Transformation In The Battle

For a long time,there have been two kinds of the interpretations of Shao Quanlin: one criticizes the insufficiency of political reflection in his literary and artistic ideology and the abundancy in the aesthetics in terms of the political criticism,while the other is to emphasize the "de-politicization" from the aesthetic standpoint.In recent years,the two interpretations are intended to emerge,but followed with a new issue of "de-contextualization".Therefore,Shao's literary and artistic thoughts expounded in the two cultural contexts of Guilin and Chongqing during the late period of the Anti-Japanese War were taken as the main research objects.By restoring the historical context and starting from Shao's research on Lu Xun,this paper explores the new realism "typicalism" which provides theoretical support for his research,the new humanitarianism which embodies aesthetic utilitarianism,and reveals the significance of "typicalism" and utilitarianism upon the subjective role of writers.At last,Shao's study and understanding of Mao Zedong's "Speech at Yan'an Literature and Art Symposium"(hereinafter referred to as "Speech")in the cultural contexts of Guilin and Chongqing were explored,as well as the change of Shao's literary and artistic thought from the initial emphasis on the subjective role of writers to the later deviation from "subjectivism",with an attempt to reveal the complex entanglement between the two literary and artistic paradigms behind.In this way,the paper presented the turning path of the left-wing literary and theoretical circles in the Kuomintang-controlled area in the late period of the Anti-Japanese War from the perspective of Shao Quanlin.Firstly,this paper reviewed Shao's research on Lu Xun about Ah Q during the Anti-Japanese War.Specifically,Shao used class theory to distinguish Ah Q from Ah Q-ism,pointing out that Ah Q-ism as a slave defeatism should be criticized,and Ah Q as a victim of Ah Q-ism is worthy of sympathy.Thus,on the one hand,Shao's study on Lu Xun inherited the negation of national criticism to Ah Q's national inferiority(Ah Q-ism);on the other hand,it sympathized with Ah Q as a victim,thus achieving a breakthrough in the paradigm of national criticism.In addition,since Shao's research on Lu Xun was influenced by Feng Xuefeng,this paper combined Feng Xuefeng's discussion on Ah Q to illustrate the continuation and rewriting of class theory on the critical paradigm of national character of enlightenment,which reflected the integration of class theory and national character criticism of enlightenment in Shao's research on Lu Xun.This integration was also inherent in Shao's understanding of the revolutionary national culture during the Anti-Japanese War.Secondly,in the second part,this paper discussed the core of Shao's literary and artistic ideas,i.e.,neorealism and neo-humanism.Among them,the neo-realism discourse centered on the "typicalism" is not only the theoretical resources that Shao Qinlin's study on Lu Xun resorted to,but also the basic method of his literary criticism.However,constrained by the concerns of the left-wing literary and artistic theorists in the Kuomintang-controlled areas on the subject of creation,Shao Quanlin inevitably highlighted the role of the writer's subjective ideological power in revealing the connotation of "typicalism" and the essence of class theory.The new humanitarianism was mainly embodied in the emphasis on combat.This emphasis first emerged as a critique of bourgeois aesthetics.By criticizing the individualized aesthetics far from reality,Shao emphasized the utilitarianism of aesthetics,especially its features of combating.However,whether it is the requirement of the "typicalism" of neo-realism for the writers' ideological power or the requirement of the utilitarianism of neo-humanism for the writers' emotions,all pointed to the emphasis on the writers' subjective role.Finally,by sorting out Shao's specific experience in Guilin and Chongqing cultural contexts,this paper examined the process of Shao's learning and understanding of "Speech" in the context of the Kuomintang-controlled areas.It is in the process of gradual and in-depth understanding of the Speech that Shao changed from the initial emphasis on the subjective role of writers to the deviation from "subjectivism";the emphasis on the subjectivity of writers also changed to the emphasis that writers should rewrite their own thoughts and feelings through penetrating into the masses of the people,so as to rewrite their classes and become a member of the new historical subject.In fact,Shao's change of thought is also an important change from Lu Xun's left-wing tradition to Yan'an literature and art with distinct class standpoint and partisanship.From this,we can see the changes of the left-wing literary and art circles in Kuomintang-controlled areas in the late period of the Anti-Japanese War.