The Genesis of Modern Chinese Literary Criticism (1917–1930)

Marián Gálik

1. Hu Shih, Chou Tso-jen, Ch’en Tu-hsiu and the Beginning of Modern Chinese Literary Criticism 2. Kuo Mo-jo and his Development from Aesthetico-impressionist to Proletarian Criticism 3. Ch’eng Fang-wu and his Development from Socio-aesthetic to ‘Total Criticism’ 4. Yü Ta-fu and his Panaesthetic Criticism 5. Teng Chung-hsia, Yün Tai-ying, Hsiao Ch’u-nü and the Beginning of Concerned Literary Criticism 6. Chiang Kuang-tz’u’s Theory of Revolutionary Literature 7. Chi’en Hsing-ts’un’s Theory of Proletarian Realism and ‘Literature Power’ 8. Mao Tun’s Struggle for a Realistic and Marxist Theory of Literature 9. Ch’ü Ch’iu-pai’s Russian Example and the Concept of Reality in Literature and Art 10. Lu Hsün’s Contribution to the History of Modern Chinese Literary Criticism and his Struggle for a United Marxist Front 11. Liang Shih-ch’iu and Chinese New Humanism 12. Feng Nai-ch’ao, Li Ch’u-li and their Leftist Theory of Art and Literature