Inheritance And Breakthrough

Landscape or natural image is an extremely important element in traditional Chinese Literature,It plays an important role in the process of artistic creation.The May 4th movement is a transitional period from ancient times to the present times,at that time,Writers were influenced by various foreign thoughts,but they all keeped the breath of traditional literature and art.The landscape in literature was also undergoing the transformation and recasting of modern concepts until twenty-first Century.It will contain new era information and new presentation skills,so as to form a breakthrough for traditional literature.This article can be divided into five parts:Chapter One Means: time information in landscape.Chinese modern literature develops step by step under the impact of the trend of the times,through conscious advocacy,the information it contains is richer and denser than that in ancient times,but unlike previous generations,landscape description is of great significance in reflecting the trend of the times.In this sense,the use of landscape is a kind of means,it carries the changes of the times.In the first ten years of new literature,we will see the confirmation of subject produced by the New Cultural Movement,from the second decade,we can see that the scenery promotes the yearning for political revolution,from the third decade,we can see the national spirit of watching from the different enemies' tramp,and with the development of ideological,political and war cultural environment,these aspects have been extended to the development of literature history in the second half of the twentieth century.Chapter Two Purpose: seclusion in the scenery.It is impossible for the tide of the times to roll forward without affecting people's psychology.Facing the social unrest,some Chinese intellectuals in the first half of the 20 th century chose to "go with the flow",some Chinese intellectuals chose to take off their armour and return to their native place.The latter didn't use the depiction of scenery as a symbolic means of advocating the ideal of individual liberation and political revolution,their goal was to return to nature,their seclusion not only had the yearning for the peach blossom garden,also included aesthetic pursuit,psychological reality and practical action based on the trend.Detaily speaking,there were three basic types: aesthetic seclusion inclined to pursue pure art,escapist seclusion in the wind and waves of the times,philosophic seclusion under the theme of eternal loneliness in life,three types were interlaced,the representatives were Fei Ming,a Beijing school writer,Dai Wangshu,a modernist poet,Xuxu,a later modern romantic novels.Their expression of seclusion was related to the scenery,from different aspects,they didn't intend to use the scenery as a reflection of the external social situation,the took seclusion as the strategy of art management,or as an inner spiritual conversion,the historical form often only appeared in the form of attachment.Chapter Three Purposeless combination: philosophy in landscape.Landscape description in ancient Chinese literature does not lack the tradition of reason and interest,but it's mostly a kind of "wonderful understanding" of the natural world,it's hard for us to sort out a relatively complete thought system.Around the May 4th Movement,under the double functions oftraditional and western literature,more and more philosophical thinking about landscape appeared,the thinking of writers was in the same line with the traditional Chinese thought,it is also in accordance with Western phenomenology and later existentialism,these thoughts and explorations were completed unconsciously when writers communicate with nature,which we called “purposeless combination”.In the choice of the times to be involved in the main trend of the times or to be hidden in the personal world,some writers think over the nature of the world,the ways to understand the world and the relationship between man and the world when they face the restriction and influence of reality on individuals.Although each writer pays different attention to these three issues,summarize the exploration of many writers,we can find that these three aspects have formed a coherent philosophy system.So we can say that modern writers' description of scenery,presentation of natural objects has formed a breakthrough in ancient literature on the basis of development.Chapter Four The richness of aesthetic style.There are many styles and forms created by the scenery,in traditional literature,it is mostly expressed in poetry creation,and rarely seen in novel.Maybe it's the introduction of Western learning to the East,maybe it's the retrospect of tradition,new literature Integrates into the creation purport of poetry which is a breakthrough in the creation of ancient narrative literature,at the same time,it inherits the advantages of tradition in poetry.Inspired by the atmosphere of the times,the depiction of scenery has rapidly expanded to various literary genres,on the basis of tradition,its style and style present various artistic forms.Such as the gloomy and cold of the Chinese modern local novel,the decline of social analysts school,the bright of Chinese liberated area fictions,and so on.Chapter Five The establishment of narrative / lyrical structure.There are a lot of plot structure in Chinese ancient novel,the description of scenery in most novels is only used by the author to strengthen the scene sense,or just as "praise".Since late Qing Dynasty,the narrative structure of Chinese novels had experienced the development from plot to landscape and psychology,the significance of landscape as a structure was mainly reflected by the background functions of atmosphere contrast and environment construction,to a large extent,it was also the foil of the plot.With the influx of foreign literary thoughts,writers based on the desire to express life and society more comprehensively and profoundly with reading and collection,changed traditional novels from "telling stories" to writing landscapes and painting psychology and also changed the narrative structure of novel.Probably after the middle and late 1920 s,landscape presentation had gradually developed into a complete means of literary narrative structure.This means was used not only to novel,but also used to lyricism of poetry.Chen Pingyuan's works The transformation of Chinese novels' narrative structure,which exhaustively discussed the development process of Chinese novels from plot structure to psychological and background structure,on this basis,we can keep asking: How does the scenery enter the narration? By what means do writers make it a structure? What kind of form does it show after it becomes a structure? The scope of this chapter mainly discussed the middle and late 1920s(we should also give due consideration to the individual writers before),from three aspect: leading,transition and summary,"Dominant motivation" and dispersion.