The object of the study has a clear temporal-spatial feature: the revolutionary district poetry of 1936-1942. This specific temporal and spatial choice may be arbitrary and contingent, because history is a continuum. But a certain segment of history has its own dominant characteristic or epochal spirit, and there perhaps accumulates some valuable problems which indicate the transitional direction of history at a cross section, hence taking a segment of history as object of study is indispensable. Ideologization of the aesthetic is the most important aesthetic characteristic of the revolutionary district literature. 1936-1942 is a special period which has conspicuous differences to the Chinese Soviet Area literature and the“workers, peasants and soldiers”literature. The revolutionary district literature has its special historical backgrounds: unprecedented soaring of the nationalist spirit; the establishment of the united front of the War of Resistance against Japan; the formulation of common guiding principles etc. Those temporarily closed the political rift of the Communist Party and the Kuomintang, and upgraded the spiritual realm of the Yan’an writers of this period. By reports and propaganda, the Party’s expectation of the War of Resistance and its dream of the future of a new China exerted subtle influences on the Yan’an writers, and penetrated into their utopia ideal. Consequently, those Yan’an writers coming from different districts, classes and holding different ideas constructed a united, free and independent national community by their collective imagination. “Pro- Soviet Union”is one aspect of the Yan’an cultural environment of that period, esteeming Lu Xun as the leader of the New Culture Movement is another. Lu Xun is a powerful weapon for integrating the Yan’an intellectuals, although he was still being in the process of ideologization. At that time, Zhang Wentian was in charge of Yan’an literary policy. He not only knew the writers’nature and respected them, but also encouraged the writers and literary theorists to create freely and think independently. It is different to the writers who were institutionalized after Mao’s Talks at the Yan’an Forum on Literature and Art, and the writers of this period consciously created and thought under the premises of“Resistance”and“State-founding”. To literary creation, the movement of recital poems and street poems indicates the directions and achievements of the popular poetry of the early Yan’an period. 1940-1942 is the harvest period of Yan’an poetry: the poems of He Qifang, Bian Zhiling and Ai Qing etc. are the masterpieces of the period. Cao Baohua, Shi Tianshou, Chen Xuezhao and Lin Jinming etc. Wrote many excellent poems which have not been read until now. To theoretical construction, whether the discussion of the popularization of literature or the construction of a new literary“national form”are directed by the need of current
【关键词 (中文/英文)】 解放区诗歌; “民族形式”; 《讲话》; 抗战建国; 文化想象 revolutionary district poetry ; “national form”; Mao’s Talks at the Yan’an Forum on Literature and Art ; the War of Resistance to Japanese and the construction of a new China; cultural imaginatina
