From Academic Nitpicking to a =New Culture Movement＇： How Newspapers Turned Academic Debates into the Center of ~May Fourth＂

Abstract In early 1919, people like Hu Shi and Chen Duxiu were regarded as members of an ivory-tower ＂academic faction＂ （xuepai）, embroiled in a debate with an opposing ＂faction.＂ After the May Fourth demonstrations, they were praised as the stars of a ＂New Culture Movement.＂ However, it was not obvious how the circle around Hu Shi and Chert Duxiu was associated with the May Fourth demonstrations. This link hinged on the way in which newspapers like Shenbao reported about the academic debates and the political events of May Fourth. After compartmentalizing the debating academics into fixed xuepai, Shenbao ascribed warlord-political allegiances to them. These made the Hu-Chen circle look like government victims and their ＂factional＂ rivals like the warlords＇ allies. When the atmosphere became hostile to the government during May Fourth, Hu Shi＇s ＂faction＂ became associated with the equally victimized May Fourth demonstrators. Their ideas were regarded as （now popular） expressions of anti-government sentiment, and soon this was labeled the core of the ＂New Culture Movement.＂ The idea and rhetoric of China＇s ＂New Culture Movement＂ in this way emerged out of the fortuitous concatenation of academic debates, newspaper stories, and political events.

“The Old New-Intellectuals”in the May Fourth New Cultural Movement

During the May Fourth New Cultural Movement,three debates on new/Western and old/Chinese cultures were respectively carried out between the journal New Youth and Lin Qinnan,Chen Duxiu and Du Yaquan,as well as Zhang Dongsun and Fu Sinian.New Youth,Chen Duxiu and Zhang Dongsun were regarded as the“new school,”whereas their opponents“the old new--intellectuals.”The difference between them lies in their attitudes towards traditions instead of their new or old knowledge.After three heated debates,New Youth won a total victory in big cities,because the so-called“urban youths”needed a radical cultural reform plan and a simple guide for action.On the contrary,“town youths”who lived in small cities and towns did not care about the attitudinal difference of two sides.They paid more attention to absorbing new knowledge from both sides and were more sympathetic to tradition.

An Analysis of Anti-Traditionalism in the New Culture Movement

The New Culture Movement aimed to criticize feudal despotism, and reach the goal of rebuilding the foundation of a new culture by clearing away dregs in traditional culture. Regarding the outstanding traditional culture of China, the New Culture Movement did not hold a totally negative attitude; instead, it emphasized totake a scientific spirit in the investigation into traditional culture, and put the thought of traditional culture into a modem system for the revival of traditional culture while it broke with the tradition of studies of Confucian classics.

The Eternal ＂May Fourth Movement＂： Between Enlightenment and Tradition

This paper mainly discusses two key issues： how to evaluate the New Culture Movement and how to understand the relationship between enlightenment and the New Culture Movement. With regard to the former, the author puts forward the basic principles to be established for the evaluation of the New Culture Movement： not only to respect the historical facts, but also take a broad view to make a comprehensive survey of history and the world. Through an analysis of the current situation at home and abroad, this paper argues that it is precisely because the New Cul~＇e Movement rejected the darkness in the fields of politics, morality, academics and ideology which had ruled China for thousands of years, promoted insemination of political democracy, freedom of thought, and spiritual independence, which helped to prepare the mass basis for Marxism to spread in China, that it became possible to achieve the victory of socialism in China. Regarding the latter, the author believes the New Culture Movement could not complete the task of enlightenment once and for all in China. The reasons are as follows： China has thousands of years of old culture and old traditions, the Chinese culture and the European traditions are quite different, and the situation confronting China during the New Culture Movement period was far more complicated than the situation during the European Enlightenment in the 16th-18th centuries. So, when it was divorced from the future fate of the Chinese nation, the empty talk of personality liberation and personal freedom was not only unrealistic, but also poled apart from the rationalist analysis and application advocated by the Enlightenment.

Actresses, Gender, and 1920s Theater in China： A Discussion Concerning ＂Female Involvement in Art Performances＂

In 1923, Wu Ruiyan, a schoolgirl at the Beijing People＇s Art Drama School, starred in a play titled Hero and Beauty, written by Chert Dabei. This was the first joint performance of male and female performers in the history of Chinese drama. The incident immediately triggered a debate in the Morning Newspaper Supplement between a group of middle-class intellectuals concerning ＂female involvement in art performances＂. This paper sees the boom in female participation in politics in the 1920s, as well as the ＂improvement in traditional drama＂ during the early republican period in China as the reasons behind the discussion. This incident shows how the New Cultural Movement shaped intellectuals＇ views on females and art performances.

Review on Polysystem Theory in Translation Studies

This article gives an adequate observation and analysis of polysystem theory,one of the most influential schools in translation studies put forward by Itamar Even - Zohar and developed by Gideon Toury,and discusses its application to Chinese translation phenomena in certain historical periods.

“文学革命”中“人的主体性”建构逻辑

由五四新文化运动所推动的中国现代“文学革命”,是一场涵盖了文学创作、文学作品、文学批评与文学功用等多重要素在内的文学事件。作为一场影响20世纪中国文学至为深刻的文学事件,它以改革甚或弃逐传统文学的形式与内容为手段,以追求文学表达的“个体-大众-阶级-民族-国家”主体性为主题,以塑造审美的人、道德的人、知识的人为目标,从而形成了一种既区别于西方文学现代性演变中处于与社会现代性对抗关系的“人的主体性”,也区别于中国现代“革命文学”之后文学现代性之于社会现代性遵从关系的“人的主体性”,表现为一种居于二者之间的独异型“人的主体性”。始于文学现代性而终于社会现代性,是这种独异型“人的主体性”的本质特质;勠力于社会现代性与文学现代性的建设,是这种独异型“人的主体性”的根本目标。对“文学革命”中“人的主体性”的不同逻辑划界,不是为了强调其内涵的显著差异,而是要彰显其作用于社会与文学自身的不同方式与不同功能,进而反省其价值与不足。

数字人文视域下新文化运动时期知识分子的情感演化研究——以《新青年》杂志为例

文章从数字人文视角出发,以《新青年》杂志为例,分析了新文化运动时期知识分子的情感演化历程及外部动因,为研究特定历史时期思想政治文化格局的演变提供研究思路与案例支持。基于已有的分类框架,本研究将《新青年》杂志1915—1922年所刊发的文章划分为“政治文化”“哲学思潮”“社会教育”“语言文学”共4个类目,对每个类目的文章内容进行统计和分析,获取了文章作者、发文时间、主题词、涉及人物等基本数据以及文章的情感极性和强度。然后分别对每个类目所涉人物进行聚类,并从群体(类目总体情感演化)和个体(代表性人物的跨类目比较)两个角度分析了五四运动前后人物情感演化过程及特征。最后,结合文章主题和具体历史事件探讨了人物情感演化的外部动因,从而对该历史时期的人文风貌及社会变迁进行客观呈现。

并非“扩音器”——重评钱玄同在五四新文化运动中的作用

钱玄同在新文化运动中借用与转化中国传统的经学与小学资源,将中国传统学问融入五四思想革命、文学革命、汉字革命之中。首先,钱玄同转化章太炎与康有为的经学资源,将“经”贬黜为毫无价值的“史料”,颠覆所有经书,从传统经学内部获得反叛传统的可能性,使五四思想革命具有“飓风”般的爆发力;其次,钱玄同作为小学大家,在进行文学革命时,用文字学、音韵学、训诂学的学理来证明五四白话文理念有其建立的可行性;再次,他在推行五四汉字革命时,仍以传统小学资源来论证“改用拼音”的学理性与时代必然性,用极端的方式推动了中国汉字的现代变革。钱玄同从中国自身的学术主体内部促进新文化运动的发展,让五四获得了一种新的方法论,这使他有自己独立、独特的“声音”。

我国公共图书馆服务定位之变化

公共图书馆是国家公共服务体系的重要组成部分,随着经济社会的发展,其服务功能也发生着改变。文章基于1994版《公共图书馆宣言》,论述了我国公共图书馆事业走过的三段具有历史意义的路程及其每段路程上我国公共图书馆服务定位的变化,希望能促进公共图书馆事业的进一步发展。

新时代党的五四运动纪念活动:形式、特质与价值

五四运动纪念活动在中国共产党纪念史中具有举足轻重的地位。进入新时代,党围绕五四运动开展了多元化的纪念活动,除了传统的集会形式,还创新性地引入回信交流、主题实践等多种活动形式。这些纪念活动展现出三个显著特点:首先,它们延续了五四运动纪念活动中所蕴含的五四精神核心;其次,活动体现了鲜明的时代精神;最后,通过结合青年群体的实际情况,实现了话语体系的创新。新时代的五四运动纪念活动在弘扬和传承革命精神、引导青年成长以及推动社会进步方面发挥了重要作用。作为中国共产党纪念史不可或缺的组成部分,新时代的五四运动纪念活动以其多样化的形式和新的特质,赋予了纪念史更为丰富的内涵。

五四运动在德州及其划时代的影响

五四运动爆发后,德州人民立即响应,迅速汇入到这场轰轰烈烈的反帝反封建的爱国运动中。五四运动的影响是深远的,推动了德州新文化运动发展和马克思主义的传播,为德州地方党组织和革命锻炼了一批骨干力量,促进了德州民众的觉醒和妇女解放运动的开展。五四运动孕育形成了伟大的五四精神,新时代,德州青年要大力传承弘扬五四精神,奋力谱写好中华民族伟大复兴中国梦的德州篇章。

道路的另一种——五四妇女解放思潮与凌叔华的写作

五四以来,现代知识分子通过演绎旧式女子的悲惨命运,控诉封建旧伦理、旧秩序的不合理成分;同时,借助宣讲易卜生主义,创作大量模式化的“娜拉剧”,建构起对妇女解放思潮的理解以及新女性的设想。伴随着大革命的惨淡煞尾以及社会上对“娜拉走后怎样”这一问题的讨论,知识分子对妇女解放方式的探索逐渐深入且多元,突破了既定的二元模式。作为激进时代中的渐进者,凌叔华借助性别的对立缓释了旧式家庭内部“父”与“子”的冲突,并以撕裂的女性欲望书写、绝望的“新”之变局呈现,打破了五四时期知识界在妇女解放命题上的乐观想象。凌叔华独特的“破旧立新”表达根植于个体的成长经验和知识结构,呈现出超脱时代的倾向,展示了五四时期妇女解放道路的“另一种”形态及可能。

冰心早期诗歌中“启蒙与救亡”主题下的神性书写

五四新文化运动“启蒙与救亡”的时代主题下,基督教神性文化表达成为近代中国思想文化建构的一个重要维度,也成为冰心早期诗歌创作的重要思想资源。“爱的哲学”是冰心早期诗歌丰富而独特的意义世界,也形成了冰心诗歌温柔敦厚、简洁隽永的艺术风格。冰心早期诗歌创作显现出时代“启蒙与救亡”主题与基督教文化的相互观照,以及“爱的哲学”形成的复杂性,诗歌话语层面的彰显与思想内质的潜藏以及由此形成的矛盾冲击,同样折射出基督教文化与新文化运动在“同构性”与“异质性”之间的交融与冲突。

《学衡》与“新文化派”的缠斗

《学衡》诸将向新文化派炮火全开之时,新文化运动的高潮已过,而且以胡适为代表的《新青年》诸人,对新文化运动的取向并不认同,行动上也比较疏离,很少正面回应《学衡》的挑衅。从《学衡》前的各自为战,到《学衡》的正面进攻,再到《学衡》之外的全面攻防,吴宓等人始终缠斗不已,源于哈佛与哥伦比亚两校留美学生的宿怨。其痛批的要点不在新旧之争,而是如何才能融贯会通中西新旧,创新文化。不认可以《新青年》为代表的“新文化”,并不等于反对新文化,所以时论仍然视为新文化运动中的异调。

“新青年”的身份书写与角色塑造——基于《新青年》的文本考察

《新青年》通过编读往来的方式,建立“先生期待”与“学生崇拜”之间的身份关联,借助“非孝”“破家”“立人”等青年发展议题的策划与传播,引导青年开展家庭关系、社会关系、主体身份等不同层面的思想革命,极大地促进了新文化运动时期进步青年的集体身份认同,塑造出“爱国、进步、民主、科学”的“五四”青年形象。《新青年》杂志办刊过程中建立和形成的“书写-阅读-交流”机制在塑造青年身份群像,引导青年从文本走进现实、从理论走向实践,自觉担当时代青年角色等方面发挥了重要作用。透过《新青年》杂志的历史与文本窗口,其设置青年话语议题、调适青年发展张力、搭建青年交流平台、培养青年革命精神的经验和做法,是培育“有理想、敢担当、能吃苦、肯奋斗”的新时代青年的重要借鉴。

新文化运动的另一路展开——陆侃如、冯沅君《中国诗史》与民国文史研究转型

陆侃如、冯沅君写作《中国诗史》,深受民国学术风气熏染。其书在文献考据层面,认夏代以前为不可知,全盘接受了胡适一派的疑古思潮。在诗史架构层面,则颇自出手眼:把“诗”的范围扩充至多数韵文,论证各时代主流体裁如何环环衍生,使得叙述更加系统化;以白话、文言迭相起伏贯穿全史,但不与体裁更替强行牵合,使得叙述更加弹性化。这两层面表现,均属新文化运动促成的文史研究转型之产物。前者当时已遭遇挑战,后者却代表着新文化立场介入文学史书写的另一方案,值得长久与之对话。

新文化运动时期知识分子的群体惯习与中华优秀传统文化的传承

布迪厄的惯习理论为考察新文化运动时期中国知识分子“如何可能”传承中华优秀传统文化提供了新的视角。在新文化运动中,脱胎于传统士大夫的知识分子群体既保留了“士志于道”“以天下为己任”“经世致用”“道德理想主义”等传统惯习,又在激烈的东西方思想文化碰撞中发生了从“拟古思维”到“革命话语”、从“四民之首”到“劳工神圣”,以及从“依附人格”到“独立人格”的惯习变迁。知识分子的这种群体惯习,为新文化运动既打破传统文化僵化的躯壳又保留传统文化的精华提供了可能,也为唤醒西方文化优越论的迷思提供了航标,更为选择马克思主义准备了文化心理条件。

李大钊的思想嬗变及其对传统文化的现代性改造

李大钊的思想嬗变是一个传统知识分子向现代知识分子转变的过程。青少年时期他接受过传统科举训练与近代新式学堂教育,在探索救国出路的过程中十分推崇“立宪治国”思想。在新文化运动早中期,他对孔子所代表的传统伦理道德观念进行了深刻批判,倡导“国民性改造”,不过传统文化思想一直是其思想的底色。新文化运动后期,他转而服膺马克思主义,在借助传统文化宣传马克思主义的同时,他给予传统文化新的阐释,完成了对传统文化的现代性改造。李大钊对传统文化的现代性改造,展现了传统文化的韧性及其蕴含的时代价值,为新时代实现马克思主义基本原理与中华优秀传统文化相结合提供了重要借鉴。

双重身份视域下的陈独秀与五四新文化运动

1917年陈独秀成为北京大学文科学长,新身份给陈独秀带来了新的资源。首先,陈独秀能够以北京大学同人为基础组建《新青年》杂志的核心编辑与作者。其次,陈独秀的个人影响力得到了空前的提升,成为时人眼中的新文化“钜子”。但在新文化运动不断发展的过程中,尤其是新旧冲突加剧的情况下,陈独秀的文科学长与思想领袖双重身份之间发生了冲突。面对北洋政府的压力,蔡元培通过解除陈独秀的官方身份作为回应。官方身份的解除加速了陈独秀由思想领袖向革命领袖的转变,其个人身份的转换也为中国革命开辟了崭新的历史篇章。