an amending effect on the overall pattern of the history of modern Chinese literature.The article is divided into three chapters.Chapter one: literary taste analysis.Shen Congwen,who has always been regarded as a representative writer far from politics and advocating artistic independence,has not taken off the " commercial auction " and low taste hats.It seems that they have nothing close to society and life.In fact,they are not the spectators of the time tide,they are also concerned about the trend of historical development and the future of home countries.Their literary interest is not unrealistic and deteriorate,they inherited the patriotic tradition in Chinese modern literature since the �may 4th movement�.This chapter is divided into two sections,namely:political,social utility and the nation's future.Chapter two: aesthetic mentality investigation.Based on the home countries feelings,in the face of the western cultural trend of the 20 th century,Shen Congwen and Shanghai school and other Chinese intellectuals at that time be stimulated complex inner fluctuations.On the one hand,they discontent and indignation the puniness of the motherland.on the one hand,envy the highly civilized of the developed capitalist powers;In the Debauchery of modern city,the inner rising is the lonelyness feeling outside the modern civilization;Finally,only in the long river of time,recall the eternal existence of the value of life.Chapter three: the interpretation of sexual desire.From the anxiety of the national development prospects,Shen Congwen and Shanghai school also think about the dynamic problem of history,and they get the results deeper than the mainstreamideology.Marxists believe that,under the social,political and economic conditions of the semi-colonial and semi-feudal country,the only way to create history is to carry out the armed revolution by means of violence.History proves that this strategy is right.The profundity of Shen Congwen and Shanghai school lies in revealing the lust of the primary power of violence.The way of historical update is the violent revolution,and the primary motivation of violence is to sexual desire,so the lust is the deeper motivation of historical forward and extinction(this motivation is not the external environment,but the desire of the individual exists).This historical view is also inherited in contemporary Chinese literature,such as Su Tong,Yan Lianke and others.However,due to different temperament and artistic cultivation,Shen Congwen and Shanghai school in the performance of lust is different,the former subtle(of course,is limited to his part of the works),the latter evident.Through the analysis of the above three chapters,we will finally find that the subjects concerned by Shen Congwen and Shanghai school in the war environment of the first half of the 20 th century belong to the same category.In the face of national in peril and civilization,the two also play in the national survival plan,historical development trend,and the psychology is also greatly shocked.Therefore,we say that in the process of the development of modern Chinese literature,Shen and the Shanghai school is not a corner,but the responsibility of Chinese traditional intellectuals thinking about the world,but their ideas and so-called mainstream consciousness.Their consciousness is not marginalized,so their literary footprints should be printed in the main context of modern Chinese literature.