Which of the following writers is considered as a new sensation school?

Liu Naou is the first attempt of "New Sensation School" novels. It was founded in1September, 928, and the semimonthly "Trackless Train" marked the beginning of the novel practice of "New Sensation School" in China. His collection of short stories, Urban Scenery, is the first collection of neo-sensualism novels in modern China. Mu Shiying and Shi Zhecun pushed the "New Sensation School" novels to maturity, and they used montage and psychological analysis of characters to highlight their feelings and impressions of real life. & lt Shanghai Foxtrot Dance and< Night of Plum Rain are their representative works. Liu Naou, formerly known as Liu Canbo and pen name Luo Sheng, was born in Tainan County, Taiwan Province Province. When studying literature at Aoyama College in Tokyo, Japan in his early years, he was deeply influenced by Kawaguchi, who combined western modernist literature with oriental spirit. After graduating from Yingqing University in Japan, he returned to China, founded "First-line Bookstore" and "Shuimo Bookstore" successively, and published many progressive books and periodicals. He himself has translated and introduced books on progressive social sciences and Japanese novels of neo-sensualism. 1928 founded the magazine "Trolley Train" in September, which United some young artists who deliberately pursued artistic form innovation and initially revealed the creative tendency of the new sensation school. At the end of the same year, after the "trackless train" was seized by the Kuomintang, he continued to try to create novels of neo-sensualism, and wrote eight novels successively, which were included and published in1April, 930 in Urban Landscape. This is China's first collection of short stories written by modernism.

Urban landscape can move modernist literature originally rooted in western urban culture into oriental metropolis in spirit and form, and then discover Shanghai's "modernity" aesthetically. The author raises the narrator's "feeling" to the most meaningful height, which makes people develop a novel style with jumping and flowing consciousness. The significance of Liu Naou's novels is to show that modern cities should feel with modern emotions. The stories of urban men and women are not only to explore a little morbid psychological exaggeration, but to experience the living environment of urbanites in detail. For example, his masterpiece "Scenery" tells the story of a young urban woman who went to reunite with her husband, but had crazy sex with a strange man on the journey of the high-speed train. The pressure of writing about the straight line and angle of modern machinery forces people to flee the city in an attempt to find the naked truth of human nature.

Liu Naou's novels have a beginning in describing city life, but he has not gone very well, and his works still have the shortcomings of "non-China" or "realism". It is Mu Shiying who can avoid this shortcoming and continue to work hard.

Mu Shiying (19 12- 1940), a native of Cixi, Zhejiang Province, took the pen name Yang Fa from 1929. His first novel has no flavor of neo-sensualism. After about 1932. His works suddenly turned to neo-sensualism. He has published novels such as Graveyard (1933) and Female Body Sculpture in Platinum (1934), and used modernist methods such as sensualism and impressionism to express the bizarre life of metropolis, which not only opened the precedent of "foreign literature", but also was called "the master of new sensationalism". As a popular Shanghai writer. His masterpieces include Hu Junyi, the King of Gold who lost his wealth, Huang, a socialite who lost her youth, Miao Zongdan, a secretary of the municipal government who lost her job, Zheng Ping, a female college student who lost her love, and Skeptic. They came to a nightclub on a weekend and danced wildly to vent their troubles and fill the spiritual gap. At dawn the next day, Hu Junyi shot himself and completely got rid of his distress and depression. The five characters created by the author are all people who "fall from life" or "are crushed by life". Their hearts are full of sadness, hatred and loneliness, but they "put on a happy mask on their sad faces" and try to smile. In fact, their grief, hatred and loneliness have already "penetrated into the bone marrow", and seeking excitement in madness is nothing more than drinking poison to quench thirst.

This article describes two manifestations of sexual pathology: one is the celibacy of Dr. Xie, and the other is the excessive sexual desire of female patients. These two kinds of sexual perversions show that highly centralized and extreme urban civilization not only predicts people's external life, but also permeates people's hearts. Dr. Xie's busy, crowded, boring, rigid and fast-paced life makes her psychologically unbalanced, and gradually becomes indifferent to people's instinctive desires and becomes a celibate (in fact, this is the malignant expansion of extreme individualism). Female patients can't get rid of the evil shadow of society and the decadent environment of capitalist city civilization. The deformed city life made her sad, depressed and empty. She had to pour out her depression in the mattress to relieve the heavy burden of her thoughts, so her originally healthy body became a "not sick" body, almost becoming a "platinum female body statue". By describing the close and subtle relationship between these two kinds of sexual perversions in urban life and social life, the author reflects the mental trauma and physical destruction caused by the abnormal life in the city.

In contrast, Shi Zhecun's novel creation is higher than that of Liu Naou and Mu Shiying. Shi Zhecun's morbid novels have wider themes and richer contents. He not only takes Shanghai as the main scene to reflect the morbid life of metropolis, but also scans the life of small towns in the suburbs of Shanghai. Most of the characters in his works are small people living at the bottom of the city, such as dancers, small businessmen and shop assistants. The author expressed deep sympathy for them and described their tragic situation squeezed by life with hearty brushstrokes. For example, Su Wen, the hero, was very tired of being a dancer with men all day, and pinned his hope of getting out of the misery on his lover, so he suspended his contract with the ballroom owner and refused to dance with the guests. Just then, her lover went bankrupt. Her hopes were dashed, so she had to whisper to the dancer and say with a smile that she would never refuse her invitation again. Su Wen's changes before and after are by no means her personal misconduct, but because of the torture of life, she has to eat her own bitter fruit.