毋庸置疑，京派是一个复杂的文学流派，京派成员的复杂性就是促使京派复 杂化的原因之一。在京派内部，既有生长在繁华发达的城市，非富即贵的作家， 如梁实秋、林徽因、凌叔华等等，也有出身于贫困无闻的穷乡，疏离于城市的作 家，如师陀、沈从文、李广田、废名。前者处于意气风发的表层，更易为人关注， 而后者却相对来说趋向低调朴质。然而，后者却构成了京派中的“乡下人”群体， 这类作家不仅来自穷乡僻壤，出身相似，而且在身份认同和创作立场上也都体现 出较大的一致性，与“非乡下人”存在不可忽视的区别。因此，本文不再将京派 作为一个整体与海派、左翼等其他流派相对比，而是聚焦到京派内部，对其中的 “乡下人”群体进行研究，力图通过挖掘这一群体，追寻他们和“非乡下人”志 同道合的原因，以及他们创作上的独树一帜之处，以此探讨这一群体的独特意义 和价值。 本文的第一章围绕问题“何为京派中的‘乡下人’”展开，致力于挖掘京派 中“乡下人”的整体风貌。分别从他们的出身地域，即他们共有的客观基础；他 们对“乡下人”的认同观念，即他们一致的身份体认；以及他们在创作上的“乡 下人”立场，即他们共同的创作姿态，三个维度递进展开。从作家、到观念，再 到作品，不同层次来诠释“乡下人”的独特面貌。与此同时，还穿插与林徽因、 凌叔华、萧乾等“非乡下人”作家的比较，如此凸显京派“乡下人”的独特性。 既然第一章说到京派中“乡下人”和“非乡下人”存在的不同，那么第二章便在 第一章的基础上，重点解答“京派中为何会存在‘乡下人’”的问题，阐释了“乡 下人”与“非乡下人”志同道合的原因。本章分别从京派整体，以及京派之“京”， 京派之“派”来分别考察。就京派整体而言，它本身就不是一个纯粹的地域性流 派，具有超地域的因素；京派的“京”代表北京，而北京是一座张力十足的城市， 其现代一面对“乡下人”具有强大的吸引力，促使他们前赴后继而来；其古老的 一面又与“乡下人”所在的乡土社会相契合；现代与古老相结合，促使北京成为 一个包容性极强的城市，为这群“乡下人”的融入提供了包容度；京派的“派” 又体现着联系京派中“乡下人”和“非乡下人”的派性因素，正是相同的文化观 念促使他们走到一起。 第三章重点解决“京派中的‘乡下人’描绘的乡下如何”这一问题。分别以 “乡”、“下”、“人”为视点，论述了京派这群作家在对乡村风貌的打造上， 对底层生存的考察上，以及对乡村人物的塑造上的特征。在与鲁迅、徐杰等乡土 作家群，以及京派中“非乡下人”的比较视域内，探究这群“乡下人”创作上的 独到价值。

There is no doubt that Beijing school is a complex literary genre, and the complexity of its members is one of the reasons why it is so complicated. Inside the school,thereareeitherrich writers whogrewupinprosperous developed city,such as Liang Shiqiu, Lin Huiyin, LingShuHua, etc, or writers in a poor township apart from the city , such as Shi Tuo, Shen Congwen, Li Guangtian, Fei Ming. The former is on the surface of the high-spirited and vigorous situation, and it is more likely to be noticed, while the latter tends to be more modest. The latter, however, constitute the "hick" groups in Beijing school. The writers are not only from the poor land and the same background, but also the same on the identity and position. And there are noticeable differences between “hick” and “not hick”. Therefore, this article will no longer regard Beijing school as a whole with other genres such as Shanghai school or Left school, but focus inside . The article will research on "Hick" groups of them and try to find thereason why they share the sameway through this group.And the article will discover the point of their own creation in order to explore the unique meaning andvalueofagroup. The first chapter of this paper focuses on the question "what is the 'hick' in the Beijing school" and aims to explore the overall style of “hick" in Beijing school. The first chapter describes from three dimensions of progressive development——their originregion (namely theircommonobjective foundation)and theirrecognition ofthe "hick" (namely their identity), as well as their "hillbilly" positions in their creation (namely their common creation posture). I try to interpret the unique features of "country people" from different aspects such as the author, the concept and the work. At the same time, I try to highlight the uniqueness of "hick" in Beijing school comparingwithLinHuiyin,XiaoGanandother"nothick"writers. Since the first chapter describe the differences between "hick" and "not hick" in Beijing school, then the second chapter answers the problem of "why ‘hick’exist in the Beijing school" , explaining the reason why they get the same way and spirit , on thebasis ofthefirst chapter .This chapter studies respectively from thewhole Beijing school, and the Beijing school "jing", the Beijing school "pai". As far as the whole Beijing school is concerned, it is not a purely regional school itself, with a trans-regional factor. “Jing” represents Beijing which is a city full of tension and it has a strong attraction to the next generation of “hick” , prompting them to come forward. Its ancient side is in line with the rural society of the "hick". The combination of modern and old makes Beijing an extremely tolerant city, providing tolerance for the integration of these "hick". “Pai" of Beijing school embodies the school factors that connect the "hick" and "not hick". The same cultural concept bringsthemtogether. The third chapter focuses on solving the problem of "how the countryside is from hick in Beijing school". From the point of view of "xiang", "xia", "ren", this paper discusses the characteristic of the group of writers of Beijing school on the aspect of rebuilding of rural culture, underlying the survival of the investigation, and the shaping of rural people. In the comparison with Lu Xun, Xu Jie and other rural group of writers , as well as "not hick", this paper explores the unique value of this groupof"hick".