Global Journal of Human Social Science, C: Sociology and Culture, Volume 21 Issue 5

Volume XXI Issue V Version I 25 ( ) Global Journal of Human Social Science - Year 2021 C © 2021 Global Journals Total War System and Youth Culture in East Asia Looking at 20th Century Culture from the Changes of Mobilization Mode unified. We divide the work on the united front, and we cooperate under the group' " (ibid.). In other words, All- China's Writers Association is nothing more than an organization that unites writers from all over the country to contribute to the war. It possesses the "prototype of a unified national literary policy" after liberation (ibid.). The second example is "the Debate on the Issue of National Form （民族形式论争 )". At that time, fierce disputes were launched in the so-called liberated areas and the Kuomintang-controlled areas （国民党统治区 ). Among them, Hu Feng （胡风） is a writer who represents one of these positions. Chen Sihe said: "Hu Feng is always discussing how literature and art serve the Anti-Japanese War and how literary and art workers can make their own unique contributions in this war. The main difference between Hu Feng and his controversial opponents lies in the disagreement on the evaluation of the May Fourth New Literature" (ibid.). This means that Hu Feng emphasized the contribution of the May Fourth New Literature, which was influenced by European and American literature, to modern Chinese literature. The opponents emphasized that China should have unique Chinese literature and art that Chinese people love. Although there are many differences in views between them, they all discussed how to serve the Anti-Japanese War and find the positions of literary and art workers in the war. The writers and artists who participated in the debate at that time were all unanimous on this point. It can also be said that it belongs to the controversy within the ideological framework of mobilizing all writers and artists into war. Among the debates on national forms, Mao Zedong represented a different view from Hu Feng. His main thoughts can be seen in the speeches at the Yan'an Rectification Movement （延安整风运动） and Literary Forum. Especially the "Speech at the Literary and Art Forum in Yan'an 《在延安文艺座谈会上的讲话》 (the so-called Literary Speech 《文艺讲话》 ). " This is the third example. Mao Zedong said in the Literary Speech : "To defeat the enemy, we must first rely on an army with a gun in hand, but only this kind of army is not enough, we also need a cultured army. This is an army that is indispensable for uniting us and defeating the enemy." Chen Sihe summarized his ideas as follows: "The core of "the speech" is to bring literature and art into the track of military struggle (later turned into political struggle) and make it an integral part of the entire revolutionary device" (ibid.). In short, the Chinese literature during the Anti-Japanese War obviously had the nature of mobilizing all resources for one goal(=war). Regarding the above three examples, I basically agree with Chen Sihe's views. In the Literary Speech , Mao Zedong said that literature and art are part of the whole revolutionary cause, and emphasized that literature and art are things for the workers, peasants and soldiers, and asked writers to learn from them. During the Debate on the Issue of National Form, Hu Feng developed his own theory, saying that what is important to the writer is the burning of the "subjective fighting spirit (= the spirit of struggling with reality) ", the practice of "imaginative thinking (= thinking directly grasping reality without theory) ", and the view that " life exists everywhere (= you can live a struggling life wherever you are)". Regarding the relationship between literature and art and revolution, Mao Zedong and Hu Feng have no contradictions. If there is a difference, it is that Mao Zedong talks from the objective effect of literature and art in society, and Hu Feng talks from the subjective view of the writer. Other differences come from their environment. Mao Zedong was in Yan'an, speaking for the workers, peasants and soldiers gathered in the liberated areas. Hu Feng is in Chongqing （重庆 ), writing articles for readers in Chongqing. There are almost no workers, peasants and soldiers serving the revolution in his surroundings, and he can only find creative motivation in daily life. They all believed that they were the successors of serious Marxism. Mao Zedong developed his theory based on the reality of Yan'an and Hu Feng based on the reality of the Kuomintang-controlled area. But Mao Zedong's thought gradually became the standard theory across China, and Hu Feng was gradually regarded as an opponent of this theory. Anyway, at that time, the idea of letting literature and art contribute to the war covers the whole of China. It should also be noted that not only during the Anti-Japanese War, but also after liberation, the above tendency has always existed. Although the method changed from military struggle to class struggle and political struggle after liberation, wartime culture continued to exert a considerable influence on contemporary literature and art. Chen Sihe gives a few more examples. He said that in the post-liberation literary criticism, "a large number of unprecedented military vocabulary appeared: battle （战 役） , struggle （ 斗争） , signal victory （ 重大 胜 利） , sharp- pointing( 锋 芒直指 ), pull down the white flag( 拔白旗 ), raise the red flag( 插 红 旗 ), major themes （ 重大 题 材） ..." (ibid.). In addition, "it is difficult to get rid of the traces of wartime in literary works describing peaceful life. For example, in works reflecting socialist construction in contemporary literature, the heroic behavior of the protagonist is often encouraged from the memory of war. ..... …With the expansion of class struggle in the 1960s, even the theme of peace construction is full of gunpowder and battlefield atmosphere. The most typical one is the popular novel Sunny Day （艳阳天 )" (ibid.). Not only in literary works, but we can also see a strong atmosphere of war in the lives of the Chinese people after liberation. There is a "production brigade （生产大队 )" in the People's Commune ( 人民公社 ), a "traffic squads （交通小队 )" in the police, and a