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the beijing school
    WANG Zheng-qi:the last writer of the Beijing school
    论最后一个京派作家汪曾祺
    ON THE AESTHETIC PURSUIT OF THE BEIJING SCHOOL NOVELS
    京派小说的审美追求
    Humanistic World in Novels of the Beijing School
    京派小说的人性世界
    Fantasy Narration ——explore the aesthetical recollection theory characterized by the Beijing school novels
    梦想的叙事——京派小说审美回忆论探询
    The Cultural Connotation of the Beijing School of Literature
    “京派”文学的文化底蕴——从老舍创作的文化品格说起
    Keeping Balance between Art for Life and Art for Art——the Discrimination of Literature Viewpoints of the Beijing School
    在“为人生”与“为艺术”之间寻求平衡——京派文学观辨析
    The author arrives at the conclusion: thranks to the profound understanding of the maternal culture, the Beijing school of novelists manage to fulfil the communication between individual feeling and mankind's feelings, adding a kind of national feature and distinctine modern spirits, there by achieving better integration and communication between nationality and internationality.
    最后得出结论:京派作家凭着对元典精神的深刻理解,实现了个体情感与人类情感的沟通,使文本具有了丰富的民族特色和鲜明的现代精神,从而体现了民族化与现代化、全球化的良好沟通和较为完美的结合。
    In 30's, the country literature genre represented by the Beijing school and Social Analysis Group has separated from each other, until the 40's, the Lotus Lake school and the Potato school are more focused on the regions. And other kinds of country literature in the after contemporary literature have gained their own characteristics when focusing on the "Soil Lands".
    从30年代以京派、社会剖析派为代表的乡土文学流派开始分道扬镳,到40年代的荷花淀派、山药蛋派以地域性为中心,以及后来的当代文学中的各种乡土文学,它们在关注“土地”的同时都有了各自不同的特色。
    Since 1980,academia have gotten some achievements on the study of Beijing School criticism,but because of the inertia of ideation, there is still lots of illogicality and puzzle in the understanding of the criticism and the literature theory of Beijing School. This treatise analyzes these illogicality and puzzle,and suggests that we have a thorough grasp of the Beijing schools aesthetic and culture logic on the premise of Self conscious Aesthetic Critic.
    八十年代以来 ,学术界对京派批评的研究取得了一定的成果 ,但是由于某种思维惯性的影响 ,对京派批评与京派文学思想的理解仍充满矛盾与困惑 ,本文着重分析了这些矛盾与困惑 ,认为应从“自觉的审美批评”这一理论前提出发 ,更深入完整地把握京派批评自身的审美文化逻辑。
    WANG Zeng-qi was a representative novelist of the Beijing school writers, and he longed for the independence of literature, hoping the perfection of artistic technique.
    汪曾祺是一位京派代表作家 ,他追求文学的独立性和创作技巧的完美。
    The emergence of the Beijing School were not only due to the influence and enlightenment of western classicism, but also to the evolution of modern Chinese literature.
    京派古典主义的形成,既受了西方古典主义的启发与影响,也是中国现代文学发展演进的必然产物。
    The Beijing school novels were a fiction sect with a distinctive art pursuit and creative individuality in the modern Chinese literature history.
    京派小说是中国现代文学史上有着鲜明的艺术追求和创作个性的小说流派。
    The Beijing school writers are mostly the cultural flowers with a good Chinese and Western Knowlege, and above all, they carried forward the Chinese literature heritage, drew on the traditional art skills of the national literature all the more whem they produced their works, and sought a harmonious, sweet and perfect realm.
    京派作家多学贯中西,但他们更多地继承了中国文学传统,在小说创作中,较多地借鉴民族文学的传统艺术技巧,追求和谐、圆润、完美的艺术境界。
    Due to the deep disappointment about the civilization of city, the novelists of the Beijing school turned to the country, and tried to build up an invariable humanistic world filled with aesthetic feelings.
    京派小说家出于对城市文明的失望而转向乡村 ,试图建立一个充溢永恒人性之美的世界。
    As a result, her novels, with a unique cultural character and aesthetic value, have shown the popular features of the Beijing school fiction and have manifested the author's vivid literary personality as well.
    她的小说既体现了京派小说的一般风貌,又显示着作者鲜明的文学个性,具有独特的文化品格和审美价值。
    As the classical academic intellectual in the history of Chinese modern literature,the Beijing school tend to avoid extremity and seek retain and stability.
    作为中国现代文学史上较为典型的学院派知识分子,京派的文学观力避偏激,追求理性稳健。
 

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